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"title": "A New 'Sesame Street' Storyline Aims to Help Children Caught in the Opioid Crisis",
"headTitle": "A New ‘Sesame Street’ Storyline Aims to Help Children Caught in the Opioid Crisis | KQED",
"content": "\u003cp>Earlier this year, \u003cem>Sesame Street\u003c/em> introduced Karli, a green muppet living with “for now” parents because her mom was “having a hard time.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T2e7e2Hpb7I\u003c/p>\n\u003cp>Five months later, Karli is out of foster care, and in an episode this week, we learned that her mother is now in Narcotics Anonymous. \u003ca href=\"https://www.youtube.com/watch?v=5pfuEqGhREA\" target=\"_blank\" rel=\"noopener\">Karli has to explain to Elmo\u003c/a> why her parent needs to go to meetings. “Mom needs help learning to take better care of herself,” she tells Elmo. “So she talks to people with the same problem.”\u003c/p>\n\u003cp>In another segment, Elmo’s dad tells him: “Karli’s mommy has a disease called addiction. Addiction makes people feel like they need a grown up drink called alcohol or another kind of drug to feel okay. That can make a person act strange in ways they can’t control.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=6&v=inoeW5BZJvg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With an estimated \u003ca href=\"https://www.cdc.gov/injury/features/prescription-drug-overdose/index.html\" target=\"_blank\" rel=\"noopener\">1.7 million people\u003c/a> struggling with opioid addiction in the United States and 130 Americans, on average, dying from overdoses every day, Karli’s storyline is incredibly timely and could have an enormous impact on the \u003ca href=\"https://www.fox9.com/news/were-not-alone-sesame-street-tackles-addiction-crisis\" target=\"_blank\" rel=\"noopener\">5.7 million children\u003c/a> living with parents with substance abuse problems.\u003c/p>\n\u003cp>Karli’s backstory continues \u003cem>Sesame Street\u003c/em>‘s long tradition of tackling tough subjects in ways kids can understand. In 2015, the show addressed family grief when Elmo’s \u003ca href=\"https://www.youtube.com/watch?v=a2VpflpbOmk\" target=\"_blank\" rel=\"noopener\">Uncle Jack died\u003c/a>. Last year, the show introduced a new character named Lily, whose family was homeless. One scene focused on providing a reassuring activity for Lily any time she was “worried or scared about home.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xRogpFFytU8\u003c/p>\n\u003cp>In 2017, \u003cem>Sesame Street \u003c/em>included \u003ca href=\"https://www.youtube.com/watch?v=a2VpflpbOmk\" target=\"_blank\" rel=\"noopener\">gay dads\u003c/a> in a segment about Father’s Day. That same year, viewers were introduced to Julia, a child with autism who moves and communicates differently from Elmo and Abby, and has trouble coping with loud noises. Julia’s arrival made it clear that autistic kids are just as worthy of friendship as any other child, and gave viewers an understanding of how to accept differences. “She’s not like any friend I’ve ever had before,” said Big Bird. “Yeah,” Elmo replied. “But none of us are exactly the same.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dKCdV20zLMs\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sesame Workshop’s president of global impact and philanthropy, \u003ca href=\"https://www.fox9.com/news/were-not-alone-sesame-street-tackles-addiction-crisis\" target=\"_blank\" rel=\"noopener\">Sherrie Westin says\u003c/a>: “For everything we’ve done—from military families to homelessness—it’s all about how to make children free to talk and to give parents the tools to do just that. They tend to avoid it and it’s what they need more than anything.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this year, \u003cem>Sesame Street\u003c/em> introduced Karli, a green muppet living with “for now” parents because her mom was “having a hard time.”\u003c/p>\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/T2e7e2Hpb7I'\n title='//www.youtube.com/embed/T2e7e2Hpb7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Five months later, Karli is out of foster care, and in an episode this week, we learned that her mother is now in Narcotics Anonymous. \u003ca href=\"https://www.youtube.com/watch?v=5pfuEqGhREA\" target=\"_blank\" rel=\"noopener\">Karli has to explain to Elmo\u003c/a> why her parent needs to go to meetings. “Mom needs help learning to take better care of herself,” she tells Elmo. “So she talks to people with the same problem.”\u003c/p>\n\u003cp>In another segment, Elmo’s dad tells him: “Karli’s mommy has a disease called addiction. Addiction makes people feel like they need a grown up drink called alcohol or another kind of drug to feel okay. That can make a person act strange in ways they can’t control.”\u003c/p>\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/inoeW5BZJvg'\n title='//www.youtube.com/embed/inoeW5BZJvg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With an estimated \u003ca href=\"https://www.cdc.gov/injury/features/prescription-drug-overdose/index.html\" target=\"_blank\" rel=\"noopener\">1.7 million people\u003c/a> struggling with opioid addiction in the United States and 130 Americans, on average, dying from overdoses every day, Karli’s storyline is incredibly timely and could have an enormous impact on the \u003ca href=\"https://www.fox9.com/news/were-not-alone-sesame-street-tackles-addiction-crisis\" target=\"_blank\" rel=\"noopener\">5.7 million children\u003c/a> living with parents with substance abuse problems.\u003c/p>\n\u003cp>Karli’s backstory continues \u003cem>Sesame Street\u003c/em>‘s long tradition of tackling tough subjects in ways kids can understand. In 2015, the show addressed family grief when Elmo’s \u003ca href=\"https://www.youtube.com/watch?v=a2VpflpbOmk\" target=\"_blank\" rel=\"noopener\">Uncle Jack died\u003c/a>. Last year, the show introduced a new character named Lily, whose family was homeless. One scene focused on providing a reassuring activity for Lily any time she was “worried or scared about home.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xRogpFFytU8'\n title='//www.youtube.com/embed/xRogpFFytU8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2017, \u003cem>Sesame Street \u003c/em>included \u003ca href=\"https://www.youtube.com/watch?v=a2VpflpbOmk\" target=\"_blank\" rel=\"noopener\">gay dads\u003c/a> in a segment about Father’s Day. That same year, viewers were introduced to Julia, a child with autism who moves and communicates differently from Elmo and Abby, and has trouble coping with loud noises. Julia’s arrival made it clear that autistic kids are just as worthy of friendship as any other child, and gave viewers an understanding of how to accept differences. “She’s not like any friend I’ve ever had before,” said Big Bird. “Yeah,” Elmo replied. “But none of us are exactly the same.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dKCdV20zLMs'\n title='//www.youtube.com/embed/dKCdV20zLMs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Sesame Workshop’s president of global impact and philanthropy, \u003ca href=\"https://www.fox9.com/news/were-not-alone-sesame-street-tackles-addiction-crisis\" target=\"_blank\" rel=\"noopener\">Sherrie Westin says\u003c/a>: “For everything we’ve done—from military families to homelessness—it’s all about how to make children free to talk and to give parents the tools to do just that. They tend to avoid it and it’s what they need more than anything.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Lasting Legacy of Bob Ross and His Colorful World of 'Happy Accidents'",
"headTitle": "The Lasting Legacy of Bob Ross and His Colorful World of ‘Happy Accidents’ | KQED",
"content": "\u003cp>On a recent Friday afternoon, Sandra Hill leads a painting class at an arts center nestled amid rolling Virginia hills, about an hour and a half drive northwest of Washington, D.C.\u003c/p>\n\u003cp>Each of the 10 adult students has a canvas balanced on an easel in front of them. They’re dabbing paintbrushes loaded with dark green paint along the edge of a lake, the beginnings of a glowing sunset in the background.\u003c/p>\n\u003cp>“And think tree! Don’t just go tap, tap, tap any old place. Remember, trees have depth to them!” she reminds the class.\u003c/p>\n\u003cp>But this is no ordinary painting lesson: The students have come to Purcellville, Va., from as far away as Texas to learn to paint in the distinctive style and palette of Bob Ross, the \u003ca href=\"https://www.orlandosentinel.com/news/os-xpm-1990-07-07-9007060122-story.html\">Air Force sergeant-turned-painter\u003c/a> who rose to public media fame in the 1980s and ’90s with his TV show \u003cem>The Joy of Painting\u003c/em>. Over 31 seasons and more than 400 episodes, Ross became known for his hushed, soothing tones, big bushy hair, vivid landscapes and “happy little trees.”\u003c/p>\n\u003cp>“It’s almost spiritual,” Cliff Nolan, a painter from nearby Manassas, Va., says about being in the class at the \u003ca href=\"http://www.franklinparkartscenter.org/\">Franklin Park Arts Center\u003c/a>. In a room lined with 24 original Ross paintings, Nolan pulls a laminated photo book out of his pocket. It’s filled with pictures of paintings inspired by Ross’ work, using the wet-on-wet painting technique he used.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Bob is just wonderful,” Nolan says with a sigh. “Or, was.”\u003c/p>\n\u003cp>Ross died from cancer in 1995 at age 52. But the popularity of this quirky pop icon continues to soar, among fans old and new.\u003c/p>\n\u003cp>\u003cem>The Joy of Painting\u003c/em> is broadcast every day on some PBS stations across the country and is available on-demand to millions of viewers on Netflix and YouTube. There are Bob Ross bobbleheads, board games, underwear and coffee mugs. The Smithsonian’s National Museum Of American History recently acquired four of his paintings for their permanent collection. And Ross—a throwback to the pre-Internet era—has a surprisingly huge following \u003ca href=\"https://www.twitch.tv/bobross\">on Twitch\u003c/a>, the streaming platform best known for video games, where fans can comment in real-time while he paints.\u003c/p>\n\u003cp>Ross left behind thousands of paintings, which \u003ca href=\"https://www.nytimes.com/2019/07/12/arts/bob-ross-paintings-mystery.html\">rarely go on display\u003c/a>. So when the current solo exhibition opened at the Franklin Park Arts Center, fans flocked to the small dairy-barn-turned-gallery.\u003c/p>\n\u003cp>Elizabeth Bracey, the center’s director, worked with Bob Ross, Inc., to put the show together. Based nearby in Herndon, Va., the company—which Ross started with his business partners Annette and Walter Kowalski—owns most of Ross’ paintings.\u003c/p>\n\u003cp>“We knew it was going to be popular, but not like this,” Bracey says.\u003c/p>\n\u003cfigure id=\"attachment_13867854\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867854\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-800x293.png\" alt='Left: Cliff Nolan holds a book of his own paintings that he has done in the \"Bob Ross\" style. Right: Sara Monteleone, wears a Bob Ross wig while she follows along with Sandra Hill, a Certified Ross Instructor, during the recent painting class.' width=\"800\" height=\"293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-800x293.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-160x59.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-768x282.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-1020x374.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-1200x440.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85.png 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: Cliff Nolan holds a book of his own paintings that he has done in the “Bob Ross” style. Right: Sara Monteleone, wears a Bob Ross wig while she follows along with Sandra Hill, a Certified Ross Instructor, during the recent painting class. \u003ccite>(Mhari Shaw/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thousands of people have visited the show since it opened last month. Bracey says she’s expecting at least 15,000 by the time the exhibition closes on Oct. 15. That’s half the number of visitors the art center usually sees in an entire year. It’s become a kind of unexpected pilgrimage for fans, from all over and all walks of life.\u003c/p>\n\u003cp>“Little kids starting at like 4, all the way to grandmas and grandpas and every ethnicity, you know, every state. It’s everybody,” Bracey says. “Everybody loves him, [he] resonates with [everybody] in some way.”\u003c/p>\n\u003cp>The show is a wonderland of colorful sunsets, forests tucked into snowy mountains, and waves crashing against rocky cliffs, with paintings named things like \u003cem>Sunset Aglow\u003c/em>, \u003cem>Home Before Nightfall\u003c/em> and \u003cem>Daisies at Dawn\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13867862\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867862\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-800x557.jpg\" alt=\"'Happy Accidents: An Exhibit of Bob Ross Paintings' will be on display the Franklin Parks Art Center, in Purcellville, Va., through Oct. 15.