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"content": "\u003cp>Over 30 years ago, Octavia Butler pretty much predicted our present moment with her science-fiction opus, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13928131/octavia-butlers-parable-sower-cal-performances-toshi-reagon\">Parable of the Sower\u003c/a>\u003c/i>. The novel opens in California in 2024, and to many of today’s readers, Butler’s prescient depictions of a state ravaged by fires, extreme inequality, rising authoritarianism and corporate greed feel uncanny. It’s no wonder that countless activists and thinkers turn to Butler as a beacon as they figure out how to navigate this era of political upheaval and manmade environmental disasters.\u003c/p>\n\u003cp>[aside postID='arts_13979110']\u003ci>Parable of the Sower\u003c/i>’s main character, Lauren Olamina, journeys from Southern California in search of a better life up north with a trusted crew that helps each other survive. In the process, she comes up with a new spiritual belief system called Earthseed, whose core tenet is “God is change.”\u003c/p>\n\u003cp>For \u003ca href=\"https://peopleskitchencollective.com/\">People’s Kitchen Collective\u003c/a>’s Jocelyn Jackson, Sita Kurato Bhaumik and Võ Hải, the story serves as a roadmap. Since its beginnings in Oakland in 2011, the collective’s omnivorous programming has used art and food to build solidarity among people struggling against oppressive systems — whether that’s serving free breakfast to anyone who’s hungry, or reclaiming ancestral recipes at the Museum of the African Diaspora, where Jackson was a\u003ca href=\"https://www.kqed.org/arts/13923936/moad-new-chef-in-residence-jocelyn-jackson-peoples-kitchen-collective\"> chef-in-residence\u003c/a>.\u003c/p>\n\u003cp>In 2023, following in Olamina’s footsteps in \u003ci>Parable of the Sower\u003c/i>, People’s Kitchen Collective set out on a journey by foot and bike to visit intentional communities developing alternative social structures, from Los Angeles to Mendocino County. They broke bread with nearly a dozen different collectives of Black and brown artists, farmers, activists and chefs, and learned about how they care for one another and the people around them. Viewers can tag along in the new documentary directed by Fox Nakai, \u003ca href=\"https://peopleskitchencollective.com/earth-seed\">\u003ci>Earth Seed: A People’s Journey of Radical Hospitality\u003c/i>\u003c/a>, which will screen at the \u003ca href=\"https://bampfa.org/earth-seed\">Berkeley Art Museum and Pacific Film Archive\u003c/a> on July 27.\u003c/p>\n\u003cfigure id=\"attachment_13979161\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979161\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126.jpg\" alt=\"\" width=\"2500\" height=\"1667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">In ‘Earth Seed,’ Los Angeles Community Action Network organizers hand out hot tea to unhoused residents of Skid Row. LACAN is one of the many intentional communities and mutual aid collectives People’s Kitchen Collective visited in the film. \u003ccite>(Courtesy of People's Kitchen Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hospitality, the way many of us have experienced it, may call to mind a hierarchical relationship, whether it’s waiters serving customers at a restaurant or women making sure everyone is fed and taken care of at a family gathering. In \u003ci>Earth Seed\u003c/i>, a new way of engaging emerges: The idea of \u003ci>radical\u003c/i> hospitality asks viewers to imagine how we can be in reciprocal relationships with those around us and the land.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Mutual aid for me is a practice,” Jackson tells KQED. “It’s not just something you do during an emergency. … The emergency is 100% of the time at this point.”\u003c/p>\n\u003cp>\u003ci>Earth Seed\u003c/i> begins in the urban heart of Los Angeles, where the Los Angeles Community Action Network feeds people living on the streets of Skid Row. Beyond handing out meals, the collective creates spaces for LA’s poorest residents to come together, both to heal and to fight for their rights. The People’s Kitchen Collective moves out of LA County and through Central Valley, later visiting Tierras Milperas, a community garden where farmworkers from Watsonville and Pajaro, just outside of Santa Cruz, grow food for themselves and their families. When People’s Kitchen Collective visited, they had received a 15-day \u003ca href=\"https://lookout.co/in-the-countys-agricultural-heartland-a-feud-over-church-gardens-and-food-sovereignty-takes-root/story\">eviction notice\u003c/a> to vacate the land they had stewarded for 15 years.\u003c/p>\n\u003cp>“They were actively being evicted from their land in some of the most insidious ways, in some of the violent ways and some of just tragically oppressive ways,” says Jackson. “And in the midst of that eviction, they still hosted us. … That’s profound to me.”