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"content": "\u003cp>When first spotted, Oppy has been on a roll but has abruptly come to a stop. “Hazard detected,” she alerts her handlers on earth. They get the message some six minutes later, look at the image she’s sent, and send back a few words that get her rolling again: “You are safe to proceed. That’s just your shadow.”\u003c/p>\n\u003cp>Now, forgive me, but this is not even four minutes in, and already I’m hooked.\u003c/p>\n\u003cp>[aside postid='arts_13920799']In 2003, NASA sent two robots — Spirit and Opportunity — to explore the surface of Mars. The solar-powered and semi-autonomous rovers were expected to have a lifespan of about 90 days. But as chronicled with invention and enormous charm in Amazon’s documentary \u003cem>Good Night Oppy\u003c/em>, they continued sending back data and pictures for years.\u003c/p>\n\u003cp>“To say it’s like a child being born would be to trivialize parenthood,” says mission manager Steve Squyres early in the film, “but it feels sorta like that.”\u003c/p>\n\u003cp>Oppy and her twin sister Spirit, look like real-life Wall-Es. They each have solar-panel wings to provide power, metal arms to pick stuff up, and a head that swivels with lenses spaced just like a person’s eyes. They stand 5 feet, 2 inches, and every morning, NASA’s scientists rouse them from an overnight slumber just as they did their human counterparts on manned space flights.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W4t58Yruhds\u003c/p>\n\u003cp>The story of how they were conceived, designed, tested, and sent to Mars fills the first half of \u003cem>Good Night Oppy\u003c/em>, and it’s a suspense-filled ride, crammed with brainstorming, trouble-shooting, deadline-pushing, and frequent nail-biting. Tight scheduling meant engineers needed to invent solutions on the fly when, say, balloons meant to cushion the rovers’ landing burst on impact during tests. And even after launch, there were problems to be overcome. Solar flares corrupted the rovers’ software as they rocketed toward Mars, requiring an unexpected reboot in mid-flight.\u003c/p>\n\u003cp>Still, seven months and 300 million miles later, they get to the Red Planet and the real fun begins. The filmmakers have plenty of footage of NASA folks cheering, fretting, and most of all, explaining. The director also employed the digital wizards from \u003ca href=\"https://www.ilm.com/\">Industrial Light & Magic\u003c/a> to conjure the scenes on Mars that his crew can’t shoot: the rovers, for the first 90 days racing against time as the scientists assume their solar panels will get so dusty they’ll no longer provide power.\u003c/p>\n\u003cp>Then came what appeared a mission-killer of a problem: Whirling mile-high tornados of dust. But to the astonishment of the scientists, when the dust cleared, the solar panels had been scrubbed clean and were as spotless as the day they’d landed.\u003c/p>\n\u003cp>[aside postid='arts_13921052']A new lease on life, repeated again and again, as the rovers spend years exploring terrain NASA never expected them to see. Over time it makes sense that the scientists and engineers would view their charges as almost human, lamenting, say, how dust had corrupted Oppy’s “arthritic” shoulder joints. A technician who’d given birth to twins of her own as she began sending remote signals to drive the twin rovers, noted differences in their capabilities, and personalities. A scientist dealing with her grandmother’s dementia sensed similarities in the way that software memory loss was impeding the rovers’ information gathering.\u003c/p>\n\u003cp>Only natural. They’d birthed the rovers after all, and sent them out to fend for themselves, hoping they’d imparted the skills necessary to stay safe and to thrive. And when their mechanical charges overcome obstacles or exhibit unexpected stamina and pluck, their handlers respond like the proud parents they are.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watching \u003cem>Good Night Oppy\u003c/em>, you’ll likely feel that way, too — proud and fond of these intrepid explorers who may not have found life on Mars, but who ensured, for 15 years at least, that the Red Planet was lively.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+loving+salute+to+NASA%27s+Mars+rover+program+in+%27Good+Night+Oppy%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When first spotted, Oppy has been on a roll but has abruptly come to a stop. “Hazard detected,” she alerts her handlers on earth. They get the message some six minutes later, look at the image she’s sent, and send back a few words that get her rolling again: “You are safe to proceed. That’s just your shadow.”\u003c/p>\n\u003cp>Now, forgive me, but this is not even four minutes in, and already I’m hooked.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 2003, NASA sent two robots — Spirit and Opportunity — to explore the surface of Mars. The solar-powered and semi-autonomous rovers were expected to have a lifespan of about 90 days. But as chronicled with invention and enormous charm in Amazon’s documentary \u003cem>Good Night Oppy\u003c/em>, they continued sending back data and pictures for years.