\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Happy Accidents: An Exhibit of Bob Ross Paintings’ will be on display the Franklin Parks Art Center, in Purcellville, Va., through Oct. 15. \u003ccite>(Mhari Shaw/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I like to think that there are places like this that still exist in the world, that don’t have cell phone towers and high rises and things like that. It just seems like such an amazing magical place,” Bracey says, staring at a painting called \u003ca href=\"https://www.youtube.com/watch?v=hEyR2FDp-00\">Splendor of Autumn\u003cem>.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>There’s a lake with towering birch trees in the foreground, and bold pops of fall foliage framing the canvas. And hung next to it, is a quote, something he said during the episode while he was painting it: “If painting does nothing else for you, it should make you happy.”\u003c/p>\n\u003cp>The whole exhibition is like this, the paintings and quotes sharing the spotlight, side by side. Even when he was alive, Ross’ draw wasn’t just his paintings, it was also the way he talked.\u003c/p>\n\u003cblockquote>\u003cp>Maybe in our world, there lives a big old cloud right up here. He just sort of floats around and has a good time all day. You know, clouds are one of the freest things in nature I believe. So, just let them go. Shoot, just let them have fun.\u003c/p>\n\u003cp>— \u003ca href=\"https://www.youtube.com/watch?v=gMEZp47VKC0\">The Joy Of Painting, Season 26, Episode 12 “Sunset Aglow”\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote>\u003cp>Any person who has ever wanted to put a dream on canvas, you can do it. You don’t have to go to school half your life, you don’t have to know Leonardo da Vinci as a personal friend.\u003c/p>\n\u003cp>—\u003ca href=\"https://www.youtube.com/watch?v=Tnb2cXKKuWM\"> The Joy Of Painting, Season 29, Episode 7 “Cypress Creek”\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Bob Ross made viewers want to lean in closer to the screen so they didn’t miss anything. He could be wonderfully weird and deeply emotional.\u003c/p>\n\u003cp>Jerry Saltz, senior art critic at \u003cem>New York\u003c/em> magazine, says that was one of the things that made Ross great. “Once you set eyes on that guy you’re kinda locked in for 25 minutes,” he says, referring to the length of an episode. “It’s you alone in your dorky studio in your apartment, wearing an old shirt, and just working.”\u003c/p>\n\u003cp>Ross captivated and connected with audiences, but he did much more.\u003c/p>\n\u003cp>“People think that he’s just kitsch and cute and a little Buddha and fun happy little accidents … but Bob Ross breaks down painting into its component parts,” he says.\u003c/p>\n\u003cp>There was no irony, and the closest thing to a gimmick was \u003ca href=\"https://www.youtube.com/watch?v=xpNrn0_97LM\">a pet squirrel named Peapod\u003c/a> he would occasionally bottle feed on screen. Instead, he demystified the process for viewers in each episode, creating one landscape, from start to finish: a blank canvas transformed before their eyes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1koOWsj70d4\u003c/p>\n\u003cp>“And then he adds a beautiful bit at the end: You can do this, too,” Saltz says. “You have to banish self-doubt. And at the end of the session, it’s done. And he’s basically saying, ‘And then we’ll do another happy little accident tomorrow.'”\u003c/p>\n\u003cp>Ross didn’t want people to buy his paintings—in fact, he didn’t sell paintings once he started his television show—he wanted viewers to create their own. As long as they just tried to paint, Ross said, it will be right, no matter what.\u003c/p>\n\u003cp>That Bob Ross attitude lives on at the painting class in Purcellville, where the landscapes lining the walls practically whisper encouragement to the budding artists.\u003c/p>\n\u003cp>The students all have palettes set out with Ross’ signature colors—titanium white, alizarin crimson, midnight black. Three women in the back of the class are wearing big, bushy Bob Ross-style wigs. The soothing sound of paintbrush on canvas, another J\u003cem>oy of Painting\u003c/em> signature, fills the room.\u003c/p>\n\u003cp>Susan Rossi sits at the front of the class. She flew all the way from Texas to attend. She’s fussing with the row of trees along the lakeshore in her painting, dabbing them with a look of concern.\u003c/p>\n\u003cp>“Oh no, no don’t you worry,” Hill, the instructor, says, coming up behind her. “There’s no mistakes here, we can fix that. These are happy accidents!”\u003c/p>\n\u003cp>Rossi, 70, started learning to paint from Ross’ TV show after a stroke four years ago left her partially paralyzed and unable to work. \u003cem>The Joy of Painting \u003c/em>had a profound effect on her.\u003c/p>\n\u003cp>“It brought something out of me I didn’t know was in there,” Rossi says with a smile. “You think, wow, no limits! You can move clouds, you can change mountains. I guess that’s what you learn from Bob Ross. Don’t put limits on your life.”\u003c/p>\n\u003cfigure id=\"attachment_13867848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867848\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-800x600.jpg\" alt=\"Susan Rossi traveled from Texas to participate in the class and see the exhibit. Rossi has used Bob Ross as a type of therapy after suffering from a stroke four years ago.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Susan Rossi traveled from Texas to participate in the class and see the exhibit. Rossi has used Bob Ross as a type of therapy after suffering from a stroke four years ago. \u003ccite>(Mhari Shaw/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ross himself was surprisingly philosophical during the show, often casually whispering big ideas to viewers before returning to his instruction. These sprinkles of wisdom have lived on \u003ca href=\"https://www.amazon.com/Happy-Little-Accidents-Wisdom-Ross/dp/0762462787\">in quote books\u003c/a> and internet memes.\u003c/p>\n\u003cp>One that pops up often is from an episode that Ross taped in 1992, after his wife, Jane, died from cancer. In the episode, he’s painting a scene with a lake resting between two majestic mountains. He loads his brush up with a dark mixture of paint and starts to dab it all across the bottom of the mountains.\u003c/p>\n\u003cp>Don’t worry, he tells viewers, I’m only adding this dark for contrast.\u003c/p>\n\u003cp>“Gotta have dark. Gotta have opposites, dark and light, light and dark, continually in painting. If you have light on light, you have nothing. If you have dark on dark, you basically have nothing,” he practically whispers, his brush tapping rhythmically on the canvas. “It’s like in life. Gotta have a little sadness once in a while so you know when the good times come.”\u003c/p>\n\u003cp>He looks at the camera and quietly says, “I’m waiting on the good times now.”\u003c/p>\n\u003cp>Then he turns back to his painting, instructing viewers on the next step.\u003c/p>\n\u003cp>Maybe what’s made Bob Ross so everlasting is really that simple. He reminds people that the dark is there for a reason, and helps them find the light when they need it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Maureen Pao edited the Web story. Matt Ozug edited the audio story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Lasting+Legacy+Of+Bob+Ross+And+His+Colorful+World+Of+%27Happy+Accidents%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The bushy-haired former Air Force sergeant with the soothing voice rose to fame in the 1980s and '90s with his PBS show 'The Joy of Painting'. Bob Ross died in 1995, but his popularity endures.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent Friday afternoon, Sandra Hill leads a painting class at an arts center nestled amid rolling Virginia hills, about an hour and a half drive northwest of Washington, D.C.\u003c/p>\n\u003cp>Each of the 10 adult students has a canvas balanced on an easel in front of them. They’re dabbing paintbrushes loaded with dark green paint along the edge of a lake, the beginnings of a glowing sunset in the background.\u003c/p>\n\u003cp>“And think tree! Don’t just go tap, tap, tap any old place. Remember, trees have depth to them!” she reminds the class.\u003c/p>\n\u003cp>But this is no ordinary painting lesson: The students have come to Purcellville, Va., from as far away as Texas to learn to paint in the distinctive style and palette of Bob Ross, the \u003ca href=\"https://www.orlandosentinel.com/news/os-xpm-1990-07-07-9007060122-story.html\">Air Force sergeant-turned-painter\u003c/a> who rose to public media fame in the 1980s and ’90s with his TV show \u003cem>The Joy of Painting\u003c/em>. Over 31 seasons and more than 400 episodes, Ross became known for his hushed, soothing tones, big bushy hair, vivid landscapes and “happy little trees.”\u003c/p>\n\u003cp>“It’s almost spiritual,” Cliff Nolan, a painter from nearby Manassas, Va., says about being in the class at the \u003ca href=\"http://www.franklinparkartscenter.org/\">Franklin Park Arts Center\u003c/a>. In a room lined with 24 original Ross paintings, Nolan pulls a laminated photo book out of his pocket. It’s filled with pictures of paintings inspired by Ross’ work, using the wet-on-wet painting technique he used.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Bob is just wonderful,” Nolan says with a sigh. “Or, was.”\u003c/p>\n\u003cp>Ross died from cancer in 1995 at age 52. But the popularity of this quirky pop icon continues to soar, among fans old and new.\u003c/p>\n\u003cp>\u003cem>The Joy of Painting\u003c/em> is broadcast every day on some PBS stations across the country and is available on-demand to millions of viewers on Netflix and YouTube. There are Bob Ross bobbleheads, board games, underwear and coffee mugs. The Smithsonian’s National Museum Of American History recently acquired four of his paintings for their permanent collection. And Ross—a throwback to the pre-Internet era—has a surprisingly huge following \u003ca href=\"https://www.twitch.tv/bobross\">on Twitch\u003c/a>, the streaming platform best known for video games, where fans can comment in real-time while he paints.\u003c/p>\n\u003cp>Ross left behind thousands of paintings, which \u003ca href=\"https://www.nytimes.com/2019/07/12/arts/bob-ross-paintings-mystery.html\">rarely go on display\u003c/a>. So when the current solo exhibition opened at the Franklin Park Arts Center, fans flocked to the small dairy-barn-turned-gallery.\u003c/p>\n\u003cp>Elizabeth Bracey, the center’s director, worked with Bob Ross, Inc., to put the show together. Based nearby in Herndon, Va., the company—which Ross started with his business partners Annette and Walter Kowalski—owns most of Ross’ paintings.\u003c/p>\n\u003cp>“We knew it was going to be popular, but not like this,” Bracey says.\u003c/p>\n\u003cfigure id=\"attachment_13867854\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867854\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-800x293.png\" alt='Left: Cliff Nolan holds a book of his own paintings that he has done in the \"Bob Ross\" style. Right: Sara Monteleone, wears a Bob Ross wig while she follows along with Sandra Hill, a Certified Ross Instructor, during the recent painting class.' width=\"800\" height=\"293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-800x293.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-160x59.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-768x282.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-1020x374.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-1200x440.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85.png 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: Cliff Nolan holds a book of his own paintings that he has done in the “Bob Ross” style. Right: Sara Monteleone, wears a Bob Ross wig while she follows along with Sandra Hill, a Certified Ross Instructor, during the recent painting class. \u003ccite>(Mhari Shaw/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thousands of people have visited the show since it opened last month. Bracey says she’s expecting at least 15,000 by the time the exhibition closes on Oct. 15. That’s half the number of visitors the art center usually sees in an entire year. It’s become a kind of unexpected pilgrimage for fans, from all over and all walks of life.\u003c/p>\n\u003cp>“Little kids starting at like 4, all the way to grandmas and grandpas and every ethnicity, you know, every state. It’s everybody,” Bracey says. “Everybody loves him, [he] resonates with [everybody] in some way.”\u003c/p>\n\u003cp>The show is a wonderland of colorful sunsets, forests tucked into snowy mountains, and waves crashing against rocky cliffs, with paintings named things like \u003cem>Sunset Aglow\u003c/em>, \u003cem>Home Before Nightfall\u003c/em> and \u003cem>Daisies at Dawn\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13867862\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867862\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-800x557.jpg\" alt=\"'Happy Accidents: An Exhibit of Bob Ross Paintings' will be on display the Franklin Parks Art Center, in Purcellville, Va., through Oct. 15.