\u003c/p>\n\u003cfigure id=\"attachment_13979160\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979160\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">People’s Kitchen Collective visits Tierras Milperas Farm in Watsonville, California on May 7, 2023. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As they headed further north, People’s Kitchen Collective returned to their home base of Oakland to share a meal with elders from the Black Panther Party, who reminded them that their now-legendary survival programs, including free breakfast, were simply the product of young people noticing the needs of their community and doing something about it.\u003c/p>\n\u003cp>“It’s not like it can’t be done — it \u003cem>has\u003c/em> been done, and it can continue to be done,” the Panthers’ Minister of Culture, Emory Douglas, says in the documentary to a crowd that includes Oakland schoolchildren listening with rapt attention.\u003c/p>\n\u003cfigure id=\"attachment_13979165\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979165\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">People’s Kitchen Collective visits Rich City Rides, a Richmond biking group whose work includes environmental advocacy. \u003ccite>(Courtesy of People's Kitchen Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a crucial reminder for our era. As 2025 marches on, many people feel paralyzed by the dissonance of having to continue business as usual amid so much suffering locally and globally — millions starving in Gaza as Israel continues to block humanitarian aid; hunger rising in the U.S. after the Trump administration’s cuts to federal funding; a persistent homelessness crisis in San Francisco, Oakland and other major American cities.\u003c/p>\n\u003cp>As one watches \u003ci>Earth Seed\u003c/i>, the groups that People’s Kitchen Collective visits are a reminder of everyday people’s agency to create alternative ways of relating to one another and the environment, striving to move away from extractive and exploitative ways of doing things. That’s a seed that People’s Kitchen Collective wants to nurture as the organization prepares to take the documentary on a national tour, with more screenings to be announced after the July 27 event at BAMPFA.\u003c/p>\n\u003cp>“We understand that hyper-local actions impact globally,” says Jackson. “And that’s fundamentally where we want to go with this film. And we wouldn’t be doing this national tour except for that intention.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/earth-seed\">Earth Seed: A Journey of Radical Hospitality\u003c/a>’ screens for free on July 27, 2025, 3–6 p.m. at the Berkeley Art Museum and Pacific Film Archive, followed by a discussion with Jocelyn Jackson and Isis Asare of \u003ca href=\"https://sistahscifi.com/\">Sistah Scifi\u003c/a>, an online bookstore that focuses on speculative fiction by Black and Indigenous authors.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over 30 years ago, Octavia Butler pretty much predicted our present moment with her science-fiction opus, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13928131/octavia-butlers-parable-sower-cal-performances-toshi-reagon\">Parable of the Sower\u003c/a>\u003c/i>. The novel opens in California in 2024, and to many of today’s readers, Butler’s prescient depictions of a state ravaged by fires, extreme inequality, rising authoritarianism and corporate greed feel uncanny. It’s no wonder that countless activists and thinkers turn to Butler as a beacon as they figure out how to navigate this era of political upheaval and manmade environmental disasters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ci>Parable of the Sower\u003c/i>’s main character, Lauren Olamina, journeys from Southern California in search of a better life up north with a trusted crew that helps each other survive. In the process, she comes up with a new spiritual belief system called Earthseed, whose core tenet is “God is change.”\u003c/p>\n\u003cp>For \u003ca href=\"https://peopleskitchencollective.com/\">People’s Kitchen Collective\u003c/a>’s Jocelyn Jackson, Sita Kurato Bhaumik and Võ Hải, the story serves as a roadmap. Since its beginnings in Oakland in 2011, the collective’s omnivorous programming has used art and food to build solidarity among people struggling against oppressive systems — whether that’s serving free breakfast to anyone who’s hungry, or reclaiming ancestral recipes at the Museum of the African Diaspora, where Jackson was a\u003ca href=\"https://www.kqed.org/arts/13923936/moad-new-chef-in-residence-jocelyn-jackson-peoples-kitchen-collective\"> chef-in-residence\u003c/a>.