\u003c/p>\n\u003cp>“To say it’s like a child being born would be to trivialize parenthood,” says mission manager Steve Squyres early in the film, “but it feels sorta like that.”\u003c/p>\n\u003cp>Oppy and her twin sister Spirit, look like real-life Wall-Es. They each have solar-panel wings to provide power, metal arms to pick stuff up, and a head that swivels with lenses spaced just like a person’s eyes. They stand 5 feet, 2 inches, and every morning, NASA’s scientists rouse them from an overnight slumber just as they did their human counterparts on manned space flights.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/W4t58Yruhds'\n title='//www.youtube.com/embed/W4t58Yruhds'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The story of how they were conceived, designed, tested, and sent to Mars fills the first half of \u003cem>Good Night Oppy\u003c/em>, and it’s a suspense-filled ride, crammed with brainstorming, trouble-shooting, deadline-pushing, and frequent nail-biting. Tight scheduling meant engineers needed to invent solutions on the fly when, say, balloons meant to cushion the rovers’ landing burst on impact during tests. And even after launch, there were problems to be overcome. Solar flares corrupted the rovers’ software as they rocketed toward Mars, requiring an unexpected reboot in mid-flight.\u003c/p>\n\u003cp>Still, seven months and 300 million miles later, they get to the Red Planet and the real fun begins. The filmmakers have plenty of footage of NASA folks cheering, fretting, and most of all, explaining. The director also employed the digital wizards from \u003ca href=\"https://www.ilm.com/\">Industrial Light & Magic\u003c/a> to conjure the scenes on Mars that his crew can’t shoot: the rovers, for the first 90 days racing against time as the scientists assume their solar panels will get so dusty they’ll no longer provide power.\u003c/p>\n\u003cp>Then came what appeared a mission-killer of a problem: Whirling mile-high tornados of dust. But to the astonishment of the scientists, when the dust cleared, the solar panels had been scrubbed clean and were as spotless as the day they’d landed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A new lease on life, repeated again and again, as the rovers spend years exploring terrain NASA never expected them to see. Over time it makes sense that the scientists and engineers would view their charges as almost human, lamenting, say, how dust had corrupted Oppy’s “arthritic” shoulder joints. A technician who’d given birth to twins of her own as she began sending remote signals to drive the twin rovers, noted differences in their capabilities, and personalities. A scientist dealing with her grandmother’s dementia sensed similarities in the way that software memory loss was impeding the rovers’ information gathering.\u003c/p>\n\u003cp>Only natural. They’d birthed the rovers after all, and sent them out to fend for themselves, hoping they’d imparted the skills necessary to stay safe and to thrive. And when their mechanical charges overcome obstacles or exhibit unexpected stamina and pluck, their handlers respond like the proud parents they are.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watching \u003cem>Good Night Oppy\u003c/em>, you’ll likely feel that way, too — proud and fond of these intrepid explorers who may not have found life on Mars, but who ensured, for 15 years at least, that the Red Planet was lively.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+loving+salute+to+NASA%27s+Mars+rover+program+in+%27Good+Night+Oppy%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "New Peaches, New Problems: 'A League of Their Own' Makes a Successful Move to TV",
"headTitle": "New Peaches, New Problems: ‘A League of Their Own’ Makes a Successful Move to TV | KQED",
"content": "\u003cp>It’s 1943, and Carson Shaw is running as fast as she can.\u003c/p>\n\u003cp>Specifically, she’s running to catch a train that will take her to Chicago for the tryouts of the All-American Girls Professional Baseball League, meant to fill a gap in baseball created when men who played professionally went off to war. This is how we begin the new Amazon series \u003cem>A League Of Their Own\u003c/em>. Carson is played by Abbi Jacobson, late of \u003cem>Broad City\u003c/em>, who co-created the series with Will Graham, a writer who’s worked on projects as varied as\u003cem> Onion SportsDome \u003c/em>and \u003cem>Mozart In The Jungle\u003c/em>. It’s a loving descendant of the 1992 film of the same name, as well as an ambitious effort to address its conspicuous gaps.\u003c/p>\n\u003cp>While this is the same baseball league as in the film (which existed in real life from 1943 to 1954), and the team is still the Rockford Peaches (can’t give up those iconic pink-and-red uniforms), this is a separate story. Characters don’t map directly from one version to the other. Where there were sisters Dottie and Kit (Geena Davis and Lori Petty), their hard-drinking coach Jimmy (Tom Hanks) and teammates like Mae and Doris (Madonna and Rosie O’Donnell), there’s a wholly new set of characters here. Two sets, actually.