\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Happy Accidents: An Exhibit of Bob Ross Paintings’ will be on display the Franklin Parks Art Center, in Purcellville, Va., through Oct. 15. \u003ccite>(Mhari Shaw/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I like to think that there are places like this that still exist in the world, that don’t have cell phone towers and high rises and things like that. It just seems like such an amazing magical place,” Bracey says, staring at a painting called \u003ca href=\"https://www.youtube.com/watch?v=hEyR2FDp-00\">Splendor of Autumn\u003cem>.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>There’s a lake with towering birch trees in the foreground, and bold pops of fall foliage framing the canvas. And hung next to it, is a quote, something he said during the episode while he was painting it: “If painting does nothing else for you, it should make you happy.”\u003c/p>\n\u003cp>The whole exhibition is like this, the paintings and quotes sharing the spotlight, side by side. Even when he was alive, Ross’ draw wasn’t just his paintings, it was also the way he talked.\u003c/p>\n\u003cblockquote>\u003cp>Maybe in our world, there lives a big old cloud right up here. He just sort of floats around and has a good time all day. You know, clouds are one of the freest things in nature I believe. So, just let them go. Shoot, just let them have fun.\u003c/p>\n\u003cp>— \u003ca href=\"https://www.youtube.com/watch?v=gMEZp47VKC0\">The Joy Of Painting, Season 26, Episode 12 “Sunset Aglow”\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote>\u003cp>Any person who has ever wanted to put a dream on canvas, you can do it. You don’t have to go to school half your life, you don’t have to know Leonardo da Vinci as a personal friend.\u003c/p>\n\u003cp>—\u003ca href=\"https://www.youtube.com/watch?v=Tnb2cXKKuWM\"> The Joy Of Painting, Season 29, Episode 7 “Cypress Creek”\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Bob Ross made viewers want to lean in closer to the screen so they didn’t miss anything. He could be wonderfully weird and deeply emotional.\u003c/p>\n\u003cp>Jerry Saltz, senior art critic at \u003cem>New York\u003c/em> magazine, says that was one of the things that made Ross great. “Once you set eyes on that guy you’re kinda locked in for 25 minutes,” he says, referring to the length of an episode. “It’s you alone in your dorky studio in your apartment, wearing an old shirt, and just working.”\u003c/p>\n\u003cp>Ross captivated and connected with audiences, but he did much more.\u003c/p>\n\u003cp>“People think that he’s just kitsch and cute and a little Buddha and fun happy little accidents … but Bob Ross breaks down painting into its component parts,” he says.\u003c/p>\n\u003cp>There was no irony, and the closest thing to a gimmick was \u003ca href=\"https://www.youtube.com/watch?v=xpNrn0_97LM\">a pet squirrel named Peapod\u003c/a> he would occasionally bottle feed on screen. Instead, he demystified the process for viewers in each episode, creating one landscape, from start to finish: a blank canvas transformed before their eyes.\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/1koOWsj70d4'\n title='//www.youtube.com/embed/1koOWsj70d4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“And then he adds a beautiful bit at the end: You can do this, too,” Saltz says. “You have to banish self-doubt. And at the end of the session, it’s done. And he’s basically saying, ‘And then we’ll do another happy little accident tomorrow.'”\u003c/p>\n\u003cp>Ross didn’t want people to buy his paintings—in fact, he didn’t sell paintings once he started his television show—he wanted viewers to create their own. As long as they just tried to paint, Ross said, it will be right, no matter what.\u003c/p>\n\u003cp>That Bob Ross attitude lives on at the painting class in Purcellville, where the landscapes lining the walls practically whisper encouragement to the budding artists.\u003c/p>\n\u003cp>The students all have palettes set out with Ross’ signature colors—titanium white, alizarin crimson, midnight black. Three women in the back of the class are wearing big, bushy Bob Ross-style wigs. The soothing sound of paintbrush on canvas, another J\u003cem>oy of Painting\u003c/em> signature, fills the room.\u003c/p>\n\u003cp>Susan Rossi sits at the front of the class. She flew all the way from Texas to attend. She’s fussing with the row of trees along the lakeshore in her painting, dabbing them with a look of concern.\u003c/p>\n\u003cp>“Oh no, no don’t you worry,” Hill, the instructor, says, coming up behind her. “There’s no mistakes here, we can fix that. These are happy accidents!”\u003c/p>\n\u003cp>Rossi, 70, started learning to paint from Ross’ TV show after a stroke four years ago left her partially paralyzed and unable to work. \u003cem>The Joy of Painting \u003c/em>had a profound effect on her.\u003c/p>\n\u003cp>“It brought something out of me I didn’t know was in there,” Rossi says with a smile. “You think, wow, no limits! You can move clouds, you can change mountains. I guess that’s what you learn from Bob Ross. Don’t put limits on your life.”\u003c/p>\n\u003cfigure id=\"attachment_13867848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867848\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-800x600.jpg\" alt=\"Susan Rossi traveled from Texas to participate in the class and see the exhibit. Rossi has used Bob Ross as a type of therapy after suffering from a stroke four years ago.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Susan Rossi traveled from Texas to participate in the class and see the exhibit. Rossi has used Bob Ross as a type of therapy after suffering from a stroke four years ago. \u003ccite>(Mhari Shaw/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ross himself was surprisingly philosophical during the show, often casually whispering big ideas to viewers before returning to his instruction. These sprinkles of wisdom have lived on \u003ca href=\"https://www.amazon.com/Happy-Little-Accidents-Wisdom-Ross/dp/0762462787\">in quote books\u003c/a> and internet memes.\u003c/p>\n\u003cp>One that pops up often is from an episode that Ross taped in 1992, after his wife, Jane, died from cancer. In the episode, he’s painting a scene with a lake resting between two majestic mountains. He loads his brush up with a dark mixture of paint and starts to dab it all across the bottom of the mountains.\u003c/p>\n\u003cp>Don’t worry, he tells viewers, I’m only adding this dark for contrast.\u003c/p>\n\u003cp>“Gotta have dark. Gotta have opposites, dark and light, light and dark, continually in painting. If you have light on light, you have nothing. If you have dark on dark, you basically have nothing,” he practically whispers, his brush tapping rhythmically on the canvas. “It’s like in life. Gotta have a little sadness once in a while so you know when the good times come.”\u003c/p>\n\u003cp>He looks at the camera and quietly says, “I’m waiting on the good times now.”\u003c/p>\n\u003cp>Then he turns back to his painting, instructing viewers on the next step.\u003c/p>\n\u003cp>Maybe what’s made Bob Ross so everlasting is really that simple. He reminds people that the dark is there for a reason, and helps them find the light when they need it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Maureen Pao edited the Web story. Matt Ozug edited the audio story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Lasting+Legacy+Of+Bob+Ross+And+His+Colorful+World+Of+%27Happy+Accidents%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "NPR's Fall TV Preview: 19 Shows to Watch Out For",
"headTitle": "NPR’s Fall TV Preview: 19 Shows to Watch Out For | KQED",
"content": "\u003cp>It’s an old tradition that endures, even amid the year-round deluge of programming brought to us by the age of streaming. It is the fall TV preview.\u003c/p>\n\u003cp>Turns out fall is the perfect time to refocus on television after a summer filled with vacations and outdoor distractions. So our pop culture team collected the coolest TV shows coming your way over the next few months as a guide through the madness. We haven’t seen all of these programs yet, but we’ve learned enough to know they’re worth checking out.\u003c/p>\n\u003cp>Whether you’re excited by an updated Jim Henson classic, the backstory behind a legendary rap group or a continuation of the most beloved graphic novel in comics history, there’s something here for you. Here’s our list of the most interesting shows coming this fall.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Dark Crystal: Age of Resistance\u003c/strong>\u003c/em>\u003cstrong> (Netflix)\u003c/strong> Friday, Aug. 30\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zSV42j8lccg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perhaps the most notable thing about this 10-episode series, a prequel to Jim Henson and Frank Oz’s 1982 fantasy film, is what it isn’t. It isn’t a digitally animated CGI spectacular; it relies instead on practical, painstakingly constructed animatronics and old-school hand-puppetry. (Director Louis Leterrier notes that there will be some green-screen work, but the series aesthetic is definitively one of puppets over pixels.) Artist Brian Froud is once again on the production design, so the Skeksis species, and its scuttling crablike enforcers, will be back to supply a new generation with the same nightmare-fuel mixture that kept their parents and grandparents up. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Wu-Tang: An American Saga\u003c/strong>\u003c/em>\u003cstrong> (Hulu) \u003c/strong>Wednesday, Sept. 4\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w37TQZwnjXY\u003c/p>\n\u003cp>This 10-episode limited series unfolds as a taut, suspenseful take on the formation of the legendary rap group Wu-Tang Clan, as the members choose music over a life in competing drug gangs in New York during the 1990s crack epidemic. One reason it’s so dramatic: The story is fictionalized for maximum effect. Viewers see The RZA (aka Bobby Diggs, played by \u003cem>Moonlight\u003c/em>‘s Ashton Sanders), inspired by the murder of a friend, gathering compatriots like Method Man, Ol’ Dirty Bastard, GZA and Ghostface Killah into a group that stacks beats instead of bodies—revolutionizing the rap world in the process. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Undone \u003c/strong>\u003c/em>\u003cstrong>(Amazon)\u003c/strong> Friday, Sept. 13\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6uWCNHQgfnc\u003c/p>\n\u003cp>\u003cem>BoJack Horseman\u003c/em> alums Kate Purdy and Raphael Bob-Waksberg have created one of the most ambitious new series on TV, exploring the thin line between mental illness and mysticism in a visually stunning story. Using rotoscope animation, filmed performances by flesh-and-blood actors are traced over and transformed into textured visuals. (Think movies like \u003cem>A Scanner Darkly\u003c/em> or \u003cem>Tower\u003c/em>.) Rosa Salazar shines as Alma, a depressed, sardonic 20-something who begins seeing visions of her late father (\u003cem>Better Call Saul\u003c/em>‘s Bob Odenkirk) after a near-fatal car accident. Purdy says she based Alma’s circumstances on her own struggles with mental illness; her series explores race, culture, gender, family and sanity in a singular way. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Country Music \u003c/strong>\u003c/em>\u003cstrong>(PBS) \u003c/strong>Sunday, Sept. 15\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5fZ_S_wlx0Q\u003c/p>\n\u003cp>It’s surprising that Ken Burns—a master of the authoritative American documentary—has taken this long to chronicle the rise of country music, after shaking the world with gigantic projects on jazz, baseball and the Vietnam War. But now he’s on the case with a 16-hour opus, weaving talks with 80 musicians into a surprisingly emotional and myth-busting look at a core American art form. Sure, you’ll see Dolly and Merle and Willie. But you’ll also hear about the music’s early days in southern Appalachia, its life in the honky-tonks of California and why Nashville became the industry’s epicenter. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>American Horror Story: 1984 \u003c/strong>\u003c/em>\u003cstrong>(FX) \u003c/strong>Wednesday, Sept. 18\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9wcEiFIM3mM\u003c/p>\n\u003cp>Anthology series are by nature uneven, season to season, and Ryan Murphy’s \u003cem>American Horror Story\u003c/em> is no exception. Frankly, even individual \u003cem>AHS\u003c/em> seasons have a tendency to fly off the rails in their back halves, but for some of us, that’s a feature, not a bug. This time out, the setting/genre is 1980s slasher flick, as teen summer campers are terrorized physically by a knife-wielding maniac and aesthetically by headbands and hair volumizer. \u003cem>AHS\u003c/em> alums Billie Lourd, Emma Roberts, Cody Fern and John Carroll Lynch will be joined by fresh blood in the form of freestyle skier Gus Kenworthy, \u003cem>Glee\u003c/em>‘s Matthew Morrison and \u003cem>Pose\u003c/em>‘s Angelica Ross. This season, camp isn’t just the show’s sensibility: It’s the setting. