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So I’ve always been dancing to music.\u003c/p>\n\u003cp>\u003cstrong>On what made her early choreography different from others \u003c/strong>\u003c/p>\n\u003cp>I think the first thing was to eliminate the idea of steps or styles—it was to get to fundamentals of movement. And we were looking for very common, [ordinary] shared modes of movement. By ordinary, I mean not extremely sophisticated in training folks might have, and then how could that be extended and become more challenging for us who had had the advantage of that kind of training. …\u003c/p>\n\u003cp>When I was beginning, I wanted to go back to the very mechanics: You either start on the right side or the left side. You either coordinate in opposition to the forward moving leg or parallel to the forward moving legs. You’re either moving forwards or you’re moving backwards or laterally, side-to-side. All of these kinds of, really, engineering questions are [a] kind of launch point, because I didn’t want to take anything for granted. I wanted to feel as though my fundamentals were sound.\u003c/p>\n\u003cp>\u003cstrong>On performing dance without music \u003c/strong>\u003c/p>\n\u003cp>Music is much more comfortable for the general public than movement. I often say: Take one phrase of movement and put on happy music, [and] the audience thinks it’s a happy dance. Put on sad music and they’ll think it’s a sad dance, and the movement is exactly the same. So I wanted to try to see what the emotional resonance of movement was. What excited people? What was provocative? What would they register? Not all of those, but many visual questions were asked. And that wouldn’t have been possible with music, because music is so overpowering.\u003c/p>\n\u003cp>\u003cstrong>On why she wanted to start an all-women dance company in 1966 \u003c/strong>\u003c/p>\n\u003cp>I think we knew there was a bias in the world of art across the board, whether it was music, painting, sculpture, literature [or] dance. And we wanted to fortify ourselves in such a way that we could put forth what we thought was our strongest suit. And our strongest suit was a lot of technique and a lot of incredible ensemble work, but also strong individual voices. … We all had singular qualities, and that was clearer if we were all women, than had a man been in the group, we would have been the women [and] he would … have been the man, and that would have become the distinctive, defining characteristic rather than the individual qualities of each human being.\u003c/p>\n\u003cp>\u003cstrong>On wanting dancers with different body types in her company [aside postid='arts_13887871']\u003c/strong>\u003c/p>\n\u003cp>In order to be inclusive, you need to have differentiation. So by having [different dancers who are] tall, short, classically trained, [without] classic training, [a] great athlete—all of these various qualities would redefine and give a three-dimensional quality to the work that obviously is lacking if there is a body type that is featured throughout the ensemble. One understands that need [for] fungibility in professional companies because if one dancer goes out, they want to be able to put another one in as directly and efficiently as possible and hopefully in the same costume. It’s all the bottom line, right? To me, that was not what dancing was about and it still isn’t.\u003c/p>\n\u003cp>\u003cstrong>On choreographing men who didn’t want to be taught by a woman \u003c/strong>\u003c/p>\n\u003cp>I’m a very strong jumper. And I jumped higher, longer, than most of the men. So it was like, “OK, guys, let’s go.” That’s how I’ve basically always been able to work with men: through strength and by a kind of challenge. … But, you know, men can be very arrogant—we all can. … If they were given the opportunity to work around that bias, many of them would, and gratefully. I mean, you’ll see some male dancers in \u003cem>Deuce Coupe\u003c/em> … were doing kind of extraordinary things. I think they were glad to be asked to work in a different way, eventually. It took a little doing, perhaps. … A couple never came around, but that’s OK.\u003c/p>\n\u003cp>\u003cstrong>On what her body is capable of at age 79 \u003c/strong>\u003c/p>\n\u003cp>This last year, with the pandemic and its disruptions in terms of routine, discipline, just ordinary day-to-day activities, the body doesn’t know itself at the moment. So I can’t tell you what I can ask it to do until I re-familiarize myself. And I’m in the process of doing that. … Whenever I’ve finished one of these big projects, I’m out of shape, and that’s just a given. So I’ve been in this position before, not at this age, but I know that it is a commitment to get back into shape. It’s not going to happen on its own accord.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. 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=%27Dance+Can+Give+Community%27%3A+Twyla+Tharp+On+Choreographing+Through+Lockdown&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Neither the pandemic nor age can keep legendary choreographer Twyla Tharp from her work. During the height of the COVID-19 lockdown, Tharp, now 79, choreographed several dances through Zoom. One was with four dancers—each of whom was in a different time zone.\u003c/p>\n\u003cp>“One dancer was in New York at noon. One dancer was on the West Coast before breakfast. One dancer was in Denmark five hours ahead, and one dancer was in St. Petersburg working through their dinner hour,” Tharp says. “Nothing was capable of keeping us from having community. And that’s what dance can give—dance can give community.”\u003c/p>\n\u003cp>It’s not the first time Tharp has worked in unusual conditions. In the 1960s, Tharp and her company of dancers performed in parks and malls, and on subway platforms and rooftops. “If it was kind of level, it was fair territory,” she says.\u003c/p>\n\u003cp>Tharp went on to choreograph for Mikhail Baryshnikov, the Joffrey Ballet, the Royal Ballet, the New York City Ballet and the American Ballet Theatre. She’s also collaborated with \u003ca href=\"https://www.npr.org/2020/10/13/923258756/david-byrne-and-spike-lee-conjure-up-a-joyous-vision-of-american-utopia\" target=\"_blank\" rel=\"noopener noreferrer\">David Byrne \u003c/a>and \u003ca href=\"https://www.npr.org/artists/15827020/billy-joel\" target=\"_blank\" rel=\"noopener noreferrer\">Billy Joel\u003c/a> on Broadway shows.\u003c/p>\n\u003cp>Tharp is known for mixing ballet with other styles of dance: “I had always felt that one dancer should be able to dance across the line,” she says. “That is to say: When I started working in New York, you were either modern dancer, or you were a ballet dancer. I thought that was ridiculous, because I could be both a ballet dancer and a modern dancer, so shouldn’t everybody else be able to do that?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tharp is the subject of \u003ca href=\"https://www.pbs.org/wnet/americanmasters/twyla-tharp-documentary/16724/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Twyla Moves,\u003c/em>\u003c/a> a new documentary by the PBS series, American Masters.\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/pYpeHbCEyCM'\n title='//www.youtube.com/embed/pYpeHbCEyCM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On starting to dance as a small child\u003c/strong>\u003c/p>\n\u003cp>I started with music training both in piano and violin and percussion, and the dancing came after the fact. But on the other hand, my mother was a concert pianist and as a very tiny baby, I was going to her classes. And so I was always wiggling and then I could crawl and then I could sort of hop. So I’ve always been dancing to music.\u003c/p>\n\u003cp>\u003cstrong>On what made her early choreography different from others \u003c/strong>\u003c/p>\n\u003cp>I think the first thing was to eliminate the idea of steps or styles—it was to get to fundamentals of movement. And we were looking for very common, [ordinary] shared modes of movement. By ordinary, I mean not extremely sophisticated in training folks might have, and then how could that be extended and become more challenging for us who had had the advantage of that kind of training. …\u003c/p>\n\u003cp>When I was beginning, I wanted to go back to the very mechanics: You either start on the right side or the left side. You either coordinate in opposition to the forward moving leg or parallel to the forward moving legs. You’re either moving forwards or you’re moving backwards or laterally, side-to-side. All of these kinds of, really, engineering questions are [a] kind of launch point, because I didn’t want to take anything for granted. I wanted to feel as though my fundamentals were sound.\u003c/p>\n\u003cp>\u003cstrong>On performing dance without music \u003c/strong>\u003c/p>\n\u003cp>Music is much more comfortable for the general public than movement. I often say: Take one phrase of movement and put on happy music, [and] the audience thinks it’s a happy dance. Put on sad music and they’ll think it’s a sad dance, and the movement is exactly the same. So I wanted to try to see what the emotional resonance of movement was. What excited people? What was provocative? What would they register? Not all of those, but many visual questions were asked. And that wouldn’t have been possible with music, because music is so overpowering.\u003c/p>\n\u003cp>\u003cstrong>On why she wanted to start an all-women dance company in 1966 \u003c/strong>\u003c/p>\n\u003cp>I think we knew there was a bias in the world of art across the board, whether it was music, painting, sculpture, literature [or] dance. And we wanted to fortify ourselves in such a way that we could put forth what we thought was our strongest suit. And our strongest suit was a lot of technique and a lot of incredible ensemble work, but also strong individual voices. … We all had singular qualities, and that was clearer if we were all women, than had a man been in the group, we would have been the women [and] he would … have been the man, and that would have become the distinctive, defining characteristic rather than the individual qualities of each human being.\u003c/p>\n\u003cp>\u003cstrong>On wanting dancers with different body types in her company \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/strong>\u003c/p>\n\u003cp>In order to be inclusive, you need to have differentiation. So by having [different dancers who are] tall, short, classically trained, [without] classic training, [a] great athlete—all of these various qualities would redefine and give a three-dimensional quality to the work that obviously is lacking if there is a body type that is featured throughout the ensemble. One understands that need [for] fungibility in professional companies because if one dancer goes out, they want to be able to put another one in as directly and efficiently as possible and hopefully in the same costume. It’s all the bottom line, right? To me, that was not what dancing was about and it still isn’t.\u003c/p>\n\u003cp>\u003cstrong>On choreographing men who didn’t want to be taught by a woman \u003c/strong>\u003c/p>\n\u003cp>I’m a very strong jumper. And I jumped higher, longer, than most of the men. So it was like, “OK, guys, let’s go.” That’s how I’ve basically always been able to work with men: through strength and by a kind of challenge. … But, you know, men can be very arrogant—we all can. … If they were given the opportunity to work around that bias, many of them would, and gratefully. I mean, you’ll see some male dancers in \u003cem>Deuce Coupe\u003c/em> … were doing kind of extraordinary things. I think they were glad to be asked to work in a different way, eventually. It took a little doing, perhaps. … A couple never came around, but that’s OK.\u003c/p>\n\u003cp>\u003cstrong>On what her body is capable of at age 79 \u003c/strong>\u003c/p>\n\u003cp>This last year, with the pandemic and its disruptions in terms of routine, discipline, just ordinary day-to-day activities, the body doesn’t know itself at the moment. So I can’t tell you what I can ask it to do until I re-familiarize myself. And I’m in the process of doing that. … Whenever I’ve finished one of these big projects, I’m out of shape, and that’s just a given. So I’ve been in this position before, not at this age, but I know that it is a commitment to get back into shape. It’s not going to happen on its own accord.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. 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=%27Dance+Can+Give+Community%27%3A+Twyla+Tharp+On+Choreographing+Through+Lockdown&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Filmmakers Call Out PBS for a Lack of Diversity, Over-Reliance on Ken Burns",
"headTitle": "Filmmakers Call Out PBS for a Lack of Diversity, Over-Reliance on Ken Burns | KQED",