\u003c/p>\n\u003cp>[aside postid='arts_13914585']Carson is married and her husband is deployed, leaving her free to pursue baseball—at least for the time being—when she lands a spot with the Peaches. Their manager is a former player named Dove (Nick Offerman), and while there are superficial similarities between him and Jimmy Dugan (Offerman could have played the heck out of Jimmy had that been the direction they went), the character is used differently. His arc has the effect of keeping more of the focus on the team’s women—and, perhaps, facing more straightforwardly the dismissive attitude the men in the league have toward the women who are playing. (Men in the world of baseball are, in general, reduced in prominence in this version.) With less of the manager than in the movie, there is more of the team’s chaperone, played with sneaky kindness by Dale Dickey as an enforcer whose strictness exists alongside respect for the Peaches and what they’re trying to do.\u003c/p>\n\u003cp>The series also tells the story, in parallel to the Peaches, of Max (Chanté Adams). She’s a gifted Black pitcher local to Rockford who can’t join the team, because the AAGPBL doesn’t accept Black players. So Max, with the help and support of her best friend Clance (the positively sparkling Gbemisola Ikumelo), has to figure out where baseball fits into her life when the Peaches do \u003cem>not \u003c/em>represent a world of possibility but another closed door. Her best opportunity seems to be a company team in Rockford—but it’s also hostile to her, because it’s a team of men representing a company of men.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Striking this balance—in which the AAGPBL is legitimately a life-changing opportunity for some women and a mechanism of racist exclusion for others—is not easy, even though the dynamic is very common in schools and workplaces and other organizations. The obvious cheat would be to have the Peaches magically integrated, but that would be a fantasy that is (fortunately) not pursued. Instead, the show sits with this tension and, at least in this season, doesn’t particularly try to resolve it. It tells Max’s and Carson’s stories next to each other, with only occasional overlap.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=H8qMhtkB18k\u003c/p>\n\u003cp>It’s not only on questions of race, though, that the series presses ideas that the film didn’t; this is a story about women’s sports that acknowledges queer women, women with varied gender expression, trans people, and the fact that policing of femininity often includes the risk of violence, both state-sanctioned and not. This doesn’t come in the form of a single queer storyline, but in the stories of a \u003cem>lot\u003c/em> of these women, who have different attitudes about sexuality and gender, and who make different choices about it. Moreover, they face different consequences that depend on their ability and willingness to maintain a precarious proximity to a narrow straight-white-pretty-thin-“feminine” ideal. It’s less an attempt to explain that queer life in the 1940s for women was \u003cem>this\u003c/em>, and more an exploration of the idea that it could be like \u003cem>this\u003c/em>, or it could be like \u003cem>this\u003c/em>, or it could be like \u003cem>this\u003c/em>, depending on your circumstances and, to a degree, your choices.\u003c/p>\n\u003cp>The teammate Carson sparks to the most is a woman named Greta (D’Arcy Carden), who’s come to tryouts with Jo (Melanie Field), the best friend to whom she’s deeply devoted. Greta is beautiful and glamorous and has seemingly unbounded confidence as they embark on this adventure, where Carson finds her excitement tempered by nervousness. As she gets to know her teammates—Lupe (Roberta Colindrez), Jess (Kelly McCormack), Shirley (Kate Berlant) and more—Carson starts to settle in and find herself, as it were, as a different person from the Idaho wife she has been in the past. And when Greta treats her to a haircut, the energy between them is a surprise to Carson, perhaps a little bit less of a surprise to Greta.\u003c/p>\n\u003cp>[aside postid='arts_13915838']There was much reason for skepticism about this adaptation. Attempts to take a property from the ’90s and make it feel relevant—even a period piece—can feel tired or, worse, tiresome. Stick too close to the original and it feels like there’s no reason to do it at all; stray too far and it feels like you should have just written an entirely new story instead. But what Jacobson and Graham are doing here is keeping the spine of the piece (the baseball), the aesthetic of it (the big-band feel of the early 1940s), and some of the \u003cem>emotional \u003c/em>notes—about self-discovery, sacrifice, bonding with teammates, learning what you can accomplish that you didn’t necessarily know you could, and loving people deeply. They then apply those notes to a broader set of characters and experiences, while adding more straightforwardly painful moments that make this lean more toward comedy-drama and less toward sports comedy than the film.