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Between Two Ferns: The Movie \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\u003c/strong> Friday, Sept. 20\u003c/p>\n\u003cp>Not a lot of details have been forthcoming about this feature-length adaptation of\u003ca href=\"https://www.funnyordie.com/between-two-ferns\"> a Web series\u003c/a> that features a tetchy, bored Zach Galifianakis interviewing A-list celebrities on a D-list talk show set. But that’s fine. The formula is simple, and the reported guests—including Keanu Reeves, Peter Dinklage and David Letterman—are solid. Plus, the film will be written and directed (with Galifianakis) by Scott Aukerman, who co-created the viral Web series. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Mixed-ish\u003c/strong>\u003c/em>\u003cstrong> (ABC)\u003c/strong> Tuesday, Sept. 24\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tv0C2yWFcWM\u003c/p>\n\u003cp>Kudos to \u003cem>Black-ish\u003c/em> creator Kenya Barris and star Tracee Ellis Ross for finally realizing there is a sitcom’s worth of entertainment in the backstory of Ross’ character, matriarch Rainbow Johnson. \u003cem>Mixed-ish\u003c/em> picks up in the 1980s, when ‘Bow was a tween and federal authorities shut down the commune where she, her siblings, her white father and her black mother were living. The result is a sidesplitting fish-out-of-water story narrated by Ross, \u003cem>Wonder Years\u003c/em>-style—a look back at her struggle to fit into a mainstream school at a time when biracial children weren’t particularly common or understood. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Emergence \u003c/strong>\u003c/em>\u003cstrong>(ABC)\u003c/strong> Tuesday, Sept. 24\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aAD2deAqxCE\u003c/p>\n\u003cp>\u003cem>Fargo\u003c/em> TV series alum Allison Tolman shines as another plucky police officer; this time, she’s Jo Evans, a recently-divorced police chief who shelters a mysterious young girl who survives a plane crash without injury. As a succession of strange types show up trying to grab the kid (who can’t remember her past or the accident, of course), I’m more interested in Clancy Brown, who plays Evans’ crusty dad, and \u003cem>Scrubs\u003c/em> alum Donald Faison, who impresses as her sympathetic ex-husband. Can this ragtag group figure out what’s going on before it’s too late? — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Carol’s Second Act\u003c/strong>\u003c/em>\u003cstrong> (CBS)\u003c/strong> Thursday, Sept. 26\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6oy1USJR348\u003c/p>\n\u003cp>Patricia Heaton (\u003cem>The Middle\u003c/em>) stars as Carol, a woman who decides to become a doctor after she has raised her kids. Heaton is a sitcom staple, but what will also sell the show to keen-eyed comedy enthusiasts is that it comes from creators Sarah Haskins and Emily Halpern, who also made the wonderful short-lived series \u003cem>Trophy Wife \u003c/em>and co-wrote the film \u003cem>Booksmart\u003c/em>. They’re about as good as it gets at writing warm, funny, unusual comedy about women, and seeing them with a show on-air again is a heartening sign. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Perfect Harmony\u003c/strong>\u003c/em>\u003cstrong> (NBC)\u003c/strong> Thursday, Sept. 26\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YV7ezBolDug\u003c/p>\n\u003cp>By now, TV fans are used to seeing \u003cem>West Wing\u003c/em> alum Bradley Whitford play smart, self-involved know-it-alls with hearts of gold. But he’s still affecting here as Arthur Cochran, a former Princeton University music professor who decides to help a small-town choir pull together more than their vocal harmonies. Think \u003cem>Pitch Perfect\u003c/em> meets Mr. Chips, as Cochran impatiently coaches these singers—including \u003cem>Pitch Perfect\u003c/em> alum Anna Camp—to better performances onstage and in life. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Politician\u003c/strong>\u003c/em>\u003cstrong> (Netflix) \u003c/strong>Friday, Sept. 27\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6-kdBlzCG7w\u003c/p>\n\u003cp>The first series to emerge from superstar executive producer Ryan Murphy’s megadeal with Netflix centers on a high school kid who is pathologically focused on getting elected class president—because he sees it as the first step in getting elected president of the United States. Along the way, he joins forces with a sickly kid who may not be what she seems and has a secret affair with a hunky, popular guy—who is running against him for class president. Murphy sets this all in an opulent, upper-middle-class environment that feels less like a typical high schooler’s world and more like the setting of a high-end soap opera. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Godfather of Harlem \u003c/strong>\u003c/em>\u003cstrong>(Epix)\u003c/strong> Sunday, Sept. 29\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FV5BNaUZyqA\u003c/p>\n\u003cp>Forest Whitaker is alternatingly empathetic and super-scary as New York gangster Bumpy Johnson, who was determined to free his operations from domination by the Italian mob after he returned from a stint in prison. This is basically an old-fashioned organized crime story but told from the perspective of black gangsters—with the added appeal of Vincent D’Onofrio as Italian boss Vincent Gigante and Nigel Thatch’s spot-on performance as Malcolm X. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watchmen \u003c/strong>\u003c/em>\u003cstrong>(HBO)\u003c/strong> October TBA\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zymgtV99Rko\u003c/p>\n\u003cp>The latest from Damon Lindelof, co-creator of \u003cem>Lost \u003c/em>and \u003cem>The Leftovers\u003c/em>, is a visually stunning show based on the legendary 1986-87 comic books about borderline psychotics in superhero garb, \u003cem>Watchmen\u003c/em>. (This show isn’t related to the 2009 movie adaptation, which had a different ending.) HBO’s show picks up in an alternate 2019; liberal President Robert Redford has been in office since the 1990s, prompting a group of white supremacists to target police in Tulsa, Okla., in the same way\u003ca href=\"https://www.npr.org/sections/codeswitch/2018/05/31/615546965/meet-the-last-surviving-witness-to-the-tulsa-race-riot-of-1921\"> black people were victimized in 1921\u003c/a>. To troll earnest liberalism in today’s Trumpian times, while also continuing one of the most beloved stories in comics history, is a serious gamble. But if anyone can carve out a new story while confusing culture warriors and avoiding the ire of fanboys (and girls), my money’s on Lindelof. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Batwoman \u003c/strong>\u003c/em>\u003cstrong>(The CW)\u003c/strong> Sunday, Oct. 6\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vrIiPcv4_iY\u003c/p>\n\u003cp>With \u003cem>Arrow\u003c/em> wrapping up with a brief eighth and final season this fall, a dark and broody space will open up in The CW’s superhero schedule. Enter: Ruby Rose’s Batwoman, who first burst into the network’s so-called Arrowverse in a series of crossover episodes in 2018. The premise: Batman has abandoned Gotham, leaving Rose’s Kate Kane to protect its people as Batwoman. The fact that Rose identifies as gender fluid, and the character of Kate Kane is a lesbian, seems a significant step forward in making the various Arrowverse Earths look a bit more like our own. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Back to Life \u003c/strong>\u003c/em>\u003cstrong>(Showtime)\u003c/strong> Sunday, Oct. 6\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2wqrIhZVYSE\u003c/p>\n\u003cp>Got a \u003cem>Fleabag\u003c/em>-shaped hole in your heart? Find yourself hankering for a funny/uncomfortable/quietly devastating tale of a woman attempting to get her life together and failing consistently, albeit with verve and elan? In \u003cem>Back to Life\u003c/em>, Daisy Haggard plays a middle-aged, middle-class woman who returns to her sleepy English coastal town after 18 years in prison for—well, that’s something the series doles out gradually. Her parents put on a brave face, but the local townsfolk aren’t the forgive-and-forget types. Haggard sparkles as a woman striving to ensure that her past choices can be put behind her for good, even as she struggles with how much everything she knew has changed. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Nancy Drew\u003c/strong>\u003c/em>\u003cstrong> (The CW)\u003c/strong> Wednesday, Oct. 9\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qgfNOKoykL4\u003c/p>\n\u003cp>The network that brought back the Archie comics as the moody, soapy teen drama \u003cem>Riverdale \u003c/em>does the most logical thing imaginable, turning next to that most famous literary girl detective, Nancy Drew. Creator Josh Schwartz has a long pedigree in angsty teen TV, going all the way back to his creation of \u003cem>The O.C.\u003c/em> in 2003. And in Nancy Drew, he has an iconic character who solves mysteries and whose streak of independence and sharp mind have always been part of her appeal. It’s a natural fit for TV—you could say she was Veronica Mars before Veronica Mars was. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Modern Love\u003c/strong>\u003c/em>\u003cstrong> (Amazon)\u003c/strong> Friday, Oct. 18\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ROkHJnBOSIs\u003c/p>\n\u003cp>This anthology adaptation of \u003cem>The New York Times \u003c/em>column that often inspires both swooning sighs and exasperated ones boasts an enormously impressive cast: Anne Hathaway, Cristin Milioti, Brandon Victor Dixon, John Slattery, Tina Fey, Dev Patel … it’s a stacked show on-screen. It’s got a solid pedigree off-screen, too: It’s led by John Carney, who made \u003cem>Once \u003c/em>and \u003cem>Sing Street\u003c/em>, both of which are fine examples of translating joy and love to film without shutting out melancholy. Almost all anthology series are uneven, but that means they almost always have high points worth seeking out. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Sid & Judy\u003c/strong>\u003c/em>\u003cstrong> (Showtime) \u003c/strong>Friday, Oct. 18\u003c/p>\n\u003cp>The biopic \u003cem>Judy\u003c/em>, which stars Renée Zellweger as legendary performer Judy Garland, hits theaters three weeks before this documentary airs on Showtime. But where the Zellweger film focuses on the last year of the singer’s life, Stephen Kijak’s documentary examines Garland’s turbulent relationship with her third husband, Sid Luft, who helped engineer the comeback that led to \u003cem>A Star Is Born\u003c/em>. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Slow Burn\u003c/strong>\u003c/em>\u003cstrong> (Epix) \u003c/strong>Sunday, Nov. 24\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Slate’s \u003cem>Slow Burn\u003c/em> is by no means the first podcast to get turned into a television series, and it won’t be the last. But this six-episode TV adaptation of\u003ca href=\"https://slate.com/slow-burn\"> an eight-episode podcast series\u003c/a> will document something specific that we tend to collectively forget about historical events: namely, how haltingly, slowly and frustratingly they play out. This season will tackle the Watergate scandal, which stretched on for two years, only very, very gradually building up enough momentum to topple a president. The best parts of the podcast series focused on colorful if too-little-remembered figures like Martha Mitchell and Sam Ervin; here’s hoping there’s room to squeeze them in. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR%27s+Fall+TV+Preview%3A+19+Shows+To+Watch+Out+For&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Whether they're watching sitcoms, prime-time dramas or something else altogether, our television and pop culture critics present a guide to the new programs and series coming out soon.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s an old tradition that endures, even amid the year-round deluge of programming brought to us by the age of streaming. It is the fall TV preview.\u003c/p>\n\u003cp>Turns out fall is the perfect time to refocus on television after a summer filled with vacations and outdoor distractions. So our pop culture team collected the coolest TV shows coming your way over the next few months as a guide through the madness. We haven’t seen all of these programs yet, but we’ve learned enough to know they’re worth checking out.\u003c/p>\n\u003cp>Whether you’re excited by an updated Jim Henson classic, the backstory behind a legendary rap group or a continuation of the most beloved graphic novel in comics history, there’s something here for you. Here’s our list of the most interesting shows coming this fall.