"content": "\u003cp>Nearly 140 documentary filmmakers have signed onto a letter given to PBS executives, suggesting the service may provide an unfair level of support to white creators, facing a “systemic failure to fulfill (its) mandate for a diversity of voices.”\u003c/p>\n\u003cp>Titled “A Letter to PBS From Viewers Like Us,” the missive references Ken Burns, arguably one of PBS’ biggest non-fiction stars and creator of popular projects like \u003cem>Baseball, Jazz, The Civil War\u003c/em> and an upcoming six-hour program called \u003cem>\u003ca href=\"https://www.kqed.org/arts/13894863/ken-burns-hemingway-docuseries-dives-into-the-writers-complicated-life\" target=\"_blank\" rel=\"noopener noreferrer\">Hemingway\u003c/a>.\u003c/em> Citing data from the filmmaker’s website, it says Burns has created about 211 hours of programming for PBS over 40 years, through an exclusive relationship with the service that will last until at least 2022. [aside postid='arts_13894863']\u003c/p>\n\u003cp>Such an arrangement leaves less room for filmmakers of color, who may struggle to gain similar funding or promotional support. And while PBS has created an initiative to elevate newly emerging filmmakers of color, such initiatives can also create a false narrative that non-white artists are predominantly lacking in experience, the text adds.\u003c/p>\n\u003cp>“How many other ‘independent’ filmmakers have a decades-long exclusive relationship with a publicly-funded entity?” the text asks. “Public television supporting this level of uninvestigated privilege is troubling not just for us as filmmakers but as tax-paying Americans.”\u003c/p>\n\u003cp>The letter, sent to PBS President Paula Kerger and former ombudsman Michael Getler on Tuesday, was co-signed by several high-profile filmmakers—some of whom produce programs for PBS—including Oscar-nominated director Garrett Bradley (\u003cem>Time\u003c/em>), Oscar-winning director Laura Poitras (\u003cem>Citizenfour\u003c/em>) and Emmy winning editor and director Sam Pollard (\u003cem>MLK/FBI\u003c/em>). (Note: Getler died in 2018, and PBS now has a public editor, Ricardo Sandoval-Palos.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Beyond Inclusion, a collective of non-fiction creators, executives and industry figures led by individuals who are Black Indigenous and People of Color (BIPOC), drafted the letter and collected the signatures. A version of it is available \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">on the group’s website\u003c/a>.\u003c/p>\n\u003cp>PBS has released a statement with data pushing back on the letter’s assertions, saying 35 percent of the 200 hours of non-fiction programming planned for primetime this year was produced by diverse filmmakers. According to a spokesman, over the past five years, PBS has aired 58 hours of programming from Burns and 74 hours of projects by Henry Louis Gates, Jr., an African American scholar, director, executive producer and host of programs like \u003cem>The Black Church\u003c/em> and \u003cem>Finding Your Roots\u003c/em>.\u003c/p>\n\u003cp>Still, Kerger agrees that PBS should examine where its funding and resources are going to ensure that BIPOC filmmakers are being treated equitably. [aside postid='arts_13866441']\u003c/p>\n\u003cp>“This is an important moment for all of us to really take a hard look at what we’re doing and make sure that we are pursuing all opportunities,” says PBS’ president, adding that she hopes to meet with the group and discuss their concerns. “What is it going to take … particularly for those mid-career filmmakers, so there is a solid place (for them) in public broadcasting?”\u003c/p>\n\u003cp>Complicating matters is the fragmented nature of PBS, where some shows are developed by affiliate stations, like the science program \u003cem>Nova\u003c/em>, which is produced by WGBH in Boston.\u003c/p>\n\u003cp>The letter asks for data from PBS, including its staff diversity and figures over the past ten years for how many hours of non-fiction programming have been directed or produced by BIPOC filmmakers and how much funding has gone to them.\u003c/p>\n\u003cp>Filmmaker Grace Lee, a member of Beyond Inclusion who signed the letter, wrote about these issues in an attention-getting essay for the Ford Foundation that was \u003ca href=\"https://current.org/2020/10/to-truly-reflect-diversity-pbs-must-end-its-overreliance-on-ken-burns-as-americas-storyteller/\" target=\"_blank\" rel=\"noopener noreferrer\">reprinted in \u003cem>Current \u003c/em>magazine\u003c/a>, noting, “PBS must end its overreliance on Ken Burns as ‘America’s storyteller.'”\u003c/p>\n\u003cp>When Kerger was asked about the essay \u003ca href=\"https://apnews.com/article/ken-burns-pbs-diversity-d687d59a9c46584f0ed6f3364ac0ed0f\" target=\"_blank\" rel=\"noopener noreferrer\">at a press conference in February\u003c/a>, she struck a slightly different tone, saying she had to “respectfully disagree” with Lee’s piece. Earlier, she had cited PBS’ work with Black filmmakers like Gates and Emmy winning director Stanley Nelson (\u003cem>Freedom Riders, Miles Davis: Birth of the Cool\u003c/em>); the reaction prompted members of the group to put together the letter.\u003c/p>\n\u003cp>But Lee, a producer for the PBS series \u003cem>Asian Americans\u003c/em>, says the issue reaches beyond any individual filmmaker.\u003c/p>\n\u003cp>“It’s not about Ken Burns, it’s about this public television system living up to its mandate,” she adds. “On \u003cem>Asian Americans\u003c/em>, we got five hours to tell 150 years of American history. Ernest Hemingway, one man, gets six hours of documentary in prime time … This kind of disparity is something that I wanted to call attention to.”\u003c/p>\n\u003cp>Even though his work appears regularly on PBS, Stanley Nelson signed the letter, hoping to help start a conversation that could help BIPOC documentarians. [aside postid='arts_13888079']\u003c/p>\n\u003cp>“I think PBS might be surprised themselves, if they start looking at what they’ve put into certain films and certain filmmakers,” says Nelson, who says he still has to occasionally remind white filmmakers he collaborates with to hire experienced Black technicians. “We have to be aware that race is a part of everything in America.”\u003c/p>\n\u003cp>PBS is already touting several diversity-focused initiatives, including a program to support the next generation of “emerging” BIPOC filmmakers and a collaboration with Nelson to create a two-hour film for \u003cem>Nova\u003c/em> in 2022 on the impact of racism on the health of Black Americans.\u003c/p>\n\u003cp>And how does Kerger feel, seeing filmmakers who often work with PBS co-sign a letter suggesting the service may shortchange filmmakers of color?\u003c/p>\n\u003cp>“If people come together and feel this is a way to get attention around an issue, it’s OK,” she says. “The important thing, is we should sit down and really talk about what it’s going to take to move even more voices forward.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Petra Mayer and adapted for the web by Petra Mayer and Eric Deggans.\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=Filmmakers+Call+Out+PBS+For+A+Lack+Of+Diversity%2C+Over-Reliance+On+Ken+Burns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nearly 140 documentary filmmakers have signed onto a letter given to PBS executives, suggesting the service may provide an unfair level of support to white creators, facing a “systemic failure to fulfill (its) mandate for a diversity of voices.”\u003c/p>\n\u003cp>Titled “A Letter to PBS From Viewers Like Us,” the missive references Ken Burns, arguably one of PBS’ biggest non-fiction stars and creator of popular projects like \u003cem>Baseball, Jazz, The Civil War\u003c/em> and an upcoming six-hour program called \u003cem>\u003ca href=\"https://www.kqed.org/arts/13894863/ken-burns-hemingway-docuseries-dives-into-the-writers-complicated-life\" target=\"_blank\" rel=\"noopener noreferrer\">Hemingway\u003c/a>.\u003c/em> Citing data from the filmmaker’s website, it says Burns has created about 211 hours of programming for PBS over 40 years, through an exclusive relationship with the service that will last until at least 2022. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Such an arrangement leaves less room for filmmakers of color, who may struggle to gain similar funding or promotional support. And while PBS has created an initiative to elevate newly emerging filmmakers of color, such initiatives can also create a false narrative that non-white artists are predominantly lacking in experience, the text adds.\u003c/p>\n\u003cp>“How many other ‘independent’ filmmakers have a decades-long exclusive relationship with a publicly-funded entity?” the text asks. “Public television supporting this level of uninvestigated privilege is troubling not just for us as filmmakers but as tax-paying Americans.”\u003c/p>\n\u003cp>The letter, sent to PBS President Paula Kerger and former ombudsman Michael Getler on Tuesday, was co-signed by several high-profile filmmakers—some of whom produce programs for PBS—including Oscar-nominated director Garrett Bradley (\u003cem>Time\u003c/em>), Oscar-winning director Laura Poitras (\u003cem>Citizenfour\u003c/em>) and Emmy winning editor and director Sam Pollard (\u003cem>MLK/FBI\u003c/em>). (Note: Getler died in 2018, and PBS now has a public editor, Ricardo Sandoval-Palos.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Beyond Inclusion, a collective of non-fiction creators, executives and industry figures led by individuals who are Black Indigenous and People of Color (BIPOC), drafted the letter and collected the signatures. A version of it is available \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">on the group’s website\u003c/a>.\u003c/p>\n\u003cp>PBS has released a statement with data pushing back on the letter’s assertions, saying 35 percent of the 200 hours of non-fiction programming planned for primetime this year was produced by diverse filmmakers. According to a spokesman, over the past five years, PBS has aired 58 hours of programming from Burns and 74 hours of projects by Henry Louis Gates, Jr., an African American scholar, director, executive producer and host of programs like \u003cem>The Black Church\u003c/em> and \u003cem>Finding Your Roots\u003c/em>.\u003c/p>\n\u003cp>Still, Kerger agrees that PBS should examine where its funding and resources are going to ensure that BIPOC filmmakers are being treated equitably. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is an important moment for all of us to really take a hard look at what we’re doing and make sure that we are pursuing all opportunities,” says PBS’ president, adding that she hopes to meet with the group and discuss their concerns. “What is it going to take … particularly for those mid-career filmmakers, so there is a solid place (for them) in public broadcasting?”\u003c/p>\n\u003cp>Complicating matters is the fragmented nature of PBS, where some shows are developed by affiliate stations, like the science program \u003cem>Nova\u003c/em>, which is produced by WGBH in Boston.\u003c/p>\n\u003cp>The letter asks for data from PBS, including its staff diversity and figures over the past ten years for how many hours of non-fiction programming have been directed or produced by BIPOC filmmakers and how much funding has gone to them.\u003c/p>\n\u003cp>Filmmaker Grace Lee, a member of Beyond Inclusion who signed the letter, wrote about these issues in an attention-getting essay for the Ford Foundation that was \u003ca href=\"https://current.org/2020/10/to-truly-reflect-diversity-pbs-must-end-its-overreliance-on-ken-burns-as-americas-storyteller/\" target=\"_blank\" rel=\"noopener noreferrer\">reprinted in \u003cem>Current \u003c/em>magazine\u003c/a>, noting, “PBS must end its overreliance on Ken Burns as ‘America’s storyteller.'”\u003c/p>\n\u003cp>When Kerger was asked about the essay \u003ca href=\"https://apnews.com/article/ken-burns-pbs-diversity-d687d59a9c46584f0ed6f3364ac0ed0f\" target=\"_blank\" rel=\"noopener noreferrer\">at a press conference in February\u003c/a>, she struck a slightly different tone, saying she had to “respectfully disagree” with Lee’s piece. Earlier, she had cited PBS’ work with Black filmmakers like Gates and Emmy winning director Stanley Nelson (\u003cem>Freedom Riders, Miles Davis: Birth of the Cool\u003c/em>); the reaction prompted members of the group to put together the letter.\u003c/p>\n\u003cp>But Lee, a producer for the PBS series \u003cem>Asian Americans\u003c/em>, says the issue reaches beyond any individual filmmaker.\u003c/p>\n\u003cp>“It’s not about Ken Burns, it’s about this public television system living up to its mandate,” she adds. “On \u003cem>Asian Americans\u003c/em>, we got five hours to tell 150 years of American history. Ernest Hemingway, one man, gets six hours of documentary in prime time … This kind of disparity is something that I wanted to call attention to.”\u003c/p>\n\u003cp>Even though his work appears regularly on PBS, Stanley Nelson signed the letter, hoping to help start a conversation that could help BIPOC documentarians. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think PBS might be surprised themselves, if they start looking at what they’ve put into certain films and certain filmmakers,” says Nelson, who says he still has to occasionally remind white filmmakers he collaborates with to hire experienced Black technicians. “We have to be aware that race is a part of everything in America.”\u003c/p>\n\u003cp>PBS is already touting several diversity-focused initiatives, including a program to support the next generation of “emerging” BIPOC filmmakers and a collaboration with Nelson to create a two-hour film for \u003cem>Nova\u003c/em> in 2022 on the impact of racism on the health of Black Americans.\u003c/p>\n\u003cp>And how does Kerger feel, seeing filmmakers who often work with PBS co-sign a letter suggesting the service may shortchange filmmakers of color?\u003c/p>\n\u003cp>“If people come together and feel this is a way to get attention around an issue, it’s OK,” she says. “The important thing, is we should sit down and really talk about what it’s going to take to move even more voices forward.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Petra Mayer and adapted for the web by Petra Mayer and Eric Deggans.\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=Filmmakers+Call+Out+PBS+For+A+Lack+Of+Diversity%2C+Over-Reliance+On+Ken+Burns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Hemingway\u003c/em>, the latest PBS documentary series from Ken Burns and company, has several names attached who have become a sort of repertory group. Lynn Novick, Burns’ frequent co-director, is back. So is writer Geoffrey C. Ward, who helped make Burns a PBS phenomenon with the landmark non-fiction mini-series \u003cem>The Civil War\u003c/em>. And the narrator, who has lent his voice to so many past productions, is Peter Coyote.\u003c/p>\n\u003cp>As always, Coyote calmly and clearly sets the table for everything to come—and why you might be interested. “The world saw him as a man’s man,” Coyote says, to quote one early example. “But all his life, he would privately be intrigued by the blurred lines between male and female, men and women. There were so many sides to him, the first of his four wives remembered, that he defied geometry.”\u003c/p>\n\u003cp>In this new \u003cem>Hemingway\u003c/em> documentary, the women around the author are as illuminating as the author himself. Each of his four wives has something revelatory to say—and these spouses are given voice by a quartet of wonderful actresses, who bring the women’s private letters and other writings to vivid life.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2016/08/10/489464731/meryl-streep-embodies-the-pull-of-music-in-florence-foster-jenkins\" target=\"_blank\" rel=\"noopener noreferrer\">Meryl Streep\u003c/a> has the meatiest part as war correspondent Martha Gellhorn, Hemingway’s third wife. Her dispatches during the Normandy invasion rivaled, and arguably exceeded, his own. But the other wives are given voice by Keri Russell, \u003ca href=\"https://www.npr.org/2019/11/16/779719536/i-m-a-purist-mary-louise-parker-returns-to-broadway-for-a-new-challenge\">Mary-Louise Parker\u003c/a> and Patricia Clarkson. And Jeff Daniels supplies the voice of Ernest Hemingway, reading from his private letters as well as his published short stories and other writings.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sp7Lhdc4-vw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s so much to deal with regarding Hemingway. Professionally, there’s the way he wrote, what he wrote, and the impact his writing had on modern literature. Personally, there’s the relationships with women, the misogyny, the alcoholism, the depression—all of which found their way into his stories as well. [aside postid='arts_13866441']\u003c/p>\n\u003cp>This new PBS biography doesn’t shy away from any of it. It doesn’t avoid or excuse Hemingway’s excesses and betrayals and failures. Instead it enhances our understanding of the man by probing deeply into both his life and his writings. And whenever Daniels reads from Hemingway, as Hemingway, he does so in an understated tone as unadorned as the writer’s own prose style.