\u003c/p>\n\u003cp>At the same time, there is a loyalty to the original that gives its fans a series of tips of the cap, including a small but lovely role for original cast member O’Donnell. Her character (whom you should encounter yourself in due time) seems intentionally created to acknowledge history, to thank the people who came before you, and to acknowledge who Doris was and was not allowed to be in 1992.\u003c/p>\n\u003cp>It’s fair to note that there are beloved elements of the film that are muted in the show, particularly the baseball itself. It’s still there, but the high-energy baseball montages full of slides and great catches and big moments do feel less prominent, as do the powerful joys of sequences like Mae dancing at the roadhouse. The shift toward players’ personal stories is palpable, and a lot of those stories are suffused with difficulty, so the tone is less buoyant (and the themes more adult) on the whole.\u003c/p>\n\u003cfigure id=\"attachment_13917471\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917471\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-12.26.34-PM-800x529.png\" alt=\"A white woman in a 1940s women's baseball uniform stands opposite a Black woman who is wearing a man's baseball uniform of the period.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-12.26.34-PM-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-12.26.34-PM-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-12.26.34-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-12.26.34-PM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-12.26.34-PM.png 1518w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abbi Jacobson and Chanté Adams. \u003ccite>(Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fortunately for all these personal stories, the performances are excellent. Adams is marvelously winning; she and Ikumelo build a stellar portrait of friendship between two women with very different ideas of what happiness will look like (both of which are respected as valid and worthy of support). Saidah Arrika Ekulona and Alex Désert as Max’s parents, Toni and Edgar, have the difficult task of putting heart into a story that could make them—her, particularly—look cruel. It’s partly in Ekulona’s delicate performance that the context of Toni’s unkindnesses, which she believes are entirely for Max’s own good, becomes clearer.\u003c/p>\n\u003cp>[aside postid='arts_13876835']The supporting Peaches—especially McCormack and Colindrez—use their screen time economically to establish specificity in these characters beyond being, well, supporting Peaches. D’Arcy Carden, who a lot of TV audiences will mostly know as Janet (“not a robot” but … kind of a robot) on \u003cem>The Good Place\u003c/em>, is warm and bold and quite dreamy in this role—deeply human, in fact. And Jacobson, certainly capable of excelling as a wacky comedy lead, offers a controlled central performance that anchors her part of the story but recognizes that Carson is fortunate and secure in her life compared to a lot of the women she’s interacting with, and her attention to her own hurts has to be tempered by that knowledge. A show with its center of gravity on her struggles would not have worked.\u003c/p>\n\u003cp>There’s a little more crying in baseball here than there was in 1992. The movie’s comedic exploration of the ruthless judging of “tomboys” is expanded to incorporate the understanding that there were serious and perilous consequences that went along with that. And by making it a story of women in baseball and not just the Peaches, the series avoids the trap of confusing the history of an exclusionary institution for the history of an entire sport. It recognizes that it’s not only possible, but quite common, to experience both discrimination and privilege within the same realm. It may not be precisely what fans of the film expect, but it stands on its own as a story about finding avenues of freedom within worlds that remain disappointingly limiting.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Amazon is among NPR’s financial supporters and also distributes certain NPR content.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+Peaches%2C+new+problems%3A+%27A+League+of+Their+Own%27+makes+a+successful+move+to+TV&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s 1943, and Carson Shaw is running as fast as she can.\u003c/p>\n\u003cp>Specifically, she’s running to catch a train that will take her to Chicago for the tryouts of the All-American Girls Professional Baseball League, meant to fill a gap in baseball created when men who played professionally went off to war. This is how we begin the new Amazon series \u003cem>A League Of Their Own\u003c/em>. Carson is played by Abbi Jacobson, late of \u003cem>Broad City\u003c/em>, who co-created the series with Will Graham, a writer who’s worked on projects as varied as\u003cem> Onion SportsDome \u003c/em>and \u003cem>Mozart In The Jungle\u003c/em>. It’s a loving descendant of the 1992 film of the same name, as well as an ambitious effort to address its conspicuous gaps.