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Dark Crystal: Age of Resistance\u003c/strong>\u003c/em>\u003cstrong> (Netflix)\u003c/strong> Friday, Aug. 30\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zSV42j8lccg'\n title='//www.youtube.com/embed/zSV42j8lccg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps the most notable thing about this 10-episode series, a prequel to Jim Henson and Frank Oz’s 1982 fantasy film, is what it isn’t. It isn’t a digitally animated CGI spectacular; it relies instead on practical, painstakingly constructed animatronics and old-school hand-puppetry. (Director Louis Leterrier notes that there will be some green-screen work, but the series aesthetic is definitively one of puppets over pixels.) Artist Brian Froud is once again on the production design, so the Skeksis species, and its scuttling crablike enforcers, will be back to supply a new generation with the same nightmare-fuel mixture that kept their parents and grandparents up. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Wu-Tang: An American Saga\u003c/strong>\u003c/em>\u003cstrong> (Hulu) \u003c/strong>Wednesday, Sept. 4\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/w37TQZwnjXY'\n title='//www.youtube.com/embed/w37TQZwnjXY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This 10-episode limited series unfolds as a taut, suspenseful take on the formation of the legendary rap group Wu-Tang Clan, as the members choose music over a life in competing drug gangs in New York during the 1990s crack epidemic. One reason it’s so dramatic: The story is fictionalized for maximum effect. Viewers see The RZA (aka Bobby Diggs, played by \u003cem>Moonlight\u003c/em>‘s Ashton Sanders), inspired by the murder of a friend, gathering compatriots like Method Man, Ol’ Dirty Bastard, GZA and Ghostface Killah into a group that stacks beats instead of bodies—revolutionizing the rap world in the process. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Undone \u003c/strong>\u003c/em>\u003cstrong>(Amazon)\u003c/strong> Friday, Sept. 13\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6uWCNHQgfnc'\n title='//www.youtube.com/embed/6uWCNHQgfnc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>BoJack Horseman\u003c/em> alums Kate Purdy and Raphael Bob-Waksberg have created one of the most ambitious new series on TV, exploring the thin line between mental illness and mysticism in a visually stunning story. Using rotoscope animation, filmed performances by flesh-and-blood actors are traced over and transformed into textured visuals. (Think movies like \u003cem>A Scanner Darkly\u003c/em> or \u003cem>Tower\u003c/em>.) Rosa Salazar shines as Alma, a depressed, sardonic 20-something who begins seeing visions of her late father (\u003cem>Better Call Saul\u003c/em>‘s Bob Odenkirk) after a near-fatal car accident. Purdy says she based Alma’s circumstances on her own struggles with mental illness; her series explores race, culture, gender, family and sanity in a singular way. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Country Music \u003c/strong>\u003c/em>\u003cstrong>(PBS) \u003c/strong>Sunday, Sept. 15\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5fZ_S_wlx0Q'\n title='//www.youtube.com/embed/5fZ_S_wlx0Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s surprising that Ken Burns—a master of the authoritative American documentary—has taken this long to chronicle the rise of country music, after shaking the world with gigantic projects on jazz, baseball and the Vietnam War. But now he’s on the case with a 16-hour opus, weaving talks with 80 musicians into a surprisingly emotional and myth-busting look at a core American art form. Sure, you’ll see Dolly and Merle and Willie. But you’ll also hear about the music’s early days in southern Appalachia, its life in the honky-tonks of California and why Nashville became the industry’s epicenter. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>American Horror Story: 1984 \u003c/strong>\u003c/em>\u003cstrong>(FX) \u003c/strong>Wednesday, Sept. 18\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9wcEiFIM3mM'\n title='//www.youtube.com/embed/9wcEiFIM3mM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Anthology series are by nature uneven, season to season, and Ryan Murphy’s \u003cem>American Horror Story\u003c/em> is no exception. Frankly, even individual \u003cem>AHS\u003c/em> seasons have a tendency to fly off the rails in their back halves, but for some of us, that’s a feature, not a bug. This time out, the setting/genre is 1980s slasher flick, as teen summer campers are terrorized physically by a knife-wielding maniac and aesthetically by headbands and hair volumizer. \u003cem>AHS\u003c/em> alums Billie Lourd, Emma Roberts, Cody Fern and John Carroll Lynch will be joined by fresh blood in the form of freestyle skier Gus Kenworthy, \u003cem>Glee\u003c/em>‘s Matthew Morrison and \u003cem>Pose\u003c/em>‘s Angelica Ross. This season, camp isn’t just the show’s sensibility: It’s the setting. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Between Two Ferns: The Movie \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\u003c/strong> Friday, Sept. 20\u003c/p>\n\u003cp>Not a lot of details have been forthcoming about this feature-length adaptation of\u003ca href=\"https://www.funnyordie.com/between-two-ferns\"> a Web series\u003c/a> that features a tetchy, bored Zach Galifianakis interviewing A-list celebrities on a D-list talk show set. But that’s fine. The formula is simple, and the reported guests—including Keanu Reeves, Peter Dinklage and David Letterman—are solid. Plus, the film will be written and directed (with Galifianakis) by Scott Aukerman, who co-created the viral Web series. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Mixed-ish\u003c/strong>\u003c/em>\u003cstrong> (ABC)\u003c/strong> Tuesday, Sept. 24\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Tv0C2yWFcWM'\n title='//www.youtube.com/embed/Tv0C2yWFcWM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kudos to \u003cem>Black-ish\u003c/em> creator Kenya Barris and star Tracee Ellis Ross for finally realizing there is a sitcom’s worth of entertainment in the backstory of Ross’ character, matriarch Rainbow Johnson. \u003cem>Mixed-ish\u003c/em> picks up in the 1980s, when ‘Bow was a tween and federal authorities shut down the commune where she, her siblings, her white father and her black mother were living. The result is a sidesplitting fish-out-of-water story narrated by Ross, \u003cem>Wonder Years\u003c/em>-style—a look back at her struggle to fit into a mainstream school at a time when biracial children weren’t particularly common or understood. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Emergence \u003c/strong>\u003c/em>\u003cstrong>(ABC)\u003c/strong> Tuesday, Sept. 24\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aAD2deAqxCE'\n title='//www.youtube.com/embed/aAD2deAqxCE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Fargo\u003c/em> TV series alum Allison Tolman shines as another plucky police officer; this time, she’s Jo Evans, a recently-divorced police chief who shelters a mysterious young girl who survives a plane crash without injury. As a succession of strange types show up trying to grab the kid (who can’t remember her past or the accident, of course), I’m more interested in Clancy Brown, who plays Evans’ crusty dad, and \u003cem>Scrubs\u003c/em> alum Donald Faison, who impresses as her sympathetic ex-husband. Can this ragtag group figure out what’s going on before it’s too late? — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Carol’s Second Act\u003c/strong>\u003c/em>\u003cstrong> (CBS)\u003c/strong> Thursday, Sept. 26\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6oy1USJR348'\n title='//www.youtube.com/embed/6oy1USJR348'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Patricia Heaton (\u003cem>The Middle\u003c/em>) stars as Carol, a woman who decides to become a doctor after she has raised her kids. Heaton is a sitcom staple, but what will also sell the show to keen-eyed comedy enthusiasts is that it comes from creators Sarah Haskins and Emily Halpern, who also made the wonderful short-lived series \u003cem>Trophy Wife \u003c/em>and co-wrote the film \u003cem>Booksmart\u003c/em>. They’re about as good as it gets at writing warm, funny, unusual comedy about women, and seeing them with a show on-air again is a heartening sign. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Perfect Harmony\u003c/strong>\u003c/em>\u003cstrong> (NBC)\u003c/strong> Thursday, Sept. 26\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YV7ezBolDug'\n title='//www.youtube.com/embed/YV7ezBolDug'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By now, TV fans are used to seeing \u003cem>West Wing\u003c/em> alum Bradley Whitford play smart, self-involved know-it-alls with hearts of gold. But he’s still affecting here as Arthur Cochran, a former Princeton University music professor who decides to help a small-town choir pull together more than their vocal harmonies. Think \u003cem>Pitch Perfect\u003c/em> meets Mr. Chips, as Cochran impatiently coaches these singers—including \u003cem>Pitch Perfect\u003c/em> alum Anna Camp—to better performances onstage and in life. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Politician\u003c/strong>\u003c/em>\u003cstrong> (Netflix) \u003c/strong>Friday, Sept. 27\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6-kdBlzCG7w'\n title='//www.youtube.com/embed/6-kdBlzCG7w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first series to emerge from superstar executive producer Ryan Murphy’s megadeal with Netflix centers on a high school kid who is pathologically focused on getting elected class president—because he sees it as the first step in getting elected president of the United States. Along the way, he joins forces with a sickly kid who may not be what she seems and has a secret affair with a hunky, popular guy—who is running against him for class president. Murphy sets this all in an opulent, upper-middle-class environment that feels less like a typical high schooler’s world and more like the setting of a high-end soap opera. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Godfather of Harlem \u003c/strong>\u003c/em>\u003cstrong>(Epix)\u003c/strong> Sunday, Sept. 29\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FV5BNaUZyqA'\n title='//www.youtube.com/embed/FV5BNaUZyqA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Forest Whitaker is alternatingly empathetic and super-scary as New York gangster Bumpy Johnson, who was determined to free his operations from domination by the Italian mob after he returned from a stint in prison. This is basically an old-fashioned organized crime story but told from the perspective of black gangsters—with the added appeal of Vincent D’Onofrio as Italian boss Vincent Gigante and Nigel Thatch’s spot-on performance as Malcolm X. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watchmen \u003c/strong>\u003c/em>\u003cstrong>(HBO)\u003c/strong> October TBA\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zymgtV99Rko'\n title='//www.youtube.com/embed/zymgtV99Rko'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The latest from Damon Lindelof, co-creator of \u003cem>Lost \u003c/em>and \u003cem>The Leftovers\u003c/em>, is a visually stunning show based on the legendary 1986-87 comic books about borderline psychotics in superhero garb, \u003cem>Watchmen\u003c/em>. (This show isn’t related to the 2009 movie adaptation, which had a different ending.) HBO’s show picks up in an alternate 2019; liberal President Robert Redford has been in office since the 1990s, prompting a group of white supremacists to target police in Tulsa, Okla., in the same way\u003ca href=\"https://www.npr.org/sections/codeswitch/2018/05/31/615546965/meet-the-last-surviving-witness-to-the-tulsa-race-riot-of-1921\"> black people were victimized in 1921\u003c/a>. To troll earnest liberalism in today’s Trumpian times, while also continuing one of the most beloved stories in comics history, is a serious gamble. But if anyone can carve out a new story while confusing culture warriors and avoiding the ire of fanboys (and girls), my money’s on Lindelof. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Batwoman \u003c/strong>\u003c/em>\u003cstrong>(The CW)\u003c/strong> Sunday, Oct. 6\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vrIiPcv4_iY'\n title='//www.youtube.com/embed/vrIiPcv4_iY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With \u003cem>Arrow\u003c/em> wrapping up with a brief eighth and final season this fall, a dark and broody space will open up in The CW’s superhero schedule. Enter: Ruby Rose’s Batwoman, who first burst into the network’s so-called Arrowverse in a series of crossover episodes in 2018. The premise: Batman has abandoned Gotham, leaving Rose’s Kate Kane to protect its people as Batwoman. The fact that Rose identifies as gender fluid, and the character of Kate Kane is a lesbian, seems a significant step forward in making the various Arrowverse Earths look a bit more like our own. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Back to Life \u003c/strong>\u003c/em>\u003cstrong>(Showtime)\u003c/strong> Sunday, Oct. 6\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2wqrIhZVYSE'\n title='//www.youtube.com/embed/2wqrIhZVYSE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Got a \u003cem>Fleabag\u003c/em>-shaped hole in your heart? Find yourself hankering for a funny/uncomfortable/quietly devastating tale of a woman attempting to get her life together and failing consistently, albeit with verve and elan? In \u003cem>Back to Life\u003c/em>, Daisy Haggard plays a middle-aged, middle-class woman who returns to her sleepy English coastal town after 18 years in prison for—well, that’s something the series doles out gradually. Her parents put on a brave face, but the local townsfolk aren’t the forgive-and-forget types. Haggard sparkles as a woman striving to ensure that her past choices can be put behind her for good, even as she struggles with how much everything she knew has changed. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Nancy Drew\u003c/strong>\u003c/em>\u003cstrong> (The CW)\u003c/strong> Wednesday, Oct. 9\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qgfNOKoykL4'\n title='//www.youtube.com/embed/qgfNOKoykL4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The network that brought back the Archie comics as the moody, soapy teen drama \u003cem>Riverdale \u003c/em>does the most logical thing imaginable, turning next to that most famous literary girl detective, Nancy Drew. Creator Josh Schwartz has a long pedigree in angsty teen TV, going all the way back to his creation of \u003cem>The O.C.\u003c/em> in 2003. And in Nancy Drew, he has an iconic character who solves mysteries and whose streak of independence and sharp mind have always been part of her appeal. It’s a natural fit for TV—you could say she was Veronica Mars before Veronica Mars was. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Modern Love\u003c/strong>\u003c/em>\u003cstrong> (Amazon)\u003c/strong> Friday, Oct. 18\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ROkHJnBOSIs'\n title='//www.youtube.com/embed/ROkHJnBOSIs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This anthology adaptation of \u003cem>The New York Times \u003c/em>column that often inspires both swooning sighs and exasperated ones boasts an enormously impressive cast: Anne Hathaway, Cristin Milioti, Brandon Victor Dixon, John Slattery, Tina Fey, Dev Patel … it’s a stacked show on-screen. It’s got a solid pedigree off-screen, too: It’s led by John Carney, who made \u003cem>Once \u003c/em>and \u003cem>Sing Street\u003c/em>, both of which are fine examples of translating joy and love to film without shutting out melancholy. Almost all anthology series are uneven, but that means they almost always have high points worth seeking out. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Sid & Judy\u003c/strong>\u003c/em>\u003cstrong> (Showtime) \u003c/strong>Friday, Oct. 18\u003c/p>\n\u003cp>The biopic \u003cem>Judy\u003c/em>, which stars Renée Zellweger as legendary performer Judy Garland, hits theaters three weeks before this documentary airs on Showtime. But where the Zellweger film focuses on the last year of the singer’s life, Stephen Kijak’s documentary examines Garland’s turbulent relationship with her third husband, Sid Luft, who helped engineer the comeback that led to \u003cem>A Star Is Born\u003c/em>. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Slow Burn\u003c/strong>\u003c/em>\u003cstrong> (Epix) \u003c/strong>Sunday, Nov. 24\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Slate’s \u003cem>Slow Burn\u003c/em> is by no means the first podcast to get turned into a television series, and it won’t be the last. But this six-episode TV adaptation of\u003ca href=\"https://slate.com/slow-burn\"> an eight-episode podcast series\u003c/a> will document something specific that we tend to collectively forget about historical events: namely, how haltingly, slowly and frustratingly they play out. This season will tackle the Watergate scandal, which stretched on for two years, only very, very gradually building up enough momentum to topple a president. The best parts of the podcast series focused on colorful if too-little-remembered figures like Martha Mitchell and Sam Ervin; here’s hoping there’s room to squeeze them in. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR%27s+Fall+TV+Preview%3A+19+Shows+To+Watch+Out+For&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘Bisbee ’17’ Recalls One City’s Dark Deportation History | KQED",
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"content": "\u003cp>BISBEE, Ariz. (AP) — The darkest, most violent chapter in the history of Bisbee was an open secret for decades in the funky old Arizona copper town 7 miles (11 kilometers) north of the U.S.-Mexico border.\u003c/p>\n\u003cp>But few residents knew the details of how about 1,200 miners, most of them immigrants, were pulled violently from their homes a century ago by a private police force and put on cattle cars for their deportation to a desolate area of New Mexico.\u003c/p>\n\u003cp>The filming of “Bisbee ’17,” a documentary about what happened July 12, 1917, was a history lesson for residents recruited to play historical figures in the production filmed exactly 100 years later that weds documentary and collective performance. It is, at turns, a Western, a musical and a ghost story.\u003c/p>\n\u003cp>https://youtu.be/XSs599e3yZ4\u003c/p>\n\u003cp>The film mixes the town’s past and present, the residents dressed in period clothing but moving through present-day Bisbee. Newly deputized strikebreakers with ancient guns stand in a classroom complete with an overhead projector and modern light figures. “Enjoy the AC while you’ve got it!” a man standing at the front of a modern bus tells residents dressed as miners as they travel to the rail cars for their deportation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After premiering last year at the Sundance Film Festival, “Bisbee ’17” will be nationally broadcast for the first time Monday night on the PBS documentary series POV. In Arizona, it will be shown at 9 p.m.\u003c/p>\n\u003cp>It’s the sixth film for director Robert Greene, filmmaker-in-chief for the Murray Center for Documentary Journalism at the University of Missouri. A previous film “Kate Plays Christine” won a Jury Award for Writing at Sundance 2016. “Owning The Weather,” his first documentary, was screened at the COP15 Climate Change Conference in Copenhagen.\u003c/p>\n\u003cp>Greene said he learned of the town of Bisbee around 15 years ago when he first visited southeastern Arizona to help his then-future mother-in-law fix up an old cabin.\u003c/p>\n\u003cp>“I completely fell in love with the town,” Greene said of the quirky community of old hippies, immigrants, biker mechanics and descendants of miners and company executives. The town today leans to the political left and has an active cultural scene that includes live theatre. It features Victorian-style houses built on hilly terrain, along with other architectural gems. The gaping hole at Bisbee’s edge that was once the Lavender Pit copper mine is a constant reminder the area’s mining history.\u003c/p>\n\u003cp>Greene said he started thinking of ways to make a film about the Bisbee deportation shortly after learning about it. As the 100th anniversary approached two years ago, he said, “we knew it was time.”\u003c/p>\n\u003cp>The documentary tells how the bosses at the Phelps Dodge copper mining operation feared a strike by miners who sympathized with the “Wobblies,” members of the radical Industrial Workers of the World.\u003c/p>\n\u003cfigure id=\"attachment_13861357\" class=\"wp-caption alignleft\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861357\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2.jpeg\" alt=\"Town residents dressed in period costume stand in a modern day classroom in "Bisbee '17," as they re-enact the deputizing of a private police force that broke up a brewing strike at a copper mine on July 12, 1917.\" width=\"1000\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2.jpeg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-768x432.jpeg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Town residents dressed in period costume stand in a modern day classroom in “Bisbee ’17,” as they re-enact the deputizing of a private police force that broke up a brewing strike at a copper mine on July 12, 1917. \u003ccite>(Jarred Alterman/4th Row Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The U.S. had just entered World War I, and company executives worried that foreign-born miners would try to hamper the war effort.\u003c/p>\n\u003cp>Working with mining bosses, the local sheriff hastily deputized about 2,000 strikebreakers to round up about 1,200 miners, mostly immigrants from Mexico and eastern Europe. They were led by gunpoint to the baseball field in the nearby community of Warren, locked inside train cars and shipped off to Hermanas, New Mexico.\u003c/p>\n\u003cp>The narrative emerges through the residents’ personal stories: a woman whose grandfather deported his brother; a former mining company boss who remains convinced the deportation was justified; and Fernando Serrano, 23, whose mother had been deported back to her native Mexico and jailed on drug charges.\u003c/p>\n\u003cp>Viewers watch Serrano undergo a political awakening as he plays the role of a Mexican miner, singing the Spanish-language version of the union anthem “Solidarity Forever” to the tune of the “Battle Hymn of the Republic.”\u003c/p>\n\u003cp>While exorcising the demons of Bisbee’s past, the townspeople make a statement about today’s treatment of marginalized people, the filmmaker said.\u003c/p>\n\u003cp>“You cannot keep from what is happening at the border when you watch the film,” said Greene, referring to the chaos that has erupted along the U.S.-Mexico border as the Trump administration seeks to keep out a wave of asylum-seekers, mostly from Central America.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It echoes other moments in our nation’s history when fear was used to motivate opposition,” he said.\u003c/p>\n\u003cdiv id=\"ntv1097657-0-14501\" class=\"FeedCard WireStory with-image ntv-feed ntv1097657-0-14501 ntvClickOut\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>BISBEE, Ariz. (AP) — The darkest, most violent chapter in the history of Bisbee was an open secret for decades in the funky old Arizona copper town 7 miles (11 kilometers) north of the U.S.-Mexico border.\u003c/p>\n\u003cp>But few residents knew the details of how about 1,200 miners, most of them immigrants, were pulled violently from their homes a century ago by a private police force and put on cattle cars for their deportation to a desolate area of New Mexico.\u003c/p>\n\u003cp>The filming of “Bisbee ’17,” a documentary about what happened July 12, 1917, was a history lesson for residents recruited to play historical figures in the production filmed exactly 100 years later that weds documentary and collective performance. It is, at turns, a Western, a musical and a ghost story.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XSs599e3yZ4'\n title='//www.youtube.com/embed/XSs599e3yZ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film mixes the town’s past and present, the residents dressed in period clothing but moving through present-day Bisbee. Newly deputized strikebreakers with ancient guns stand in a classroom complete with an overhead projector and modern light figures. “Enjoy the AC while you’ve got it!” a man standing at the front of a modern bus tells residents dressed as miners as they travel to the rail cars for their deportation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After premiering last year at the Sundance Film Festival, “Bisbee ’17” will be nationally broadcast for the first time Monday night on the PBS documentary series POV. In Arizona, it will be shown at 9 p.m.\u003c/p>\n\u003cp>It’s the sixth film for director Robert Greene, filmmaker-in-chief for the Murray Center for Documentary Journalism at the University of Missouri. A previous film “Kate Plays Christine” won a Jury Award for Writing at Sundance 2016. “Owning The Weather,” his first documentary, was screened at the COP15 Climate Change Conference in Copenhagen.\u003c/p>\n\u003cp>Greene said he learned of the town of Bisbee around 15 years ago when he first visited southeastern Arizona to help his then-future mother-in-law fix up an old cabin.\u003c/p>\n\u003cp>“I completely fell in love with the town,” Greene said of the quirky community of old hippies, immigrants, biker mechanics and descendants of miners and company executives. The town today leans to the political left and has an active cultural scene that includes live theatre. It features Victorian-style houses built on hilly terrain, along with other architectural gems. The gaping hole at Bisbee’s edge that was once the Lavender Pit copper mine is a constant reminder the area’s mining history.\u003c/p>\n\u003cp>Greene said he started thinking of ways to make a film about the Bisbee deportation shortly after learning about it. As the 100th anniversary approached two years ago, he said, “we knew it was time.”\u003c/p>\n\u003cp>The documentary tells how the bosses at the Phelps Dodge copper mining operation feared a strike by miners who sympathized with the “Wobblies,” members of the radical Industrial Workers of the World.