\u003c/p>\n\u003cp>Burns and Novick not only bring literary moments to life, using just the right sounds and images and voices, but also dive into Hemingway’s complicated personal life: The suicide of his father. The upbringing by his mother, who dressed him in girl’s clothes and encouraged his imagination. His experiences in several wars, and finding glory in such macho activities as hunting, deep-sea fishing and attending bullfights. From Paris to Spain, from Key West to Cuba, Ernest Hemingway lived in exotic locales during turbulent times—and wrote about all of it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whatever you already know, or don’t know, about Ernest Hemingway and his work—and his life—the new PBS documentary \u003cem>Hemingway\u003c/em> is certain to add more to that body of knowledge. And, very likely, it will make you reassess much of it. As a Ken Burns and company literary biography, \u003cem>Hemingway\u003c/em> is even better than their previous documentary on Mark Twain. And my levels of praise don’t get much higher than that.\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=Ken+Burns%27+%27Hemingway%27+Docuseries+Dives+Into+The+Writer%27s+Complicated+Life+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This new PBS biography doesn’t shy away from any of it. It doesn’t avoid or excuse Hemingway’s excesses and betrayals and failures. Instead it enhances our understanding of the man by probing deeply into both his life and his writings. And whenever Daniels reads from Hemingway, as Hemingway, he does so in an understated tone as unadorned as the writer’s own prose style.\u003c/p>\n\u003cp>Burns and Novick not only bring literary moments to life, using just the right sounds and images and voices, but also dive into Hemingway’s complicated personal life: The suicide of his father. The upbringing by his mother, who dressed him in girl’s clothes and encouraged his imagination. His experiences in several wars, and finding glory in such macho activities as hunting, deep-sea fishing and attending bullfights. From Paris to Spain, from Key West to Cuba, Ernest Hemingway lived in exotic locales during turbulent times—and wrote about all of it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whatever you already know, or don’t know, about Ernest Hemingway and his work—and his life—the new PBS documentary \u003cem>Hemingway\u003c/em> is certain to add more to that body of knowledge. And, very likely, it will make you reassess much of it. As a Ken Burns and company literary biography, \u003cem>Hemingway\u003c/em> is even better than their previous documentary on Mark Twain. And my levels of praise don’t get much higher than that.\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=Ken+Burns%27+%27Hemingway%27+Docuseries+Dives+Into+The+Writer%27s+Complicated+Life+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Mural Inspired by PBS' 'American Portrait' Pops Up in San Francisco",
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"content": "\u003cp>Months after one of the most contentious elections in U.S. history, and just weeks after an attempted coup at our nation’s capitol, the idea of national identity is as omnipresent in the minds of the American people as ever. We are constantly asking ourselves what it means to be an American today.\u003c/p>\n\u003cp>If you’ve noticed a brand-new mural near the corner of Mission and Fifth Streets, then you’ve seen a small sliver of the answer. \u003c/p>\n\u003cp>“In each city we tried to find something that felt perfect for this moment,” explains Bill Margol of PBS, who helped commission the mural. “And God knows it’s an interesting moment.” \u003c/p>\n\u003cp>For their \u003cem>American Portrait\u003c/em> project, PBS and production partner RadicalMedia gathered over 12,000 responses to a series of prompts, in mediums ranging from photos to text to video. Some of those submissions will be commemorated by public murals, in seven cities across the country—Washington D.C., New York, Los Angeles, Chicago, Dallas, Atlanta, and San Francisco. \u003c/p>\n\u003cfigure id=\"attachment_13891468\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/LifeIsSoMuch.Mural_.jpg\" alt=\"The mural being painted.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13891468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/LifeIsSoMuch.Mural_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/LifeIsSoMuch.Mural_-160x107.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The mural being painted. \u003ccite>(PBS/RadicalMedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Margol explains that the San Francisco mural was inspired by the prompt “I took a risk when…” In response, \u003ca href=\"https://www.pbs.org/american-portrait/story/7527/lawrence-w-providence-ri-i-took-a-risk-when\" rel=\"noopener noreferrer\" target=\"_blank\">Lawrence W. submitted a story\u003c/a> about coming out as trans to his parents, classmates, and teachers. The ending line of his story, “Life is so much better now that I’m being who I really am,” was selected as the quote for San Francisco’s mural and sent to a Bay Area-based artist for interpretation. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We tried where we could to find artists that were from the area,” Margol adds. San Francisco’s mural was designed by Taiwan-born, Shanghai-raised, and Oakland-based artist \u003ca href=\"https://www.instagram.com/jocelyntsaih/\" rel=\"noopener noreferrer\" target=\"_blank\">Jocelyn Tsaih\u003c/a>. “She has this beautiful style of these bold colors and figures,” says Margol. “She created this leaping figure amongst flowers that just looks so joyous, because it feels like it is embodying this idea of life being so much better.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More information about the American Portrait project can be found \u003ca href=\"https://www.pbs.org/american-portrait/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Months after one of the most contentious elections in U.S. history, and just weeks after an attempted coup at our nation’s capitol, the idea of national identity is as omnipresent in the minds of the American people as ever. We are constantly asking ourselves what it means to be an American today.\u003c/p>\n\u003cp>If you’ve noticed a brand-new mural near the corner of Mission and Fifth Streets, then you’ve seen a small sliver of the answer. \u003c/p>\n\u003cp>“In each city we tried to find something that felt perfect for this moment,” explains Bill Margol of PBS, who helped commission the mural. “And God knows it’s an interesting moment.” \u003c/p>\n\u003cp>For their \u003cem>American Portrait\u003c/em> project, PBS and production partner RadicalMedia gathered over 12,000 responses to a series of prompts, in mediums ranging from photos to text to video. Some of those submissions will be commemorated by public murals, in seven cities across the country—Washington D.C., New York, Los Angeles, Chicago, Dallas, Atlanta, and San Francisco. \u003c/p>\n\u003cfigure id=\"attachment_13891468\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/LifeIsSoMuch.Mural_.jpg\" alt=\"The mural being painted.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13891468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/LifeIsSoMuch.Mural_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/LifeIsSoMuch.Mural_-160x107.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The mural being painted. \u003ccite>(PBS/RadicalMedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Margol explains that the San Francisco mural was inspired by the prompt “I took a risk when…” In response, \u003ca href=\"https://www.pbs.org/american-portrait/story/7527/lawrence-w-providence-ri-i-took-a-risk-when\" rel=\"noopener noreferrer\" target=\"_blank\">Lawrence W. submitted a story\u003c/a> about coming out as trans to his parents, classmates, and teachers. The ending line of his story, “Life is so much better now that I’m being who I really am,” was selected as the quote for San Francisco’s mural and sent to a Bay Area-based artist for interpretation. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We tried where we could to find artists that were from the area,” Margol adds. San Francisco’s mural was designed by Taiwan-born, Shanghai-raised, and Oakland-based artist \u003ca href=\"https://www.instagram.com/jocelyntsaih/\" rel=\"noopener noreferrer\" target=\"_blank\">Jocelyn Tsaih\u003c/a>. “She has this beautiful style of these bold colors and figures,” says Margol. “She created this leaping figure amongst flowers that just looks so joyous, because it feels like it is embodying this idea of life being so much better.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More information about the American Portrait project can be found \u003ca href=\"https://www.pbs.org/american-portrait/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Need a Break? The Pets and Vets of 'All Creatures Great and Small' Might Hit the Spot",
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"content": "\u003cp>When young veterinarian James Herriot first opened his eyes and saw the richly green hills around Darrowby in the new adaptation of \u003cem>All Creatures Great And Small\u003c/em>, I felt my shoulders drop. When he saw the village tucked—it must be said—adorably into the valley between them, I felt my breathing slow.\u003c/p>\n\u003cp>Darrowby is the fictional setting for the real James Herriot’s books about his life as a vet in Yorkshire, England, and the new \u003cem>All Creatures Great and Small \u003c/em>that arrived on PBS on Sunday night after a successful run in the UK is the second television version of those stories to feature a fictionalized Herriot (here played by Nicholas Ralph) joining the veterinary practice of Siegfried Farnon (Samuel West) and, eventually, Siegfried’s brother Tristan (Callum Woodhouse). The first version ran from 1978 to 1990, and while I remember almost nothing about it, it’s one of the shows that formed my general impression of PBS shows when I was young: gentle, calm, funny without a laugh track, and very popular with parents, mine included. And now, as a person older than they were at the time, I have—not for the first time—come around to their way of thinking.\u003c/p>\n\u003cp>The new \u003cem>All Creatures Great and Small \u003c/em>is, above all else, soothing. Not because it is mindless or merely distracting, but because the slice of humanity that it focuses on is a slice taken from the better rather than the worst of what we can be. Is this a lot to ask of a show that adapts stories about taking care of animals in a beautiful setting in 1930s England? Maybe. But for all its simplicity, it has a real and resonant core, in that the drama comes not from external and fanciful circumstances, but from the day-to-day matters of family and work.\u003c/p>\n\u003cp>The family here is Herriot, the two Farnons, and Mrs. Hall (Anna Madeley), who takes care of Siegfried’s house, where they all live and where the veterinary practice is located. The first season, which consists of six episodes and the beloved traditional Christmas episode (an idea the UK embraces and American television usually doesn’t, to its detriment), establishes this family with its loving but complicated relationships. The stories are focused as much on mentoring and teaching and caring for people—and the drama and comedy that naturally follow—as so many shows are on harming and forgiving and enabling people. There is something to be said for the realism of television that reminds us uncannily of our worst and most toxic relationships; this is television meant to remind us of the contours of our best ones.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MZzFjeQFpro\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As played by Ralph, who gets the rarely-seen “introducing” credit, James Herriot is a nervous but committed young vet who leaves home and family in Glasgow to take one of the few vet jobs that’s open now that the world is turning from horses to cars: the Yorkshire practice of Siegfried Farnon. Siegfried sees cows and bulls, working horses and racehorses, sheep and goats, cats and dogs, and birds and ferrets. He is the vet in Darrowby, and they’re all his responsibility—especially since he tends to toss his assistants in short order. He’s haughty but also dryly funny, and Mrs. Hall’s obvious fondness for him, while it calls to mind a lot of other housekeeper-homeowner relationships of fiction, helps to humanize him. Shortly after James arrives, Siegfried’s ne’er-do-well brother Tristan blows back into town after failing his vet school exams. Siegfried practically raised Tristan from adolescence, so this sets up a dynamic in which if you squint, Siegfried and Mrs. Hall (whose name is Audrey, it will turn out) are the parents, and James and Tristan are the sons: the older one responsible and shy, the younger one brash and charming and prone to screwing up.\u003c/p>\n\u003cp>So really, what unfolds is a chosen-family story, with dashes of cute dogs and pregnant cows and an underlying recognition that animals, for many residents of Darrowby, are the most important property they own as well as revered living creatures. The reason a vet in Yorkshire is such a rich well of stories is not only because animals are interesting or they get a lot of weird diseases. It’s because in a farming community, animals are adjacent to wealth, to power, to business, to sport, to families, to children, to making a living. They are adjacent to everything important, so vets know the rich and the poor, the honest and the dishonest. Siegfried’s practice is everything to this community. In fact, one of the best episodes finds James doing his first turn as the vet at the local fair, measuring ponies and judging the pet contest, and it reminded me a pinch—just a \u003cem>pinch\u003c/em>—of the episode of \u003cem>Schitt’s Creek \u003c/em>where the family winds up dancing in the barn. It is about what it means to be joined to a community, with all its joys and frustrations.\u003c/p>\n\u003cp>There are, unsurprisingly, women other than Audrey who come into the lives of the three men. The only one it seems sporting to discuss is Helen Alderson (Rachel Shenton), who lives on one of the farms Herriot visits. Helen is independent and capable (at most things), but also funny and observant, and she seems a bit fascinated by the new vet’s assistant.