\u003c/p>\n\u003cp>While this is the same baseball league as in the film (which existed in real life from 1943 to 1954), and the team is still the Rockford Peaches (can’t give up those iconic pink-and-red uniforms), this is a separate story. Characters don’t map directly from one version to the other. Where there were sisters Dottie and Kit (Geena Davis and Lori Petty), their hard-drinking coach Jimmy (Tom Hanks) and teammates like Mae and Doris (Madonna and Rosie O’Donnell), there’s a wholly new set of characters here. Two sets, actually.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Carson is married and her husband is deployed, leaving her free to pursue baseball—at least for the time being—when she lands a spot with the Peaches. Their manager is a former player named Dove (Nick Offerman), and while there are superficial similarities between him and Jimmy Dugan (Offerman could have played the heck out of Jimmy had that been the direction they went), the character is used differently. His arc has the effect of keeping more of the focus on the team’s women—and, perhaps, facing more straightforwardly the dismissive attitude the men in the league have toward the women who are playing. (Men in the world of baseball are, in general, reduced in prominence in this version.) With less of the manager than in the movie, there is more of the team’s chaperone, played with sneaky kindness by Dale Dickey as an enforcer whose strictness exists alongside respect for the Peaches and what they’re trying to do.\u003c/p>\n\u003cp>The series also tells the story, in parallel to the Peaches, of Max (Chanté Adams). She’s a gifted Black pitcher local to Rockford who can’t join the team, because the AAGPBL doesn’t accept Black players. So Max, with the help and support of her best friend Clance (the positively sparkling Gbemisola Ikumelo), has to figure out where baseball fits into her life when the Peaches do \u003cem>not \u003c/em>represent a world of possibility but another closed door. Her best opportunity seems to be a company team in Rockford—but it’s also hostile to her, because it’s a team of men representing a company of men.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Striking this balance—in which the AAGPBL is legitimately a life-changing opportunity for some women and a mechanism of racist exclusion for others—is not easy, even though the dynamic is very common in schools and workplaces and other organizations. The obvious cheat would be to have the Peaches magically integrated, but that would be a fantasy that is (fortunately) not pursued. Instead, the show sits with this tension and, at least in this season, doesn’t particularly try to resolve it. It tells Max’s and Carson’s stories next to each other, with only occasional overlap.\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/H8qMhtkB18k'\n title='//www.youtube.com/embed/H8qMhtkB18k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s not only on questions of race, though, that the series presses ideas that the film didn’t; this is a story about women’s sports that acknowledges queer women, women with varied gender expression, trans people, and the fact that policing of femininity often includes the risk of violence, both state-sanctioned and not. This doesn’t come in the form of a single queer storyline, but in the stories of a \u003cem>lot\u003c/em> of these women, who have different attitudes about sexuality and gender, and who make different choices about it. Moreover, they face different consequences that depend on their ability and willingness to maintain a precarious proximity to a narrow straight-white-pretty-thin-“feminine” ideal. It’s less an attempt to explain that queer life in the 1940s for women was \u003cem>this\u003c/em>, and more an exploration of the idea that it could be like \u003cem>this\u003c/em>, or it could be like \u003cem>this\u003c/em>, or it could be like \u003cem>this\u003c/em>, depending on your circumstances and, to a degree, your choices.\u003c/p>\n\u003cp>The teammate Carson sparks to the most is a woman named Greta (D’Arcy Carden), who’s come to tryouts with Jo (Melanie Field), the best friend to whom she’s deeply devoted. Greta is beautiful and glamorous and has seemingly unbounded confidence as they embark on this adventure, where Carson finds her excitement tempered by nervousness. As she gets to know her teammates—Lupe (Roberta Colindrez), Jess (Kelly McCormack), Shirley (Kate Berlant) and more—Carson starts to settle in and find herself, as it were, as a different person from the Idaho wife she has been in the past. And when Greta treats her to a haircut, the energy between them is a surprise to Carson, perhaps a little bit less of a surprise to Greta.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There was much reason for skepticism about this adaptation. Attempts to take a property from the ’90s and make it feel relevant—even a period piece—can feel tired or, worse, tiresome. Stick too close to the original and it feels like there’s no reason to do it at all; stray too far and it feels like you should have just written an entirely new story instead. But what Jacobson and Graham are doing here is keeping the spine of the piece (the baseball), the aesthetic of it (the big-band feel of the early 1940s), and some of the \u003cem>emotional \u003c/em>notes—about self-discovery, sacrifice, bonding with teammates, learning what you can accomplish that you didn’t necessarily know you could, and loving people deeply. They then apply those notes to a broader set of characters and experiences, while adding more straightforwardly painful moments that make this lean more toward comedy-drama and less toward sports comedy than the film.