\u003c/p>\n\u003cfigure id=\"attachment_13861357\" class=\"wp-caption alignleft\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861357\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2.jpeg\" alt=\"Town residents dressed in period costume stand in a modern day classroom in "Bisbee '17," as they re-enact the deputizing of a private police force that broke up a brewing strike at a copper mine on July 12, 1917.\" width=\"1000\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2.jpeg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-768x432.jpeg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Town residents dressed in period costume stand in a modern day classroom in “Bisbee ’17,” as they re-enact the deputizing of a private police force that broke up a brewing strike at a copper mine on July 12, 1917. \u003ccite>(Jarred Alterman/4th Row Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The U.S. had just entered World War I, and company executives worried that foreign-born miners would try to hamper the war effort.\u003c/p>\n\u003cp>Working with mining bosses, the local sheriff hastily deputized about 2,000 strikebreakers to round up about 1,200 miners, mostly immigrants from Mexico and eastern Europe. They were led by gunpoint to the baseball field in the nearby community of Warren, locked inside train cars and shipped off to Hermanas, New Mexico.\u003c/p>\n\u003cp>The narrative emerges through the residents’ personal stories: a woman whose grandfather deported his brother; a former mining company boss who remains convinced the deportation was justified; and Fernando Serrano, 23, whose mother had been deported back to her native Mexico and jailed on drug charges.\u003c/p>\n\u003cp>Viewers watch Serrano undergo a political awakening as he plays the role of a Mexican miner, singing the Spanish-language version of the union anthem “Solidarity Forever” to the tune of the “Battle Hymn of the Republic.”\u003c/p>\n\u003cp>While exorcising the demons of Bisbee’s past, the townspeople make a statement about today’s treatment of marginalized people, the filmmaker said.\u003c/p>\n\u003cp>“You cannot keep from what is happening at the border when you watch the film,” said Greene, referring to the chaos that has erupted along the U.S.-Mexico border as the Trump administration seeks to keep out a wave of asylum-seekers, mostly from Central America.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It echoes other moments in our nation’s history when fear was used to motivate opposition,” he said.\u003c/p>\n\u003cdiv id=\"ntv1097657-0-14501\" class=\"FeedCard WireStory with-image ntv-feed ntv1097657-0-14501 ntvClickOut\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Alaska Native Girl Leads Animated Kids TV Show in U.S. First",
"headTitle": "Alaska Native Girl Leads Animated Kids TV Show in U.S. First | KQED",
"content": "\u003cp>Princess Daazhraii Johnson grew up eating dried salmon and moose-head soup — foods labeled weird by other kids who had no understanding of her culture and traditions.\u003c/p>\n\u003cp>Now the Fairbanks woman and other Alaska Natives are presenting their world to a general audience with “Molly of Denali,” the nation’s first-ever children’s series featuring indigenous leads.\u003c/p>\n\u003cp>The animated show, which premieres July 15 on PBS Kids, highlights the adventures of a 10-year-old Athabascan girl, Molly Mabray. Her family owns the Denali Trading Post in the fictitious community of Qyah, whose residents are both Native and non-Native.\u003c/p>\n\u003cp>“We have an opportunity with this show, with ‘Molly of Denali,’ to inform and to show us in a positive and respectful light,” says Johnson, creative producer of the series and a member of an Athabascan group, Neets’aii Gwich’in.\u003c/p>\n\u003cp>Her family has roots in Arctic Village, Alaska, but she grew up all over the state, she says, including summers spent with her grandmother in the Gwich’in village of Fort Yukon.\u003c/p>\n\u003cp>Native Americans voice the indigenous characters in the series, which is co-produced by Boston-based WGBH and animation partner Atomic Cartoons in collaboration with Alaska Native advisers and scriptwriters.\u003c/p>\n\u003cp>Molly is voiced by 14-year-old Sovereign Bill of Auburn, Washington. Bill, who auditioned for the role after hearing about it through a Seattle-based Native youth theater group, is a member of the Muckleshoot Indian tribe in Washington and the T’ak Dein Taan clan of the Tlingit tribe from the southeast Alaska community of Hoonah.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"'Molly of Denali,' about an Athabascan girl in Alaska, premieres on PBS Kids\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/oXTjRliNcEA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Bill said her mother was deeply touched by one of the stories in the hourlong premiere: a look at Molly’s grandfather, who left his traditional drum with a friend way back in his youth. Molly goes on to find the friend and drum in another community, using clues in an old photo of her grandfather and his friend to search the internet.\u003c/p>\n\u003cp>It turns out the grandfather had given up singing along with the drum after he was sent away — as scores of Native children once were — to boarding school, where students were prohibited from practicing their tribal songs amid language suppression efforts. The story ends with the grandfather reconnecting with those cherished traditions.\u003c/p>\n\u003cfigure id=\"attachment_13860892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13860892\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/800-molly-pbs-2.jpeg\" alt='This image released by PBS shows characters Molly, voiced by Sovereign Bill, left, and her mother, voiced by Jules Koostachin in a scene from the animated series \"Molly of Denali.\" The animated show, which highlights the adventures of a 10-year-old Athabascan girl, Molly Mabray, premieres July 15 on PBS Kids. ' width=\"800\" height=\"381\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-molly-pbs-2.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-molly-pbs-2-160x76.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-molly-pbs-2-768x366.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This image released by PBS shows characters Molly, voiced by Sovereign Bill, left, and her mother, voiced by Jules Koostachin in a scene from the animated series “Molly of Denali.” The animated show, which highlights the adventures of a 10-year-old Athabascan girl, Molly Mabray, premieres July 15 on PBS Kids. \u003ccite>(PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bill said her maternal grandmother also had been sent away to boarding school. Given her family’s background, Bill’s mother was nearly brought to tears because of the story’s “good message,” the teen said.\u003c/p>\n\u003cp>“It’s able to pass on that message through a kind and loving and kid-friendly way,” she said. “But it’s still teaching and it’s still giving those important values.”\u003c/p>\n\u003cp>As for Johnson’s childhood food favorites, dried fish makes an appearance in the show. What about moose-head soup? “Not yet,” Johnson says with a laugh.\u003c/p>\n\u003cp>Following the longer premiere, the 30-minute show will run mornings seven days a week, according to WGBH executive producer Dorothea Gillim. PBS ordered 38 half-hour episodes besides the premiere, with 13 episodes set for the first rotation.\u003c/p>\n\u003cp>Each episode also includes a short video featuring real Alaska Native children living life in a vast state populated by multiple Native groups with their own diverse cultures and languages.\u003c/p>\n\u003cp>Gillim said she long wanted to do a show featuring a store that’s a social center for locals, like a local store of the Rochester, New York-based Wegmans grocery chain was for her growing up in that city. And WGBH co-creator Kathy Waugh always wanted to do one on an outdoorsy girl. The store became a trading post when the creators decided to place it in Alaska after hearing that then-President Barack Obama visited the state in 2015.\u003c/p>\n\u003cp>PBS gave the green light for a pilot on the concept. That prompted the non-Native creators to reach out to indigenous experts in Alaska, creating a team of cultural advisers for the pilot and, ultimately, the series.\u003c/p>\n\u003cp>“We knew immediately that we needed to partner with Alaska Natives to develop it so that it was truly authentic,” Gillim said.\u003c/p>\n\u003cfigure id=\"attachment_13860893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13860893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/800.jpeg\" alt='This image released by PBS shows characters, from right, Molly, voiced by Sovereign Bill, her mother, voiced by Jules Koostachin, and father, voiced by Ron Harris, in a scene from the animated series \"Molly of Denali.\" The animated show, which highlights the adventures of a 10-year-old Athabascan girl, Molly Mabray, premieres July 15 on PBS Kids.' width=\"800\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-160x84.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-768x403.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From right, Molly, voiced by Sovereign Bill, her mother, voiced by Jules Koostachin, and father, voiced by Ron Harris, in a scene from the animated series “Molly of Denali.” \u003ccite>(PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those advisers is Anchorage resident Rochelle Adams, a Gwich’in Athabascan linguist who still lives part-time in the tiny Yukon River village of Beaver in Alaska’s interior, where people continue to live a subsistence lifestyle, hunting for moose and black bear.\u003c/p>\n\u003cp>In 2016, Adams and other advisers met with Gillim for two days in Fairbanks in what Adams describes as an intensive time fleshing out the characters and their community. Adams said she hopes the series educates the world amid so many misconceptions about the state and Alaska Natives.\u003c/p>\n\u003cp>Each episode contains two stories introducing children to various cultures, people and places through Molly, her dog Suki, her Native friend Tooey and African-American friend Trini, whose family moved to Alaska from Texas. To reflect the community’s fictitious location near Denali, North America’s tallest mountain, Molly’s family is Gwich’in, Koyukon and Dena’ina — three Athabascan groups among 11 with ties to the region, Adams said.\u003c/p>\n\u003cp>That level of storyline attention is a long way from Adams’ childhood when she never saw anyone like her or her family depicted in pop culture.\u003c/p>\n\u003cp>“All I saw was people that didn’t look like us,” she said. “So working on this has been such an honor for me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Princess Daazhraii Johnson grew up eating dried salmon and moose-head soup — foods labeled weird by other kids who had no understanding of her culture and traditions.\u003c/p>\n\u003cp>Now the Fairbanks woman and other Alaska Natives are presenting their world to a general audience with “Molly of Denali,” the nation’s first-ever children’s series featuring indigenous leads.\u003c/p>\n\u003cp>The animated show, which premieres July 15 on PBS Kids, highlights the adventures of a 10-year-old Athabascan girl, Molly Mabray. Her family owns the Denali Trading Post in the fictitious community of Qyah, whose residents are both Native and non-Native.\u003c/p>\n\u003cp>“We have an opportunity with this show, with ‘Molly of Denali,’ to inform and to show us in a positive and respectful light,” says Johnson, creative producer of the series and a member of an Athabascan group, Neets’aii Gwich’in.\u003c/p>\n\u003cp>Her family has roots in Arctic Village, Alaska, but she grew up all over the state, she says, including summers spent with her grandmother in the Gwich’in village of Fort Yukon.\u003c/p>\n\u003cp>Native Americans voice the indigenous characters in the series, which is co-produced by Boston-based WGBH and animation partner Atomic Cartoons in collaboration with Alaska Native advisers and scriptwriters.\u003c/p>\n\u003cp>Molly is voiced by 14-year-old Sovereign Bill of Auburn, Washington. Bill, who auditioned for the role after hearing about it through a Seattle-based Native youth theater group, is a member of the Muckleshoot Indian tribe in Washington and the T’ak Dein Taan clan of the Tlingit tribe from the southeast Alaska community of Hoonah.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"'Molly of Denali,' about an Athabascan girl in Alaska, premieres on PBS Kids\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/oXTjRliNcEA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Bill said her mother was deeply touched by one of the stories in the hourlong premiere: a look at Molly’s grandfather, who left his traditional drum with a friend way back in his youth. Molly goes on to find the friend and drum in another community, using clues in an old photo of her grandfather and his friend to search the internet.