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>PBS will be running these episodes once a week through the rest of January and February (and making them available on demand), and when you reach the end, there is another sigh, just like the one that comes with the first view of the rolling hills. It’s the satisfaction of a well-designed first season of what I hope will be a long run. Particularly at a time when rest is important and exhaling is important, perhaps a beautiful setting, some fine performances and a high regard for what happens inside a home between people who care for each other will be just what the (ahem) doctor ordered.\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=Need+A+Break%3F+The+Pets+And+Vets+Of+%27All+Creatures+Great+And+Small%27+Might+Hit+The+Spot&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As played by Ralph, who gets the rarely-seen “introducing” credit, James Herriot is a nervous but committed young vet who leaves home and family in Glasgow to take one of the few vet jobs that’s open now that the world is turning from horses to cars: the Yorkshire practice of Siegfried Farnon. Siegfried sees cows and bulls, working horses and racehorses, sheep and goats, cats and dogs, and birds and ferrets. He is the vet in Darrowby, and they’re all his responsibility—especially since he tends to toss his assistants in short order. He’s haughty but also dryly funny, and Mrs. Hall’s obvious fondness for him, while it calls to mind a lot of other housekeeper-homeowner relationships of fiction, helps to humanize him. Shortly after James arrives, Siegfried’s ne’er-do-well brother Tristan blows back into town after failing his vet school exams. Siegfried practically raised Tristan from adolescence, so this sets up a dynamic in which if you squint, Siegfried and Mrs. Hall (whose name is Audrey, it will turn out) are the parents, and James and Tristan are the sons: the older one responsible and shy, the younger one brash and charming and prone to screwing up.\u003c/p>\n\u003cp>So really, what unfolds is a chosen-family story, with dashes of cute dogs and pregnant cows and an underlying recognition that animals, for many residents of Darrowby, are the most important property they own as well as revered living creatures. The reason a vet in Yorkshire is such a rich well of stories is not only because animals are interesting or they get a lot of weird diseases. It’s because in a farming community, animals are adjacent to wealth, to power, to business, to sport, to families, to children, to making a living. They are adjacent to everything important, so vets know the rich and the poor, the honest and the dishonest. Siegfried’s practice is everything to this community. In fact, one of the best episodes finds James doing his first turn as the vet at the local fair, measuring ponies and judging the pet contest, and it reminded me a pinch—just a \u003cem>pinch\u003c/em>—of the episode of \u003cem>Schitt’s Creek \u003c/em>where the family winds up dancing in the barn. It is about what it means to be joined to a community, with all its joys and frustrations.\u003c/p>\n\u003cp>There are, unsurprisingly, women other than Audrey who come into the lives of the three men. The only one it seems sporting to discuss is Helen Alderson (Rachel Shenton), who lives on one of the farms Herriot visits. Helen is independent and capable (at most things), but also funny and observant, and she seems a bit fascinated by the new vet’s assistant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>PBS will be running these episodes once a week through the rest of January and February (and making them available on demand), and when you reach the end, there is another sigh, just like the one that comes with the first view of the rolling hills. It’s the satisfaction of a well-designed first season of what I hope will be a long run. Particularly at a time when rest is important and exhaling is important, perhaps a beautiful setting, some fine performances and a high regard for what happens inside a home between people who care for each other will be just what the (ahem) doctor ordered.\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=Need+A+Break%3F+The+Pets+And+Vets+Of+%27All+Creatures+Great+And+Small%27+Might+Hit+The+Spot&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Surviving the Holocaust is not an experience that runs close or even parallel to COVID-19 confinement. The virus isn’t discriminating against individuals based on their religion, political beliefs or sexual orientation. It’s not singling out enemies of the state or locking anyone up by force. Nonetheless, the pandemic has engineered a frightening set of tensions in our private and public lives. We’re all watchful of the people we meet in the grocery store, wary of making one fatal misstep lest we catch the disease.\u003c/p>\n\u003cp>Although sheltering in place isn’t yet equivalent to living through a war, the sense of an ongoing, external threat does make it easy to identify with the characters in \u003ci>\u003ca href=\"https://www.pbs.org/show/windermere-children/\" target=\"_blank\" rel=\"noopener noreferrer\">The Windermere Children\u003c/a>\u003c/i>, premiering April 5 on PBS. Based on a true story, this affecting drama is set in the northwest part of England shortly after World War II.\u003c/p>\n\u003cp>The United Kingdom created a temporary sanctuary near the idyllic backdrop of Lake Windermere for nearly 1,000 children who lived through the Holocaust (the reasons why the U.K. did this are left largely unexplained in the film). \u003ci>The Windermere Children\u003c/i> begins in the middle of the night with a busload of new arrivals. For the sake of smart and economic storytelling, the film narrows its focus onto a small group of adolescent boys.\u003c/p>\n\u003cfigure id=\"attachment_13877932\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877932\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The.jpeg\" alt=\"\" width=\"936\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The.jpeg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The-768x512.jpeg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Salek (Jakub Jankiewicz) in ‘The Windermere Children.’ \u003ccite>(Courtesy of Wall to Wall Media Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When they disembark, the camera closes in on the children’s mistrustful expressions. One says the process of lining up and filing into the barracks reminds him of the death camps. The main characters are Polish; their inability to speak or understand English contributes to their sense of disorientation. A boy named Salek (Jakub Jankiewicz) is too terrified to even leave the bus. It is only when Oscar (Thomas Kretschmann), the sanctuary’s director, takes a calm and caring approach with Salek, that we know the group is in good hands.\u003c/p>\n\u003cp>Rather than filling the screen with depraved Nazis, \u003ci>The Windermere Children\u003c/i> concentrates on the damaged psyches of the survivors. That damage is fully apparent in moments like the children’s first breakfast, when they grab frenziedly at the pieces of fresh bread on the table and stampede out of the dining hall, used to years of deprivation and fighting for the tiniest scraps of sustenance.\u003c/p>\n\u003cfigure id=\"attachment_13877933\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877933\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The.jpeg\" alt=\"\" width=\"936\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The.jpeg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The-768x512.jpeg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Oscar (Thomas Kretschmann) and Marie (Romola Garai) in ‘The Windermere Children.’ \u003ccite>(Courtesy of Wall to Wall Media Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The four months of rehabilitation look like they’re taking place at an ordinary summer camp with soccer matches, jump rope and swims in the lake—but the underlying weight of trauma bears down on everyone, not just the survivors. In the classroom of officious child psychologist Marie (Romola Garai), children begin to express their inner turmoil with paint on paper. She is completely unprepared for the images that emerge and her own emotions crack through her professional demeanor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the children are slowly liberated by walks through the woods, bicycle rides, newfound camaraderie or handfuls of clean clothes, the audience is always aware of their scars.\u003c/p>\n\u003cp>Wojciech Szepel, the cinematographer responsible for the 2017 remake of \u003ci>Howards End\u003c/i>, captures the beauty and melancholy of the Cumbrian landscape around Lake Windermere. He does especially well with scenes set in the dark. The children can’t sleep; they frequently have nightmares. When one of the boys wakes at night and wanders outside in his bare feet, the filmmakers thoughtfully construct a scene devoid of extraneous, explanatory dialogue. Oscar is in the distance, smoking a cigarette, watching over his troubled, wandering charges. We understand that, despite their experiences and grievous losses, these children are truly being cared for.\u003c/p>\n\u003cfigure id=\"attachment_13877935\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877935\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The.jpeg\" alt=\"\" width=\"936\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The.jpeg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The-768x512.jpeg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">George (Philipp Christopher), Jock (Iain Glenn), Arek (Tomasz Studzinski) and Sala (Anna Maciejewska) in ‘The Windermere Children.’ \u003ccite>(Courtesy of Wall to Wall Media Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Set 75 years in the past, \u003ci>The Windermere Children\u003c/i> makes a brief nod to the contemporary persistence of xenophobia and anti-Semitism—and the moral necessity of combatting such hatred. The confrontation happens on a trip to a nearby town for ice cream, when a group of English teenagers begin to mock the foreign refugees. In a shocking moment, the teens even raise their arms in a Nazi salute. While the other chaperones usher the children inside the shop, Oscar approaches the locals with ice cream cone in hand, calmly shaming them into admitting their behavior was obscene.\u003c/p>\n\u003cp>It’s a heartening yet aspirational scene that points its finger directly at 2020 audiences. Who will stand up for the dignity of others and be the Oscar of our present moment?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Windermere Children’ premieres Sunday, April 5 at 10pm on KQED 9. \u003ca href=\"https://www.pbs.org/show/windermere-children/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Surviving the Holocaust is not an experience that runs close or even parallel to COVID-19 confinement. The virus isn’t discriminating against individuals based on their religion, political beliefs or sexual orientation. It’s not singling out enemies of the state or locking anyone up by force. Nonetheless, the pandemic has engineered a frightening set of tensions in our private and public lives. We’re all watchful of the people we meet in the grocery store, wary of making one fatal misstep lest we catch the disease.\u003c/p>\n\u003cp>Although sheltering in place isn’t yet equivalent to living through a war, the sense of an ongoing, external threat does make it easy to identify with the characters in \u003ci>\u003ca href=\"https://www.pbs.org/show/windermere-children/\" target=\"_blank\" rel=\"noopener noreferrer\">The Windermere Children\u003c/a>\u003c/i>, premiering April 5 on PBS. Based on a true story, this affecting drama is set in the northwest part of England shortly after World War II.\u003c/p>\n\u003cp>The United Kingdom created a temporary sanctuary near the idyllic backdrop of Lake Windermere for nearly 1,000 children who lived through the Holocaust (the reasons why the U.K. did this are left largely unexplained in the film). \u003ci>The Windermere Children\u003c/i> begins in the middle of the night with a busload of new arrivals. For the sake of smart and economic storytelling, the film narrows its focus onto a small group of adolescent boys.\u003c/p>\n\u003cfigure id=\"attachment_13877932\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877932\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The.jpeg\" alt=\"\" width=\"936\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The.jpeg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The-768x512.jpeg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Salek (Jakub Jankiewicz) in ‘The Windermere Children.’ \u003ccite>(Courtesy of Wall to Wall Media Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When they disembark, the camera closes in on the children’s mistrustful expressions. One says the process of lining up and filing into the barracks reminds him of the death camps. The main characters are Polish; their inability to speak or understand English contributes to their sense of disorientation. A boy named Salek (Jakub Jankiewicz) is too terrified to even leave the bus. It is only when Oscar (Thomas Kretschmann), the sanctuary’s director, takes a calm and caring approach with Salek, that we know the group is in good hands.\u003c/p>\n\u003cp>Rather than filling the screen with depraved Nazis, \u003ci>The Windermere Children\u003c/i> concentrates on the damaged psyches of the survivors. That damage is fully apparent in moments like the children’s first breakfast, when they grab frenziedly at the pieces of fresh bread on the table and stampede out of the dining hall, used to years of deprivation and fighting for the tiniest scraps of sustenance.\u003c/p>\n\u003cfigure id=\"attachment_13877933\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877933\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The.jpeg\" alt=\"\" width=\"936\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The.jpeg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The-768x512.jpeg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Oscar (Thomas Kretschmann) and Marie (Romola Garai) in ‘The Windermere Children.’ \u003ccite>(Courtesy of Wall to Wall Media Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The four months of rehabilitation look like they’re taking place at an ordinary summer camp with soccer matches, jump rope and swims in the lake—but the underlying weight of trauma bears down on everyone, not just the survivors. In the classroom of officious child psychologist Marie (Romola Garai), children begin to express their inner turmoil with paint on paper. She is completely unprepared for the images that emerge and her own emotions crack through her professional demeanor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the children are slowly liberated by walks through the woods, bicycle rides, newfound camaraderie or handfuls of clean clothes, the audience is always aware of their scars.