\u003c/p>\n\u003cp>At the same time, there is a loyalty to the original that gives its fans a series of tips of the cap, including a small but lovely role for original cast member O’Donnell. Her character (whom you should encounter yourself in due time) seems intentionally created to acknowledge history, to thank the people who came before you, and to acknowledge who Doris was and was not allowed to be in 1992.\u003c/p>\n\u003cp>It’s fair to note that there are beloved elements of the film that are muted in the show, particularly the baseball itself. It’s still there, but the high-energy baseball montages full of slides and great catches and big moments do feel less prominent, as do the powerful joys of sequences like Mae dancing at the roadhouse. The shift toward players’ personal stories is palpable, and a lot of those stories are suffused with difficulty, so the tone is less buoyant (and the themes more adult) on the whole.\u003c/p>\n\u003cfigure id=\"attachment_13917471\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917471\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-12.26.34-PM-800x529.png\" alt=\"A white woman in a 1940s women's baseball uniform stands opposite a Black woman who is wearing a man's baseball uniform of the period.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-12.26.34-PM-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-12.26.34-PM-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-12.26.34-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-12.26.34-PM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-12.26.34-PM.png 1518w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abbi Jacobson and Chanté Adams. \u003ccite>(Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fortunately for all these personal stories, the performances are excellent. Adams is marvelously winning; she and Ikumelo build a stellar portrait of friendship between two women with very different ideas of what happiness will look like (both of which are respected as valid and worthy of support). Saidah Arrika Ekulona and Alex Désert as Max’s parents, Toni and Edgar, have the difficult task of putting heart into a story that could make them—her, particularly—look cruel. It’s partly in Ekulona’s delicate performance that the context of Toni’s unkindnesses, which she believes are entirely for Max’s own good, becomes clearer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The supporting Peaches—especially McCormack and Colindrez—use their screen time economically to establish specificity in these characters beyond being, well, supporting Peaches. D’Arcy Carden, who a lot of TV audiences will mostly know as Janet (“not a robot” but … kind of a robot) on \u003cem>The Good Place\u003c/em>, is warm and bold and quite dreamy in this role—deeply human, in fact. And Jacobson, certainly capable of excelling as a wacky comedy lead, offers a controlled central performance that anchors her part of the story but recognizes that Carson is fortunate and secure in her life compared to a lot of the women she’s interacting with, and her attention to her own hurts has to be tempered by that knowledge. A show with its center of gravity on her struggles would not have worked.\u003c/p>\n\u003cp>There’s a little more crying in baseball here than there was in 1992. The movie’s comedic exploration of the ruthless judging of “tomboys” is expanded to incorporate the understanding that there were serious and perilous consequences that went along with that. And by making it a story of women in baseball and not just the Peaches, the series avoids the trap of confusing the history of an exclusionary institution for the history of an entire sport. It recognizes that it’s not only possible, but quite common, to experience both discrimination and privilege within the same realm. It may not be precisely what fans of the film expect, but it stands on its own as a story about finding avenues of freedom within worlds that remain disappointingly limiting.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Tim Gunn and Heidi Klum are Together Again in 'Making the Cut'",
"headTitle": "Tim Gunn and Heidi Klum are Together Again in ‘Making the Cut’ | KQED",