\u003c/p>\n\u003cp>It turns out the grandfather had given up singing along with the drum after he was sent away — as scores of Native children once were — to boarding school, where students were prohibited from practicing their tribal songs amid language suppression efforts. The story ends with the grandfather reconnecting with those cherished traditions.\u003c/p>\n\u003cfigure id=\"attachment_13860892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13860892\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/800-molly-pbs-2.jpeg\" alt='This image released by PBS shows characters Molly, voiced by Sovereign Bill, left, and her mother, voiced by Jules Koostachin in a scene from the animated series \"Molly of Denali.\" The animated show, which highlights the adventures of a 10-year-old Athabascan girl, Molly Mabray, premieres July 15 on PBS Kids. ' width=\"800\" height=\"381\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-molly-pbs-2.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-molly-pbs-2-160x76.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-molly-pbs-2-768x366.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This image released by PBS shows characters Molly, voiced by Sovereign Bill, left, and her mother, voiced by Jules Koostachin in a scene from the animated series “Molly of Denali.” The animated show, which highlights the adventures of a 10-year-old Athabascan girl, Molly Mabray, premieres July 15 on PBS Kids. \u003ccite>(PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bill said her maternal grandmother also had been sent away to boarding school. Given her family’s background, Bill’s mother was nearly brought to tears because of the story’s “good message,” the teen said.\u003c/p>\n\u003cp>“It’s able to pass on that message through a kind and loving and kid-friendly way,” she said. “But it’s still teaching and it’s still giving those important values.”\u003c/p>\n\u003cp>As for Johnson’s childhood food favorites, dried fish makes an appearance in the show. What about moose-head soup? “Not yet,” Johnson says with a laugh.\u003c/p>\n\u003cp>Following the longer premiere, the 30-minute show will run mornings seven days a week, according to WGBH executive producer Dorothea Gillim. PBS ordered 38 half-hour episodes besides the premiere, with 13 episodes set for the first rotation.\u003c/p>\n\u003cp>Each episode also includes a short video featuring real Alaska Native children living life in a vast state populated by multiple Native groups with their own diverse cultures and languages.\u003c/p>\n\u003cp>Gillim said she long wanted to do a show featuring a store that’s a social center for locals, like a local store of the Rochester, New York-based Wegmans grocery chain was for her growing up in that city. And WGBH co-creator Kathy Waugh always wanted to do one on an outdoorsy girl. The store became a trading post when the creators decided to place it in Alaska after hearing that then-President Barack Obama visited the state in 2015.\u003c/p>\n\u003cp>PBS gave the green light for a pilot on the concept. That prompted the non-Native creators to reach out to indigenous experts in Alaska, creating a team of cultural advisers for the pilot and, ultimately, the series.\u003c/p>\n\u003cp>“We knew immediately that we needed to partner with Alaska Natives to develop it so that it was truly authentic,” Gillim said.\u003c/p>\n\u003cfigure id=\"attachment_13860893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13860893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/800.jpeg\" alt='This image released by PBS shows characters, from right, Molly, voiced by Sovereign Bill, her mother, voiced by Jules Koostachin, and father, voiced by Ron Harris, in a scene from the animated series \"Molly of Denali.\" The animated show, which highlights the adventures of a 10-year-old Athabascan girl, Molly Mabray, premieres July 15 on PBS Kids.' width=\"800\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-160x84.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-768x403.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From right, Molly, voiced by Sovereign Bill, her mother, voiced by Jules Koostachin, and father, voiced by Ron Harris, in a scene from the animated series “Molly of Denali.” \u003ccite>(PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those advisers is Anchorage resident Rochelle Adams, a Gwich’in Athabascan linguist who still lives part-time in the tiny Yukon River village of Beaver in Alaska’s interior, where people continue to live a subsistence lifestyle, hunting for moose and black bear.\u003c/p>\n\u003cp>In 2016, Adams and other advisers met with Gillim for two days in Fairbanks in what Adams describes as an intensive time fleshing out the characters and their community. Adams said she hopes the series educates the world amid so many misconceptions about the state and Alaska Natives.\u003c/p>\n\u003cp>Each episode contains two stories introducing children to various cultures, people and places through Molly, her dog Suki, her Native friend Tooey and African-American friend Trini, whose family moved to Alaska from Texas. To reflect the community’s fictitious location near Denali, North America’s tallest mountain, Molly’s family is Gwich’in, Koyukon and Dena’ina — three Athabascan groups among 11 with ties to the region, Adams said.\u003c/p>\n\u003cp>That level of storyline attention is a long way from Adams’ childhood when she never saw anyone like her or her family depicted in pop culture.\u003c/p>\n\u003cp>“All I saw was people that didn’t look like us,” she said. “So working on this has been such an honor for me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>They’re so catchy, you probably still know them by heart: songs like “I Love Trash,” “C is for Cookie,” “People in Your Neighborhood” and “Everybody Wash.”\u003c/p>\n\u003cp>Generations of kids grew up on \u003cem>Sesame Street\u003c/em>‘s beloved songs, a staple of the show from its very beginnings in 1969. Beyond teaching reading and arithmetic, the program instilled values like embracing ourselves (and others) for being different with “Bein’ Green” and following our dreams with “I’d Like to Visit the Moon.” When you think about it, “Rubber Duckie” was even the original self-care anthem before #selfcare became a trending topic.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet-800x263.jpg\" alt=\"\" width=\"800\" height=\"263\" class=\"aligncenter size-medium wp-image-13845799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet-800x263.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet-768x253.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet-1020x336.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Just in time for the nostalgic feels that creep up around the holidays, an extensive catalog of \u003cem>Sesame Street\u003c/em> tunes has been released on streaming platforms everywhere, including newly curated compilations on CD and vinyl. The new project from Warner Music Group is a partnership with educational nonprofit Sesame Workshop, and marks the first time in 20 years that music from \u003cem>Sesame Street\u003c/em> will roll out on a consistent schedule of releases.\u003c/p>\n\u003cp>And yes, those original albums are part of the streaming deal: LPs like \u003cem>Grover Sings the Blues, The Count Counts, Bob Sings, At Home With Ernie and Bert\u003c/em>, and \u003cem>My Name Is Roosevelt Franklin\u003c/em>. Even the 1970s disco album \u003cem>Sesame Street Fever\u003c/em> is part of the streaming deal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sesame Street Records’ latest, \u003cem>It’s Christmas Time!\u003c/em>, is out now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://open.spotify.com/album/186mAnA4b3xlcBr1zsqArw\u003c/p>\n\n",
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"excerpt": "\"I Love Trash,\" \"C is for Cookie,\" \"Bein' Green,\" \"People in Your Neighborhood\"—they're all available again as part of a new campaign.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They’re so catchy, you probably still know them by heart: songs like “I Love Trash,” “C is for Cookie,” “People in Your Neighborhood” and “Everybody Wash.”\u003c/p>\n\u003cp>Generations of kids grew up on \u003cem>Sesame Street\u003c/em>‘s beloved songs, a staple of the show from its very beginnings in 1969. Beyond teaching reading and arithmetic, the program instilled values like embracing ourselves (and others) for being different with “Bein’ Green” and following our dreams with “I’d Like to Visit the Moon.” When you think about it, “Rubber Duckie” was even the original self-care anthem before #selfcare became a trending topic.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet-800x263.jpg\" alt=\"\" width=\"800\" height=\"263\" class=\"aligncenter size-medium wp-image-13845799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet-800x263.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet-768x253.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet-1020x336.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/LPs.SesameStreet.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Just in time for the nostalgic feels that creep up around the holidays, an extensive catalog of \u003cem>Sesame Street\u003c/em> tunes has been released on streaming platforms everywhere, including newly curated compilations on CD and vinyl. The new project from Warner Music Group is a partnership with educational nonprofit Sesame Workshop, and marks the first time in 20 years that music from \u003cem>Sesame Street\u003c/em> will roll out on a consistent schedule of releases.\u003c/p>\n\u003cp>And yes, those original albums are part of the streaming deal: LPs like \u003cem>Grover Sings the Blues, The Count Counts, Bob Sings, At Home With Ernie and Bert\u003c/em>, and \u003cem>My Name Is Roosevelt Franklin\u003c/em>. Even the 1970s disco album \u003cem>Sesame Street Fever\u003c/em> is part of the streaming deal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>PBS announced Tuesday that CNN correspondent and host Christiane Amanpour will host a new late night public affairs program on the channel, permanently replacing disgraced host Charlie Rose’s long-running interview show.\u003c/p>\n\u003cp>The new hour-long show, \u003cem>Amanpour & Company\u003c/em>, will feature interviews with global leaders and reports from correspondents like Michel Martin, the weekend host of NPR’s \u003cem>All Things Considered\u003c/em>; and Hari Sreenivasan, anchor for PBS’s \u003cem>NewsHour Weekend\u003c/em> and host of \u003cem>SciTech Now\u003c/em>. The show is scheduled to begin airing in July.\u003c/p>\n\u003cp>“I am very pleased to be taking this role at PBS, which is a long proven bastion of quality journalism and quality programming,” Amanpour told \u003ca href=\"https://www.hollywoodreporter.com/news/christiane-amanpour-will-lead-new-pbs-late-night-program-1109701\" rel=\"noopener\" target=\"_blank\">the Hollywood Reporter\u003c/a>. “And I am delighted for the opportunity it gives me to speak to Americans about what’s happening in the rest of the world and about how the world views America.”\u003c/p>\n\u003cp>A simulcast of Amanpour’s half-hour global affairs show on CNN, \u003ci>Amanpour\u003c/i>, served as a temporary fill-in for Rose’s PBS show \u003cem>Charlie Rose\u003c/em> after its cancellation in November.\u003c/p>\n\u003cp>First broadcast on PBS in 1991, Rose’s one-on-one interview show ended after eight women and former co-workers of his \u003ca href=\"https://www.washingtonpost.com/investigations/eight-women-say-charlie-rose-sexually-harassed-them--with-nudity-groping-and-lewd-calls/2017/11/20/9b168de8-caec-11e7-8321-481fd63f174d_story.html\" rel=\"noopener\" target=\"_blank\">publicly accused him of sexual harassment\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>PBS president and CEO Paula Kerger released a statement Tuesday citing an “enthusiastic response” to Amanpour’s show since the start of the simulcast, and that her new show will “give viewers a better understanding of our world.” \u003c/p>\n\n",
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"order": 9
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"id": "fresh-air",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"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",
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"source": "American Public Media"
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
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"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>",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"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.",
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"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",
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"order": 11
},
"link": "/podcasts/onourwatch",
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},
"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",
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},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"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"
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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