\u003c/p>\n\u003cp>Wojciech Szepel, the cinematographer responsible for the 2017 remake of \u003ci>Howards End\u003c/i>, captures the beauty and melancholy of the Cumbrian landscape around Lake Windermere. He does especially well with scenes set in the dark. The children can’t sleep; they frequently have nightmares. When one of the boys wakes at night and wanders outside in his bare feet, the filmmakers thoughtfully construct a scene devoid of extraneous, explanatory dialogue. Oscar is in the distance, smoking a cigarette, watching over his troubled, wandering charges. We understand that, despite their experiences and grievous losses, these children are truly being cared for.\u003c/p>\n\u003cfigure id=\"attachment_13877935\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877935\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The.jpeg\" alt=\"\" width=\"936\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The.jpeg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The-768x512.jpeg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">George (Philipp Christopher), Jock (Iain Glenn), Arek (Tomasz Studzinski) and Sala (Anna Maciejewska) in ‘The Windermere Children.’ \u003ccite>(Courtesy of Wall to Wall Media Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Set 75 years in the past, \u003ci>The Windermere Children\u003c/i> makes a brief nod to the contemporary persistence of xenophobia and anti-Semitism—and the moral necessity of combatting such hatred. The confrontation happens on a trip to a nearby town for ice cream, when a group of English teenagers begin to mock the foreign refugees. In a shocking moment, the teens even raise their arms in a Nazi salute. While the other chaperones usher the children inside the shop, Oscar approaches the locals with ice cream cone in hand, calmly shaming them into admitting their behavior was obscene.\u003c/p>\n\u003cp>It’s a heartening yet aspirational scene that points its finger directly at 2020 audiences. Who will stand up for the dignity of others and be the Oscar of our present moment?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Windermere Children’ premieres Sunday, April 5 at 10pm on KQED 9. \u003ca href=\"https://www.pbs.org/show/windermere-children/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Filmmaker Tracks Bezos' 'Rise and Reign' and How Amazon Became 'Inescapable'",
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"content": "\u003cp>Amazon founder Jeff Bezos is now the richest man in the world, with an empire that stretches from Hollywood to Whole Foods—and even \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/09/15/440521318/amazons-bezos-announces-plan-to-build-launch-rockets-from-florida\" target=\"_blank\" rel=\"noopener noreferrer\">into outer space\u003c/a>.\u003c/p>\n\u003cp>The new PBS FRONTLINE documentary, \u003cem>Amazon Empire: The Rise And Reign Of Jeff Bezos,\u003c/em> investigates how Bezos transformed Amazon from an online bookseller into a trillion-dollar business that’s unprecedented in its size and reach. Director James Jacoby, who worked with fellow filmmaker Anya Bourg on the project, calls the company an “inescapable part of our modern lives.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DXzDXsXKjFk\u003c/p>\n\u003cp>“It’s not just how the majority of Americans are shopping online,” he says. “It’s also these devices in our homes. It’s also the facial recognition software that’s used by police departments. It’s cloud computing for the government and national security establishment.”\u003c/p>\n\u003cp>Jacoby notes that Amazon’s ubiquity—and the fact that “so much power is pooled into the hands of one company and one man”—raises a host of issues. The company’s Echo smart speaker has been known to record—and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614470096/amazon-echo-recorded-and-sent-couples-conversation-all-without-their-knowledge\" target=\"_blank\" rel=\"noopener noreferrer\">occasionally listen to\u003c/a>—the conversations of unsuspecting homeowners. In 2019, the European Union antitrust arm announced an \u003ca href=\"https://www.npr.org/2019/07/17/742615426/eu-investigates-if-amazon-hurts-competition-by-using-sellers-data\" target=\"_blank\" rel=\"noopener noreferrer\">investigation\u003c/a> into Amazon’s use of data collected from third-party sellers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think that [\u003cem>Atlantic \u003c/em>writer] Franklin Foer in the film puts it best, which is like everything that’s amazing or awesome about Jeff Bezos and Amazon is also something to be feared about Amazon and Jeff Bezos,” Jacoby says.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why, in part, Amazon began as a bookseller\u003c/strong>\u003c/p>\n\u003cp>Books are easy to ship. … And [Bezos] also realized that in the online world, there would be an advantage that no single bookstore could hold all of the books in print. … He also, I think, saw an opportunity to learn about customers through what they read. He recognized very early on the power of data to predict what people would want. So in many ways, you are what you read and you could glean a lot about a customer from what he or she reads.\u003c/p>\n\u003cp>\u003cstrong>On working conditions in Amazon warehouses \u003c/strong>\u003c/p>\n\u003cp>We spoke to dozens of current and former employees in the reporting process. The nature of the work has changed a bit over the years. When Bezos was first building out these fulfillment centers all over the country in order to deliver on the promise of delivering packages quickly, it was almost ad hoc. They were growing so quickly. And there were a lot of complaints at the time about things like heat stress. There wouldn’t be the proper air conditioning in these warehouses, and people would be working like crazy to try to meet these quotas to get the packages out. People would be fainting in these warehouses. There’d be injuries.\u003c/p>\n\u003cp>Over time, the warehouses have become much more systematized, in part because of the automation of the warehouses and buying a robot company that helped to automate things. But one thing that hasn’t changed in talking to workers—both current and former—is the pace of work is incredibly grueling. You have to make rates. … The rate essentially measures how quickly you pick and pack items. … Every single worker we spoke to [talked about how] the rates were really high. They have a way of setting the rates for the whole warehouse—that if you don’t make that rate, then you can get a write up. And if you get three write ups, then you can be fired. There’s a lot of anxiety in these warehouses about making rates.\u003c/p>\n\u003cfigure id=\"attachment_13874906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874906\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/ap_17355673041435-da6c9a9e352c23da25128aaa655674b4308acd76-800x600.jpg\" alt=\"A clerk picks an item for a customer order at the Amazon Prime warehouse in New York. \" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">A clerk picks an item for a customer order at the Amazon Prime warehouse in New York. \u003ccite>(Mark Lennihan/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On a recent hack on Amazon’s “Ring” cameras \u003c/strong>\u003c/p>\n\u003cp>Ring makes these doorbell cameras, that was their first main device. … It’s a doorbell that has a camera on it. In part, Amazon liked the idea of it, because package theft is a big deal for the company—a lot of people get packages to their door and someone’s stealing that package. So now you can watch your front step. Of course, if the camera is watching the front step, it’s also watching the public space on the street as well, which is somewhat problematic. So there’s now this whole suite of Ring devices and Ring cameras, not just to monitor the outside of your home but also the inside of your home.\u003c/p>\n\u003cp>There was a \u003ca href=\"https://www.washingtonpost.com/nation/2019/12/12/she-installed-ring-camera-her-childrens-room-peace-mind-hacker-accessed-it-harassed-her-year-old-daughter/?arc404=true\" target=\"_blank\" rel=\"noopener noreferrer\">recent hack\u003c/a> of indoor Ring cameras, which was rather frightful. … There’s a little girl in her room and her parents had installed a Ring camera in that room and all of a sudden there’s a voice coming from the camera that’s basically terrorizing her as she’s alone in her room.\u003c/p>\n\u003cp>\u003cstrong>On how facial recognition software and data collection is in Amazon’s hands, and is vulnerable to hacks and bad agents \u003c/strong>\u003c/p>\n\u003cp>All of this data, all of these networks—it’s all up to Amazon to manage this well. And they say that that’s the thing that holds them accountable, keeps them responsible on a daily basis, is that they can’t breach customer trust. For a company that’s built its brand on building customer trust on delivering for customers, on not breaching their trust, these sorts of hacks, these sorts of problems, are devastating to their image, because it gets customers and citizens concerned about whether we should entrust a company like Amazon with all of this. And, of course, there are safeguards in place.\u003c/p>\n\u003cp>But I think some of the larger questions about Amazon are whether there are really any auditing systems, public auditing systems for cases of abuse. … We’re reliant on a private company to police abuse, and there’s no way to publicly audit whether they’re doing a good job of that. And that’s something that we asked Amazon executives about—not just about Ring cameras and Echo devices—but certainly facial recognition software, which is a very powerful tool that they have really encouraged police departments around the country to experiment with.\u003c/p>\n\u003cp>\u003cstrong>On Sen. Elizabeth Warren’s idea of \u003c/strong>\u003ca href=\"https://www.npr.org/2019/03/15/702707734/sen-elizabeth-warren-takes-longtime-fight-for-a-level-playing-field-to-2020-race\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>breaking up\u003c/strong>\u003c/a>\u003cstrong> big tech companies \u003c/strong>\u003c/p>\n\u003cp>Essentially, what “break them up” really means is to try to limit the lines of business that Amazon can engage in. So, for instance, Amazon is this platform for online commerce that they themselves are competing on as a store against other stores and retailers. So she has this idea of maybe they shouldn’t be competing on a platform that they own, maybe they shouldn’t be allowed to be doing that, because they have an unfair advantage. That’s in part what break them up means. And so I think it’s certainly something that Congress is going to be considering. And I think some of the other candidates have been supportive of that idea of breaking them up.\u003c/p>\n\u003cp>\u003cstrong>On Bezos’ space exploration company Blue Origin \u003c/strong>\u003c/p>\n\u003cp>When it comes to Jeff Bezos, he’s got two CEOs that are running Amazon and he has stepped away a bit from the company. I mean, he’s helping to expand it into India and other places. But as we understand it, his primary goal is to focus on his company Blue Origin. And Blue Origin is his space exploration company. It’s his rocket ship company. And essentially it’s the fulfillment of something that has been his lifelong goal and plan, which is to, as he puts it, build the infrastructure to go to space and to make it cost-effective for us to figure out what to do in space. …\u003c/p>\n\u003cp>[Bezos] claims—and I think he’s genuine in believing this—that he wants to save planet Earth, and his whole idea is that he wants there to be dynamism and growth. He believes in capitalism. He believes in consumerism. He believes that … we’re going to need to look to the heavens, essentially, to figure out how we can continue to live in a world of dynamism and growth. And that, in Jeff Bezos’ mind, means we may need to move heavy industry into space. We may need to mine other planets or planetary objects for their resources, or we may need to actually build space colonies. He is really serious about this.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Filmmaker+Tracks+Bezos%27+%27Rise+And+Reign%27+And+How+Amazon+Became+%27Inescapable%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amazon founder Jeff Bezos is now the richest man in the world, with an empire that stretches from Hollywood to Whole Foods—and even \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/09/15/440521318/amazons-bezos-announces-plan-to-build-launch-rockets-from-florida\" target=\"_blank\" rel=\"noopener noreferrer\">into outer space\u003c/a>.\u003c/p>\n\u003cp>The new PBS FRONTLINE documentary, \u003cem>Amazon Empire: The Rise And Reign Of Jeff Bezos,\u003c/em> investigates how Bezos transformed Amazon from an online bookseller into a trillion-dollar business that’s unprecedented in its size and reach. Director James Jacoby, who worked with fellow filmmaker Anya Bourg on the project, calls the company an “inescapable part of our modern lives.”\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/DXzDXsXKjFk'\n title='//www.youtube.com/embed/DXzDXsXKjFk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It’s not just how the majority of Americans are shopping online,” he says. “It’s also these devices in our homes. It’s also the facial recognition software that’s used by police departments. It’s cloud computing for the government and national security establishment.”\u003c/p>\n\u003cp>Jacoby notes that Amazon’s ubiquity—and the fact that “so much power is pooled into the hands of one company and one man”—raises a host of issues. The company’s Echo smart speaker has been known to record—and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614470096/amazon-echo-recorded-and-sent-couples-conversation-all-without-their-knowledge\" target=\"_blank\" rel=\"noopener noreferrer\">occasionally listen to\u003c/a>—the conversations of unsuspecting homeowners. In 2019, the European Union antitrust arm announced an \u003ca href=\"https://www.npr.org/2019/07/17/742615426/eu-investigates-if-amazon-hurts-competition-by-using-sellers-data\" target=\"_blank\" rel=\"noopener noreferrer\">investigation\u003c/a> into Amazon’s use of data collected from third-party sellers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think that [\u003cem>Atlantic \u003c/em>writer] Franklin Foer in the film puts it best, which is like everything that’s amazing or awesome about Jeff Bezos and Amazon is also something to be feared about Amazon and Jeff Bezos,” Jacoby says.