"content": "\u003cp>When Tim Gunn and Heidi Klum left \u003cem>Project Runway\u003c/em>, it wasn’t clear whether it could survive without them, or whether they could succeed on a different show. We know the answer to the first question, at least creatively: The new incarnation of \u003cem>Runway\u003c/em>, starring Christian Siriano and Karlie Kloss, is better than most of us expected, and Siriano in particular has carved out a very different mentor role than Gunn’s that’s satisfying in new ways.\u003c/p>\n\u003cp>We’ve now arrived at the other half of the question: Can Tim and Heidi make a show that’s not \u003cem>Runway\u003c/em>? The first episodes of \u003cem>Making The Cut \u003c/em>are streaming now on Amazon Prime Video, and the verdict is … maybe?\u003c/p>\n\u003cp>There are a couple of things that are very different right off the top if you’re comparing the new show with the old. Where \u003cem>Runway \u003c/em>had a kind of chirpy relentlessness, \u003cem>Making The Cut \u003c/em>is going for more of a chill and glamorous vibe, still a competition, but with the vibe of a high-end travel show. That’s not only true because of the locations (New York and Paris, to start). It’s true because the whole show has a kind of Instagram-influencer vibe, with a constant hum of forgettable music that sounds like it comes from an ad for yoga pants.\u003c/p>\n\u003cp>There are also some format differences that seem likely to have originated with the specific hope to set the show apart from \u003cem>Runway\u003c/em>; most notably, it doesn’t always eliminate one person per week. It can be more. It could be nobody. This can help a little bit with the problem that comes up on a lot of judged competitions where somebody is constantly second-worst but never quite worst. Here, such a person would probably eventually be bounced, even if they didn’t do the worst job in that challenge.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Y41irC4jq30\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The judging panel (which includes Naomi Campbell and Nicole Richie) also follows a muddled format where they’ll call up each designer to explain what they’ve made, and then there’s a moment—sometimes this is hard to follow—where Heidi asks whether any of the judges have “changed their minds” from the way they’d been planning to vote. It seems like you’re supposed to feel like the panel discussion is higher stakes, because the designers have a chance to save themselves. But that seems to be true on \u003cem>Runway \u003c/em>too, which means they’ve just sort of complicated what should be simple.\u003c/p>\n\u003cp>The best of the changes that \u003cem>Making The Cut \u003c/em>has instituted is that the contestants have help from seamstresses, who sneak in at night like shoemaker’s elves and do some of the basic sewing. That means it’s less likely—not impossible, but less likely—that the designers will be judged on whether they can physically construct a dress in a very short time. There aren’t as many unfinished hems or terrible seams, and that means the focus is more on the actual design. (This is also the case over on Netflix’s \u003cem>Next In Fashion\u003c/em>.) Similarly, the challenges are far looser and more thematic, rather than weird stunts like “design new outfits for the servers at Susan Sarandon’s ping-pong club.” (An actual \u003cem>Project Runway \u003c/em>challenge.)\u003c/p>\n\u003cp>The worst of the changes is that Amazon looms over the show, not only as the streamer showing it, but as a seller of goods. The opportunity to sell your clothes on Amazon is dangled as part of the prize, and from time to time, the designers are reminded—and they remind the audience—how meaningful that is. It’s only fair to note that \u003cem>Runway \u003c/em>itself has a history with product placement that borders on parody; that is a show that once forced people to design clothes based on Yoplait frozen yogurt flavors. So at least perhaps here, they’ve narrowed it down to just one corporate entity?\u003c/p>\n\u003cp>There is an upside to the consumerism angle, though, which is that there’s a more explicit understanding that mass-market clothing sales and runway fashion are very different. In most challenges, you’ll see each designer make both a “runway look” and an “accessible look.” That’s good. That’s an acknowledgment that judging clothing both by “is this wildly innovative enough for a runway show?” and “would this sell to large numbers of regular people?” is an inherently flawed undertaking. Here, they can talk about the runway look for its freshness and excitement, and they can talk about the related accessible look for its consumer-friendly qualities—its “wearability,” so to speak. It’s a smart shift, even if the execution of it isn’t always totally coherent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’m not sure \u003cem>Making The Cut \u003c/em>is a strong competitor to \u003cem>Runway \u003c/em>when it comes to frantic competition and personality clashes; I’m not sure it wants to be. It is, however, a more calm and measured look at more high-fashion designers, and there are those for whom that will be all they need—alongside Tim and Heidi, of course.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tim+Gunn+And+Heidi+Klum+Are+Together+Again+In+%27Making+The+Cut%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Tim Gunn and Heidi Klum left \u003cem>Project Runway\u003c/em>, it wasn’t clear whether it could survive without them, or whether they could succeed on a different show. We know the answer to the first question, at least creatively: The new incarnation of \u003cem>Runway\u003c/em>, starring Christian Siriano and Karlie Kloss, is better than most of us expected, and Siriano in particular has carved out a very different mentor role than Gunn’s that’s satisfying in new ways.