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why, in part, Amazon began as a bookseller\u003c/strong>\u003c/p>\n\u003cp>Books are easy to ship. … And [Bezos] also realized that in the online world, there would be an advantage that no single bookstore could hold all of the books in print. … He also, I think, saw an opportunity to learn about customers through what they read. He recognized very early on the power of data to predict what people would want. So in many ways, you are what you read and you could glean a lot about a customer from what he or she reads.\u003c/p>\n\u003cp>\u003cstrong>On working conditions in Amazon warehouses \u003c/strong>\u003c/p>\n\u003cp>We spoke to dozens of current and former employees in the reporting process. The nature of the work has changed a bit over the years. When Bezos was first building out these fulfillment centers all over the country in order to deliver on the promise of delivering packages quickly, it was almost ad hoc. They were growing so quickly. And there were a lot of complaints at the time about things like heat stress. There wouldn’t be the proper air conditioning in these warehouses, and people would be working like crazy to try to meet these quotas to get the packages out. People would be fainting in these warehouses. There’d be injuries.\u003c/p>\n\u003cp>Over time, the warehouses have become much more systematized, in part because of the automation of the warehouses and buying a robot company that helped to automate things. But one thing that hasn’t changed in talking to workers—both current and former—is the pace of work is incredibly grueling. You have to make rates. … The rate essentially measures how quickly you pick and pack items. … Every single worker we spoke to [talked about how] the rates were really high. They have a way of setting the rates for the whole warehouse—that if you don’t make that rate, then you can get a write up. And if you get three write ups, then you can be fired. There’s a lot of anxiety in these warehouses about making rates.\u003c/p>\n\u003cfigure id=\"attachment_13874906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874906\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/ap_17355673041435-da6c9a9e352c23da25128aaa655674b4308acd76-800x600.jpg\" alt=\"A clerk picks an item for a customer order at the Amazon Prime warehouse in New York. \" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">A clerk picks an item for a customer order at the Amazon Prime warehouse in New York. \u003ccite>(Mark Lennihan/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On a recent hack on Amazon’s “Ring” cameras \u003c/strong>\u003c/p>\n\u003cp>Ring makes these doorbell cameras, that was their first main device. … It’s a doorbell that has a camera on it. In part, Amazon liked the idea of it, because package theft is a big deal for the company—a lot of people get packages to their door and someone’s stealing that package. So now you can watch your front step. Of course, if the camera is watching the front step, it’s also watching the public space on the street as well, which is somewhat problematic. So there’s now this whole suite of Ring devices and Ring cameras, not just to monitor the outside of your home but also the inside of your home.\u003c/p>\n\u003cp>There was a \u003ca href=\"https://www.washingtonpost.com/nation/2019/12/12/she-installed-ring-camera-her-childrens-room-peace-mind-hacker-accessed-it-harassed-her-year-old-daughter/?arc404=true\" target=\"_blank\" rel=\"noopener noreferrer\">recent hack\u003c/a> of indoor Ring cameras, which was rather frightful. … There’s a little girl in her room and her parents had installed a Ring camera in that room and all of a sudden there’s a voice coming from the camera that’s basically terrorizing her as she’s alone in her room.\u003c/p>\n\u003cp>\u003cstrong>On how facial recognition software and data collection is in Amazon’s hands, and is vulnerable to hacks and bad agents \u003c/strong>\u003c/p>\n\u003cp>All of this data, all of these networks—it’s all up to Amazon to manage this well. And they say that that’s the thing that holds them accountable, keeps them responsible on a daily basis, is that they can’t breach customer trust. For a company that’s built its brand on building customer trust on delivering for customers, on not breaching their trust, these sorts of hacks, these sorts of problems, are devastating to their image, because it gets customers and citizens concerned about whether we should entrust a company like Amazon with all of this. And, of course, there are safeguards in place.\u003c/p>\n\u003cp>But I think some of the larger questions about Amazon are whether there are really any auditing systems, public auditing systems for cases of abuse. … We’re reliant on a private company to police abuse, and there’s no way to publicly audit whether they’re doing a good job of that. And that’s something that we asked Amazon executives about—not just about Ring cameras and Echo devices—but certainly facial recognition software, which is a very powerful tool that they have really encouraged police departments around the country to experiment with.\u003c/p>\n\u003cp>\u003cstrong>On Sen. Elizabeth Warren’s idea of \u003c/strong>\u003ca href=\"https://www.npr.org/2019/03/15/702707734/sen-elizabeth-warren-takes-longtime-fight-for-a-level-playing-field-to-2020-race\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>breaking up\u003c/strong>\u003c/a>\u003cstrong> big tech companies \u003c/strong>\u003c/p>\n\u003cp>Essentially, what “break them up” really means is to try to limit the lines of business that Amazon can engage in. So, for instance, Amazon is this platform for online commerce that they themselves are competing on as a store against other stores and retailers. So she has this idea of maybe they shouldn’t be competing on a platform that they own, maybe they shouldn’t be allowed to be doing that, because they have an unfair advantage. That’s in part what break them up means. And so I think it’s certainly something that Congress is going to be considering. And I think some of the other candidates have been supportive of that idea of breaking them up.\u003c/p>\n\u003cp>\u003cstrong>On Bezos’ space exploration company Blue Origin \u003c/strong>\u003c/p>\n\u003cp>When it comes to Jeff Bezos, he’s got two CEOs that are running Amazon and he has stepped away a bit from the company. I mean, he’s helping to expand it into India and other places. But as we understand it, his primary goal is to focus on his company Blue Origin. And Blue Origin is his space exploration company. It’s his rocket ship company. And essentially it’s the fulfillment of something that has been his lifelong goal and plan, which is to, as he puts it, build the infrastructure to go to space and to make it cost-effective for us to figure out what to do in space. …\u003c/p>\n\u003cp>[Bezos] claims—and I think he’s genuine in believing this—that he wants to save planet Earth, and his whole idea is that he wants there to be dynamism and growth. He believes in capitalism. He believes in consumerism. He believes that … we’re going to need to look to the heavens, essentially, to figure out how we can continue to live in a world of dynamism and growth. And that, in Jeff Bezos’ mind, means we may need to move heavy industry into space. We may need to mine other planets or planetary objects for their resources, or we may need to actually build space colonies. He is really serious about this.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>PBS’s \u003c/em>\u003ca href=\"https://www.pbs.org/wgbh/masterpiece/shows/sanditon/\">Sanditon\u003c/a>\u003cem>, the television series based on an unfinished novel by Jane Austen, comes to KQED Sunday, Jan. 12. Since it’s set in the Regency-era equivalent of a coastal spa, we asked Bay Area Austen expert Bianca Hernandez of the \u003c/em>\u003ca href=\"https://drunkausten.com/\">Drunk Austen\u003c/a>\u003cem> podcast to give us a primer.\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>elf-care is no modern invention. The upcoming PBS Masterpiece adaptation of Jane Austen’s \u003cem>Sanditon\u003c/em> highlights the Regency-era craze around being health-conscious. And though some of the advice from the early 1800s doesn’t hold up (we frown on drinking lead nowadays), it does include some tips that can make nice additions to your routine. \u003c/p>\n\u003cp>Read on to get in the mood for a trip to a Regency seaside resort.\u003c/p>\n\u003cfigure id=\"attachment_13872439\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13872439 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Sanditon_EP1_2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast take in the seaside air in PBS’s ‘Sanditon,’ premiering Jan. 12 on KQED. (Masterpiece PBS)\u003c/figcaption>\u003c/figure>\n\u003ch2>Get to the sea\u003c/h2>\n\u003cp>\u003cem>“The sea air and sea bathing together were neatly infallible, one or the other of them being a match for every disorder, of the stomach, the lungs or the blood.”—‘Sanditon’\u003c/em>\u003c/p>\n\u003cp>Though some of the advice from the era doesn’t age well, taking a vacation is a timeless, tried-and-true way to clear one’s mind. During the Regency era, places like Bath and Brighton were a must for those suffering from ailments like gout and leprosy.\u003c/p>\n\u003cp>Sea air was thought to be rejuvenating, and sea-bathing, as seen in \u003cem>Sanditon\u003c/em>, was a real option for those in search of wellness. Though Sanditon itself is a fictional seaside resort, Brighton and Lyme were real seaside getaways during Austen’s time.\u003c/p>\n\u003cp>\u003cem> “Depend upon it my dear, it is exactly a case for the sea. Saline air and immersion will be the very thing.” – Mr. Parker, ‘Sanditon’\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1jIHH9_C2bU\u003c/p>\n\u003cp>But our Regency heroines wouldn’t bring a beach towel and flip-flops to the water—a bathing machine (yes, that was a real thing) would be rented. On the beach, a lady would board the small covered wagon-like contraption, and once the machine traveled deep enough into the water, the lady would emerge wearing a bathing outfit that covered everything from the neck down. Some sea-weathered assistants would then help the lady down a small ladder or set of stairs and safely into the sea.\u003c/p>\n\u003cp>While boarding a wagon to take you into the ocean may sound a little like ordering an Uber to go around the corner, taking an invigorating dip is always a nice option to make you feel alive.\u003c/p>\n\u003cfigure id=\"attachment_13872442\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Sanditon_EP4_1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Otis Molyneux (Jyuddah James), Charlotte Heywood (Rose Williams) and Miss Lambe (Crystal Clarke) in PBS’s ‘Sanditon,’ which premieres Jan. 12 on KQED. \u003ccite>(Masterpiece PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Drink up\u003c/h2>\n\u003cp>If bathing isn’t your speed, you can set the mood by drinking some Bath water. And by that I mean water from the other famous Regency place of healing, Bath. (Did you think I meant water from a bathtub?)\u003c/p>\n\u003cp>The natural hot water that bubbles out from under the city has been heralded for its healing powers since the Romans were there nearly 2,000 years ago. You can still take a walk around the Roman baths should you visit the city today, and can drink the sulfurous water from their springs (though you won’t want to swim in them, since we now know their lead pipes work against the whole “healing” idea). Thankfully, safe mineral water can also be readily found on store shelves today.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you want a little more of a kick, you can reach for the wine, but take heed. In the unfinished \u003cem>Sanditon\u003c/em>, Arthur Parker says he feels that wine in moderation benefits him (though it disagrees with him). Take his advice with a grain of salt, since he’s one of Austen’s contradictory characters.\u003c/p>\n\u003cp>\u003cem>“The more wine I drink (in moderation) the better I am.”—Arthur Parker, ‘Sanditon’\u003c/em>\u003c/p>\n\u003cp>Have a sweet tooth? Never fear: hot cocoa existed during the Regency era, though it would have been more like rich, spicy drinking chocolate than Swiss Miss. During a scene in Austen’s \u003cem>Sanditon\u003c/em>, Charlotte Heywood witnesses Arthur Parker pour a strong batch of cocoa for himself while explaining how agreeable it is. Whether you make your cocoa strong or weak, there’s probably good reason why the drink has stayed popular (though no one can promise it \u003cem>does\u003c/em> have health benefits).\u003c/p>\n\u003cfigure id=\"attachment_13872441\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872441\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Sanditon_EP5_1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lady Denham (Anne Reid) in PBS’s ‘Sanditon,’ premiering Jan. 12 on KQED. \u003ccite>(Masterpiece PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Cover up\u003c/h2>\n\u003cp>Sunscreen as we know it didn’t exist during the Regency era, so that meant covering oneself to avoid sunburn. Luckily, having to cover up meant accessorizing!\u003c/p>\n\u003cp>If you’re looking to accessorize the Regency way, parasols would have been the most basic way to keep oneself shielded from the sun during a 19th-century day. If you want your hands to be free, then a bonnet is the way to go.\u003c/p>\n\u003cp>Bonnets are also much more versatile as an accessorizing option. In the Regency era, one would add ribbons and trim to spruce up a bonnet, or merely customize it to match a favorite outfit. Remember, a lot of travel to Regency resorts was about being seen (and partially about curing whatever ill brought one there).\u003c/p>\n\u003cfigure id=\"attachment_13872449\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872449\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Capture-800x524.png\" alt=\"\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Capture-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Capture-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Capture-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Capture.png 893w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Heywood (Rose Williams) and Sidney Parker (Theo James) in PBS’s ‘Sanditon.’ \u003ccite>(Masterpiece PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Buy the shoes\u003c/h2>\n\u003cp>When not taking part in social intrigue, matchmaking or healing, one in Austen’s time would be very concerned about what to wear for the next ball. Dances were a prime time to either sneak a conversation with your paramour, or simply impress society.\u003c/p>\n\u003cp>In \u003cem>Sandition\u003c/em>, Charlotte Heywood finds herself longing for a divine pair of blue shoes ahead of the first ball of the season. With encouragement, she purchases them so she can dance the night away in style.\u003c/p>\n\u003cp>Being seen as fashionable was a very important part of visiting Regency resort towns. While we don’t face the exact social pressures people at that time would have, perhaps there is a lesson in there about treating yourself to something you want.\u003c/p>\n\u003cp>Whether you decide to take a vacation, imbibe some hot cocoa or just buy yourself a fashionable accessory, there are some useful lessons to be learned from Regency customs.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Sanditon’ airs on KQED starting Jan. 12 at 9pm. \u003ca href=\"https://video.kqed.org/show/sanditon/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Before Jane Austen's 'Sanditon' comes to PBS on Jan. 12, get a primer on Regency-era self-care.\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>PBS’s \u003c/em>\u003ca href=\"https://www.pbs.org/wgbh/masterpiece/shows/sanditon/\">Sanditon\u003c/a>\u003cem>, the television series based on an unfinished novel by Jane Austen, comes to KQED Sunday, Jan. 12. Since it’s set in the Regency-era equivalent of a coastal spa, we asked Bay Area Austen expert Bianca Hernandez of the \u003c/em>\u003ca href=\"https://drunkausten.com/\">Drunk Austen\u003c/a>\u003cem> podcast to give us a primer.\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>elf-care is no modern invention. The upcoming PBS Masterpiece adaptation of Jane Austen’s \u003cem>Sanditon\u003c/em> highlights the Regency-era craze around being health-conscious. And though some of the advice from the early 1800s doesn’t hold up (we frown on drinking lead nowadays), it does include some tips that can make nice additions to your routine. \u003c/p>\n\u003cp>Read on to get in the mood for a trip to a Regency seaside resort.\u003c/p>\n\u003cfigure id=\"attachment_13872439\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13872439 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Sanditon_EP1_2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP1_2-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast take in the seaside air in PBS’s ‘Sanditon,’ premiering Jan. 12 on KQED. (Masterpiece PBS)\u003c/figcaption>\u003c/figure>\n\u003ch2>Get to the sea\u003c/h2>\n\u003cp>\u003cem>“The sea air and sea bathing together were neatly infallible, one or the other of them being a match for every disorder, of the stomach, the lungs or the blood.”—‘Sanditon’\u003c/em>\u003c/p>\n\u003cp>Though some of the advice from the era doesn’t age well, taking a vacation is a timeless, tried-and-true way to clear one’s mind. During the Regency era, places like Bath and Brighton were a must for those suffering from ailments like gout and leprosy.\u003c/p>\n\u003cp>Sea air was thought to be rejuvenating, and sea-bathing, as seen in \u003cem>Sanditon\u003c/em>, was a real option for those in search of wellness. Though Sanditon itself is a fictional seaside resort, Brighton and Lyme were real seaside getaways during Austen’s time.\u003c/p>\n\u003cp>\u003cem> “Depend upon it my dear, it is exactly a case for the sea. Saline air and immersion will be the very thing.” – Mr. Parker, ‘Sanditon’\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/1jIHH9_C2bU'\n title='//www.youtube.com/embed/1jIHH9_C2bU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But our Regency heroines wouldn’t bring a beach towel and flip-flops to the water—a bathing machine (yes, that was a real thing) would be rented. On the beach, a lady would board the small covered wagon-like contraption, and once the machine traveled deep enough into the water, the lady would emerge wearing a bathing outfit that covered everything from the neck down. Some sea-weathered assistants would then help the lady down a small ladder or set of stairs and safely into the sea.\u003c/p>\n\u003cp>While boarding a wagon to take you into the ocean may sound a little like ordering an Uber to go around the corner, taking an invigorating dip is always a nice option to make you feel alive.\u003c/p>\n\u003cfigure id=\"attachment_13872442\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Sanditon_EP4_1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP4_1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Otis Molyneux (Jyuddah James), Charlotte Heywood (Rose Williams) and Miss Lambe (Crystal Clarke) in PBS’s ‘Sanditon,’ which premieres Jan. 12 on KQED. \u003ccite>(Masterpiece PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Drink up\u003c/h2>\n\u003cp>If bathing isn’t your speed, you can set the mood by drinking some Bath water. And by that I mean water from the other famous Regency place of healing, Bath. (Did you think I meant water from a bathtub?)\u003c/p>\n\u003cp>The natural hot water that bubbles out from under the city has been heralded for its healing powers since the Romans were there nearly 2,000 years ago. You can still take a walk around the Roman baths should you visit the city today, and can drink the sulfurous water from their springs (though you won’t want to swim in them, since we now know their lead pipes work against the whole “healing” idea). Thankfully, safe mineral water can also be readily found on store shelves today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you want a little more of a kick, you can reach for the wine, but take heed. In the unfinished \u003cem>Sanditon\u003c/em>, Arthur Parker says he feels that wine in moderation benefits him (though it disagrees with him). Take his advice with a grain of salt, since he’s one of Austen’s contradictory characters.\u003c/p>\n\u003cp>\u003cem>“The more wine I drink (in moderation) the better I am.”—Arthur Parker, ‘Sanditon’\u003c/em>\u003c/p>\n\u003cp>Have a sweet tooth? Never fear: hot cocoa existed during the Regency era, though it would have been more like rich, spicy drinking chocolate than Swiss Miss. During a scene in Austen’s \u003cem>Sanditon\u003c/em>, Charlotte Heywood witnesses Arthur Parker pour a strong batch of cocoa for himself while explaining how agreeable it is. Whether you make your cocoa strong or weak, there’s probably good reason why the drink has stayed popular (though no one can promise it \u003cem>does\u003c/em> have health benefits).\u003c/p>\n\u003cfigure id=\"attachment_13872441\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872441\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Sanditon_EP5_1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sanditon_EP5_1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lady Denham (Anne Reid) in PBS’s ‘Sanditon,’ premiering Jan. 12 on KQED. \u003ccite>(Masterpiece PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Cover up\u003c/h2>\n\u003cp>Sunscreen as we know it didn’t exist during the Regency era, so that meant covering oneself to avoid sunburn. Luckily, having to cover up meant accessorizing!\u003c/p>\n\u003cp>If you’re looking to accessorize the Regency way, parasols would have been the most basic way to keep oneself shielded from the sun during a 19th-century day. If you want your hands to be free, then a bonnet is the way to go.\u003c/p>\n\u003cp>Bonnets are also much more versatile as an accessorizing option. In the Regency era, one would add ribbons and trim to spruce up a bonnet, or merely customize it to match a favorite outfit. Remember, a lot of travel to Regency resorts was about being seen (and partially about curing whatever ill brought one there).\u003c/p>\n\u003cfigure id=\"attachment_13872449\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872449\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Capture-800x524.png\" alt=\"\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Capture-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Capture-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Capture-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Capture.png 893w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Heywood (Rose Williams) and Sidney Parker (Theo James) in PBS’s ‘Sanditon.’ \u003ccite>(Masterpiece PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Buy the shoes\u003c/h2>\n\u003cp>When not taking part in social intrigue, matchmaking or healing, one in Austen’s time would be very concerned about what to wear for the next ball. Dances were a prime time to either sneak a conversation with your paramour, or simply impress society.\u003c/p>\n\u003cp>In \u003cem>Sandition\u003c/em>, Charlotte Heywood finds herself longing for a divine pair of blue shoes ahead of the first ball of the season. With encouragement, she purchases them so she can dance the night away in style.\u003c/p>\n\u003cp>Being seen as fashionable was a very important part of visiting Regency resort towns. While we don’t face the exact social pressures people at that time would have, perhaps there is a lesson in there about treating yourself to something you want.\u003c/p>\n\u003cp>Whether you decide to take a vacation, imbibe some hot cocoa or just buy yourself a fashionable accessory, there are some useful lessons to be learned from Regency customs.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Sanditon’ airs on KQED starting Jan. 12 at 9pm. \u003ca href=\"https://video.kqed.org/show/sanditon/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Kelly Clarkson and Fred Rogers. Both are much-loved national treasures who embody family values and wholesome hearts. So it made perfect sense on Tuesday when everyone’s favorite \u003cem>American Idol\u003c/em> winner covered Mister Rogers’ classic “Won’t You Be My Neighbor?”\u003c/p>\n\u003cp>Clarkson gave the theme tune a soulful, easy listening vibe as part of her \u003ca href=\"https://www.nbc.com/kelly-clarkson-show\" target=\"_blank\" rel=\"noopener noreferrer\">daytime talk show\u003c/a> on NBC. The cover was chosen to tie in with Tuesday’s guest, Tom Hanks, who was appearing in support of his role playing Rogers in the new movie \u003ca href=\"https://www.imdb.com/title/tt3224458/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Beautiful Day in the Neighborhood\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>You can hear Kelly’s laid back jazzy take on the song below. (And if you pay close attention, you’ll notice some very special outfits in the audience…)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Nngz6cAKsaE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>It’s the 50th anniversary of \u003cem>Sesame Street\u003c/em>‘s debut this month, and to celebrate, we dug deep in our archives here at KQED—\u003cem>really\u003c/em> deep.\u003c/p>\n\u003cp>In 1969, it turns out, a special \u003cem>Sesame Street\u003c/em>-decorated Jeep was employed to promote the new children’s television show. Watch in our archival footage above as it drives through the streets of San Francisco, down Van Ness and along the Marina, turning heads and getting the word out about \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>Kids might not have known the show yet, but they certainly reacted to the colorful car driving though the city, crowding around with gleeful excitement. It was the beginning, clearly, of something special.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Director \u003ca href=\"https://www.npr.org/2015/08/13/431997207/a-diary-unlocked-a-teenage-coming-of-age-story-put-on-film\">Marielle Heller\u003c/a> remembers tuning into \u003cem>Mister Rogers’ Neighborhood\u003c/em> as a kid, but it wasn’t until she was an adult watching the show with her 3-year-old son that she fully appreciated the host’s gentle, direct manner. Watching an episode in which Rogers finds that a pet fish has died, Heller was struck by the way he addressed the audience.\u003c/p>\n\u003cp>“He wasn’t afraid of any of the hardest parts of childhood or talking about the most uncomfortable things,” she says. It’s “a radical notion, but he tells kids the truth.”\u003c/p>\n\u003cp>Heller’s new film, \u003cem>A Beautiful Day in the Neighborhood,\u003c/em> was inspired by the true story of Rogers’ relationship with journalist Tom Junod, who was assigned to profile Rogers in 1998 for a special issue of \u003cem>Esquire \u003c/em>on \u003ca href=\"https://www.esquire.com/entertainment/tv/a27134/can-you-say-hero-esq1198/\">American Heroes\u003c/a>. Junod had acquired a reputation for saying the unsayable in his profiles and for his cynicism. The two men—one known for kindness; the other more of a cynic—formed an unlikely friendship.\u003c/p>\n\u003cp>Heller is adamant that her film, which stars \u003ca href=\"https://www.npr.org/2016/04/26/475573489/tom-hanks-says-self-doubt-is-a-high-wire-act-that-we-all-walk\">Tom Hanks\u003c/a> and \u003ca href=\"https://www.npr.org/2014/05/10/311276121/welsh-actor-keeps-soviet-secrets-in-the-americans\">Matthew Rhys\u003c/a>, is not a biopic; rather, it’s a study in how Rogers, who died in 2003, interacted with and impacted the people around him.\u003c/p>\n\u003cp>“He elicited real, fundamental, catalytic change out of people who he came into contact with,” she says. “He had this way of kind of shaking people to their core and breaking them down in some way—and changing them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-VLEPhfEN2M\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why Rogers’ widow, Joanne, told Heller she didn’t want him portrayed as a saint \u003c/strong>\u003c/p>\n\u003cp>She said, “It’s important you don’t think of him as a saint. And the reason it’s important you don’t think of him that way is then his message is unattainable. What he was aiming for is unattainable.” And something about that just clicked for me. So we put that verbatim into the movie, because it made it so clear.\u003c/p>\n\u003cp>The reason that they want us to know Fred was a person is because then we can all aim to be more like him. And that’s what he was hoping for, was that we would all see the ways in which we could choose kindness. We could all see the ways in which we could choose to be more empathetic, and that we could listen to each other more, and we could see that everybody was a child once, and see that everybody has value. And so it was never about exalting him above anybody else or making it that somehow he did things other people couldn’t do. The point was that we all could.\u003c/p>\n\u003cp>\u003cstrong>On helping Tom Hanks embody Fred Rogers \u003c/strong>\u003c/p>\n\u003cp>The positive thing going into this was obviously the way the public feels about Tom Hanks has a similar quality to how we feel about Mister Rogers. So there was a warmth that we were starting with, there was so much that was already done there, but the truth of the matter is, Tom is a very different person energetically than Mister Rogers. He’s very funny. He’s very charming. He’s actually got a loud booming voice and walks into a room and you know he’s there. He shakes everyone’s hand. He cracks jokes. He’s boisterous. He’s really vibrant, and it’s never awkward when you’re talking to Tom Hanks. I’ve never seen him have an awkward conversation with anybody.