\u003c/p>\n\u003cp>We’ve now arrived at the other half of the question: Can Tim and Heidi make a show that’s not \u003cem>Runway\u003c/em>? The first episodes of \u003cem>Making The Cut \u003c/em>are streaming now on Amazon Prime Video, and the verdict is … maybe?\u003c/p>\n\u003cp>There are a couple of things that are very different right off the top if you’re comparing the new show with the old. Where \u003cem>Runway \u003c/em>had a kind of chirpy relentlessness, \u003cem>Making The Cut \u003c/em>is going for more of a chill and glamorous vibe, still a competition, but with the vibe of a high-end travel show. That’s not only true because of the locations (New York and Paris, to start). It’s true because the whole show has a kind of Instagram-influencer vibe, with a constant hum of forgettable music that sounds like it comes from an ad for yoga pants.\u003c/p>\n\u003cp>There are also some format differences that seem likely to have originated with the specific hope to set the show apart from \u003cem>Runway\u003c/em>; most notably, it doesn’t always eliminate one person per week. It can be more. It could be nobody. This can help a little bit with the problem that comes up on a lot of judged competitions where somebody is constantly second-worst but never quite worst. Here, such a person would probably eventually be bounced, even if they didn’t do the worst job in that challenge.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Y41irC4jq30'\n title='//www.youtube.com/embed/Y41irC4jq30'\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>The judging panel (which includes Naomi Campbell and Nicole Richie) also follows a muddled format where they’ll call up each designer to explain what they’ve made, and then there’s a moment—sometimes this is hard to follow—where Heidi asks whether any of the judges have “changed their minds” from the way they’d been planning to vote. It seems like you’re supposed to feel like the panel discussion is higher stakes, because the designers have a chance to save themselves. But that seems to be true on \u003cem>Runway \u003c/em>too, which means they’ve just sort of complicated what should be simple.\u003c/p>\n\u003cp>The best of the changes that \u003cem>Making The Cut \u003c/em>has instituted is that the contestants have help from seamstresses, who sneak in at night like shoemaker’s elves and do some of the basic sewing. That means it’s less likely—not impossible, but less likely—that the designers will be judged on whether they can physically construct a dress in a very short time. There aren’t as many unfinished hems or terrible seams, and that means the focus is more on the actual design. (This is also the case over on Netflix’s \u003cem>Next In Fashion\u003c/em>.) Similarly, the challenges are far looser and more thematic, rather than weird stunts like “design new outfits for the servers at Susan Sarandon’s ping-pong club.” (An actual \u003cem>Project Runway \u003c/em>challenge.)\u003c/p>\n\u003cp>The worst of the changes is that Amazon looms over the show, not only as the streamer showing it, but as a seller of goods. The opportunity to sell your clothes on Amazon is dangled as part of the prize, and from time to time, the designers are reminded—and they remind the audience—how meaningful that is. It’s only fair to note that \u003cem>Runway \u003c/em>itself has a history with product placement that borders on parody; that is a show that once forced people to design clothes based on Yoplait frozen yogurt flavors. So at least perhaps here, they’ve narrowed it down to just one corporate entity?\u003c/p>\n\u003cp>There is an upside to the consumerism angle, though, which is that there’s a more explicit understanding that mass-market clothing sales and runway fashion are very different. In most challenges, you’ll see each designer make both a “runway look” and an “accessible look.” That’s good. That’s an acknowledgment that judging clothing both by “is this wildly innovative enough for a runway show?” and “would this sell to large numbers of regular people?” is an inherently flawed undertaking. Here, they can talk about the runway look for its freshness and excitement, and they can talk about the related accessible look for its consumer-friendly qualities—its “wearability,” so to speak. It’s a smart shift, even if the execution of it isn’t always totally coherent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’m not sure \u003cem>Making The Cut \u003c/em>is a strong competitor to \u003cem>Runway \u003c/em>when it comes to frantic competition and personality clashes; I’m not sure it wants to be. It is, however, a more calm and measured look at more high-fashion designers, and there are those for whom that will be all they need—alongside Tim and Heidi, of course.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tim+Gunn+And+Heidi+Klum+Are+Together+Again+In+%27Making+The+Cut%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "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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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"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.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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