\u003c/p>\n\u003cp>And what we figured out in our research about Fred was that he really was comfortable sitting in silence and awkwardness, and he would ask questions to people and he would wait for an answer no matter how long it took, and he wouldn’t fill that silence in. And he had a stillness to him, too. So a lot of what I had to do, especially in the beginning, was to kind of reign Tom’s natural buoyancy back, and settle him into a kind of zen-like state where he was being hyper-present in every moment.\u003c/p>\n\u003cp>\u003cstrong>On finding the right pacing for the movie\u003c/strong>\u003c/p>\n\u003cp>Fred had a very specific cadence. I don’t think anybody could’ve watched his show and not noticed that he spoke at a different pace than the rest of the world. And we heard from a number of people that when you would be with Fred, it felt like time would slow down. He kind of controlled time, in a way.\u003c/p>\n\u003cp>Part of the casting of \u003ca href=\"https://www.npr.org/2014/05/10/311276121/welsh-actor-keeps-soviet-secrets-in-the-americans\">Matthew Rhys\u003c/a> was I wanted to cast somebody who had a different pace. It was about these two men who were sort of foils to each other coming together and having these sort of emotional duels. So Matthew, he is somebody who moves very quickly. His mind is always racing, and he’s got a lot of energy pulsing through his body, so the idea was, in our rehearsals and also in the way that we shot these scenes, between these two men, it was about really kind of controlling time.\u003c/p>\n\u003cp>When there were pauses, they were carefully crafted. I had to kind of force them to pause even longer than they were comfortable pausing. But it was also about what was happening in those pauses. What are the emotional back-and-forths that are happening? What was just penetrated? What memory is being triggered? What are you thinking about in that moment, and when will you respond, and how carefully will you respond?\u003c/p>\n\u003cp>\u003cstrong>On watching the \u003c/strong>\u003cem>\u003cstrong>Mister Rogers\u003c/strong>\u003c/em>\u003cstrong> episode about death with her son \u003c/strong>\u003c/p>\n\u003cp>We were having a snow day, and so he was home from school. But it was a day that I kind of set aside that I was going to watch a lot of episodes of \u003cem>Mister Rogers\u003c/em>. So I asked Wylie if he wanted to watch some episodes with me. And I let him pick out based on the kind of thumbnails on the Internet. And he picked the fish one because he was very obsessed with underwater stuff, ocean stuff. But I knew just looking at the icon that the fish one, this is the episode about death. And I thought, “Are we going to go here? Okay.”\u003c/p>\n\u003cp>So in the episode, Mister Rogers goes to feed the fish and one of the fish is dead. And he tries to revive it and he puts it in some salt water and he sloshes it around and it kind of limply sloshes around and he says, “It looks like it’s moving, but it’s not actually moving.” And he buries the fish. And he tells the story about his dog, Mitzi, who died when he was a kid.\u003c/p>\n\u003cp>And I just watched my kid watch this episode, knowing that we hadn’t spoken really very much about death, and as Mister Rogers is telling the story about the dog dying Wylie he looks at me with this kind of skeptical look and goes, “Dogs don’t die!” I had this like Mister Rogers in my head and went, “Well, no, dogs do die.” And I told, I guess, what’s a little bit of a stretch of the truth, but I said, “You know, when they’re very old and their bodies are tired, you know, dogs do die and and cats die.” And we have two cats. And he looked at me and went, “Cats? Cats die?” And I said, “Yeah.” And he said, “But we have great cats!” …\u003c/p>\n\u003cp>And I held him and I was crying. And all I could figure out to say was, “I know this hurts. I know this is so painful. I don’t know what to say. But this, this really hurts.” … Then later that night, as I was putting him to bed, the dreaded question came, which was, “Well, what about people?” The way he said it was. “People don’t get dead, do they?” And then we had our kind of second round of weeping that happened that came out of this episode of\u003cem> Mister Rogers\u003c/em>.\u003c/p>\n\u003cp>I don’t think I handled it great, and I still feel sort of guilty for how this all came up. I felt like was it too young for us to kind of go there? But I also felt like all I had to guide me was Fred telling me, “We let the kids guide these conversations, listen and tell them the truth.” And so that’s what I tried to do.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited the audio of this interview. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Director \u003ca href=\"https://www.npr.org/2015/08/13/431997207/a-diary-unlocked-a-teenage-coming-of-age-story-put-on-film\">Marielle Heller\u003c/a> remembers tuning into \u003cem>Mister Rogers’ Neighborhood\u003c/em> as a kid, but it wasn’t until she was an adult watching the show with her 3-year-old son that she fully appreciated the host’s gentle, direct manner. Watching an episode in which Rogers finds that a pet fish has died, Heller was struck by the way he addressed the audience.\u003c/p>\n\u003cp>“He wasn’t afraid of any of the hardest parts of childhood or talking about the most uncomfortable things,” she says. It’s “a radical notion, but he tells kids the truth.”\u003c/p>\n\u003cp>Heller’s new film, \u003cem>A Beautiful Day in the Neighborhood,\u003c/em> was inspired by the true story of Rogers’ relationship with journalist Tom Junod, who was assigned to profile Rogers in 1998 for a special issue of \u003cem>Esquire \u003c/em>on \u003ca href=\"https://www.esquire.com/entertainment/tv/a27134/can-you-say-hero-esq1198/\">American Heroes\u003c/a>. Junod had acquired a reputation for saying the unsayable in his profiles and for his cynicism. The two men—one known for kindness; the other more of a cynic—formed an unlikely friendship.\u003c/p>\n\u003cp>Heller is adamant that her film, which stars \u003ca href=\"https://www.npr.org/2016/04/26/475573489/tom-hanks-says-self-doubt-is-a-high-wire-act-that-we-all-walk\">Tom Hanks\u003c/a> and \u003ca href=\"https://www.npr.org/2014/05/10/311276121/welsh-actor-keeps-soviet-secrets-in-the-americans\">Matthew Rhys\u003c/a>, is not a biopic; rather, it’s a study in how Rogers, who died in 2003, interacted with and impacted the people around him.\u003c/p>\n\u003cp>“He elicited real, fundamental, catalytic change out of people who he came into contact with,” she says. “He had this way of kind of shaking people to their core and breaking them down in some way—and changing them.”\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/-VLEPhfEN2M'\n title='//www.youtube.com/embed/-VLEPhfEN2M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why Rogers’ widow, Joanne, told Heller she didn’t want him portrayed as a saint \u003c/strong>\u003c/p>\n\u003cp>She said, “It’s important you don’t think of him as a saint. And the reason it’s important you don’t think of him that way is then his message is unattainable. What he was aiming for is unattainable.” And something about that just clicked for me. So we put that verbatim into the movie, because it made it so clear.\u003c/p>\n\u003cp>The reason that they want us to know Fred was a person is because then we can all aim to be more like him. And that’s what he was hoping for, was that we would all see the ways in which we could choose kindness. We could all see the ways in which we could choose to be more empathetic, and that we could listen to each other more, and we could see that everybody was a child once, and see that everybody has value. And so it was never about exalting him above anybody else or making it that somehow he did things other people couldn’t do. The point was that we all could.\u003c/p>\n\u003cp>\u003cstrong>On helping Tom Hanks embody Fred Rogers \u003c/strong>\u003c/p>\n\u003cp>The positive thing going into this was obviously the way the public feels about Tom Hanks has a similar quality to how we feel about Mister Rogers. So there was a warmth that we were starting with, there was so much that was already done there, but the truth of the matter is, Tom is a very different person energetically than Mister Rogers. He’s very funny. He’s very charming. He’s actually got a loud booming voice and walks into a room and you know he’s there. He shakes everyone’s hand. He cracks jokes. He’s boisterous. He’s really vibrant, and it’s never awkward when you’re talking to Tom Hanks. I’ve never seen him have an awkward conversation with anybody.\u003c/p>\n\u003cp>And what we figured out in our research about Fred was that he really was comfortable sitting in silence and awkwardness, and he would ask questions to people and he would wait for an answer no matter how long it took, and he wouldn’t fill that silence in. And he had a stillness to him, too. So a lot of what I had to do, especially in the beginning, was to kind of reign Tom’s natural buoyancy back, and settle him into a kind of zen-like state where he was being hyper-present in every moment.\u003c/p>\n\u003cp>\u003cstrong>On finding the right pacing for the movie\u003c/strong>\u003c/p>\n\u003cp>Fred had a very specific cadence. I don’t think anybody could’ve watched his show and not noticed that he spoke at a different pace than the rest of the world. And we heard from a number of people that when you would be with Fred, it felt like time would slow down. He kind of controlled time, in a way.\u003c/p>\n\u003cp>Part of the casting of \u003ca href=\"https://www.npr.org/2014/05/10/311276121/welsh-actor-keeps-soviet-secrets-in-the-americans\">Matthew Rhys\u003c/a> was I wanted to cast somebody who had a different pace. It was about these two men who were sort of foils to each other coming together and having these sort of emotional duels. So Matthew, he is somebody who moves very quickly. His mind is always racing, and he’s got a lot of energy pulsing through his body, so the idea was, in our rehearsals and also in the way that we shot these scenes, between these two men, it was about really kind of controlling time.\u003c/p>\n\u003cp>When there were pauses, they were carefully crafted. I had to kind of force them to pause even longer than they were comfortable pausing. But it was also about what was happening in those pauses. What are the emotional back-and-forths that are happening? What was just penetrated? What memory is being triggered? What are you thinking about in that moment, and when will you respond, and how carefully will you respond?\u003c/p>\n\u003cp>\u003cstrong>On watching the \u003c/strong>\u003cem>\u003cstrong>Mister Rogers\u003c/strong>\u003c/em>\u003cstrong> episode about death with her son \u003c/strong>\u003c/p>\n\u003cp>We were having a snow day, and so he was home from school. But it was a day that I kind of set aside that I was going to watch a lot of episodes of \u003cem>Mister Rogers\u003c/em>. So I asked Wylie if he wanted to watch some episodes with me. And I let him pick out based on the kind of thumbnails on the Internet. And he picked the fish one because he was very obsessed with underwater stuff, ocean stuff. But I knew just looking at the icon that the fish one, this is the episode about death. And I thought, “Are we going to go here? Okay.”\u003c/p>\n\u003cp>So in the episode, Mister Rogers goes to feed the fish and one of the fish is dead. And he tries to revive it and he puts it in some salt water and he sloshes it around and it kind of limply sloshes around and he says, “It looks like it’s moving, but it’s not actually moving.” And he buries the fish. And he tells the story about his dog, Mitzi, who died when he was a kid.\u003c/p>\n\u003cp>And I just watched my kid watch this episode, knowing that we hadn’t spoken really very much about death, and as Mister Rogers is telling the story about the dog dying Wylie he looks at me with this kind of skeptical look and goes, “Dogs don’t die!” I had this like Mister Rogers in my head and went, “Well, no, dogs do die.” And I told, I guess, what’s a little bit of a stretch of the truth, but I said, “You know, when they’re very old and their bodies are tired, you know, dogs do die and and cats die.” And we have two cats. And he looked at me and went, “Cats? Cats die?” And I said, “Yeah.” And he said, “But we have great cats!” …\u003c/p>\n\u003cp>And I held him and I was crying. And all I could figure out to say was, “I know this hurts. I know this is so painful. I don’t know what to say. But this, this really hurts.” … Then later that night, as I was putting him to bed, the dreaded question came, which was, “Well, what about people?” The way he said it was. “People don’t get dead, do they?” And then we had our kind of second round of weeping that happened that came out of this episode of\u003cem> Mister Rogers\u003c/em>.\u003c/p>\n\u003cp>I don’t think I handled it great, and I still feel sort of guilty for how this all came up. I felt like was it too young for us to kind of go there? But I also felt like all I had to guide me was Fred telling me, “We let the kids guide these conversations, listen and tell them the truth.” And so that’s what I tried to do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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 />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"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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}
},
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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.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"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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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"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",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"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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"link": "/radio/program/fresh-air",
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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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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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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.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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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",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"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",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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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": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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