\u003c/p>\n\u003cp>In 2023, following in Olamina’s footsteps in \u003ci>Parable of the Sower\u003c/i>, People’s Kitchen Collective set out on a journey by foot and bike to visit intentional communities developing alternative social structures, from Los Angeles to Mendocino County. They broke bread with nearly a dozen different collectives of Black and brown artists, farmers, activists and chefs, and learned about how they care for one another and the people around them. Viewers can tag along in the new documentary directed by Fox Nakai, \u003ca href=\"https://peopleskitchencollective.com/earth-seed\">\u003ci>Earth Seed: A People’s Journey of Radical Hospitality\u003c/i>\u003c/a>, which will screen at the \u003ca href=\"https://bampfa.org/earth-seed\">Berkeley Art Museum and Pacific Film Archive\u003c/a> on July 27.\u003c/p>\n\u003cfigure id=\"attachment_13979161\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979161\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126.jpg\" alt=\"\" width=\"2500\" height=\"1667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">In ‘Earth Seed,’ Los Angeles Community Action Network organizers hand out hot tea to unhoused residents of Skid Row. LACAN is one of the many intentional communities and mutual aid collectives People’s Kitchen Collective visited in the film. \u003ccite>(Courtesy of People's Kitchen Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hospitality, the way many of us have experienced it, may call to mind a hierarchical relationship, whether it’s waiters serving customers at a restaurant or women making sure everyone is fed and taken care of at a family gathering. In \u003ci>Earth Seed\u003c/i>, a new way of engaging emerges: The idea of \u003ci>radical\u003c/i> hospitality asks viewers to imagine how we can be in reciprocal relationships with those around us and the land.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Mutual aid for me is a practice,” Jackson tells KQED. “It’s not just something you do during an emergency. … The emergency is 100% of the time at this point.”\u003c/p>\n\u003cp>\u003ci>Earth Seed\u003c/i> begins in the urban heart of Los Angeles, where the Los Angeles Community Action Network feeds people living on the streets of Skid Row. Beyond handing out meals, the collective creates spaces for LA’s poorest residents to come together, both to heal and to fight for their rights. The People’s Kitchen Collective moves out of LA County and through Central Valley, later visiting Tierras Milperas, a community garden where farmworkers from Watsonville and Pajaro, just outside of Santa Cruz, grow food for themselves and their families. When People’s Kitchen Collective visited, they had received a 15-day \u003ca href=\"https://lookout.co/in-the-countys-agricultural-heartland-a-feud-over-church-gardens-and-food-sovereignty-takes-root/story\">eviction notice\u003c/a> to vacate the land they had stewarded for 15 years.\u003c/p>\n\u003cp>“They were actively being evicted from their land in some of the most insidious ways, in some of the violent ways and some of just tragically oppressive ways,” says Jackson. “And in the midst of that eviction, they still hosted us. … That’s profound to me.”\u003c/p>\n\u003cfigure id=\"attachment_13979160\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979160\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">People’s Kitchen Collective visits Tierras Milperas Farm in Watsonville, California on May 7, 2023. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As they headed further north, People’s Kitchen Collective returned to their home base of Oakland to share a meal with elders from the Black Panther Party, who reminded them that their now-legendary survival programs, including free breakfast, were simply the product of young people noticing the needs of their community and doing something about it.\u003c/p>\n\u003cp>“It’s not like it can’t be done — it \u003cem>has\u003c/em> been done, and it can continue to be done,” the Panthers’ Minister of Culture, Emory Douglas, says in the documentary to a crowd that includes Oakland schoolchildren listening with rapt attention.\u003c/p>\n\u003cfigure id=\"attachment_13979165\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979165\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">People’s Kitchen Collective visits Rich City Rides, a Richmond biking group whose work includes environmental advocacy. \u003ccite>(Courtesy of People's Kitchen Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a crucial reminder for our era. As 2025 marches on, many people feel paralyzed by the dissonance of having to continue business as usual amid so much suffering locally and globally — millions starving in Gaza as Israel continues to block humanitarian aid; hunger rising in the U.S. after the Trump administration’s cuts to federal funding; a persistent homelessness crisis in San Francisco, Oakland and other major American cities.\u003c/p>\n\u003cp>As one watches \u003ci>Earth Seed\u003c/i>, the groups that People’s Kitchen Collective visits are a reminder of everyday people’s agency to create alternative ways of relating to one another and the environment, striving to move away from extractive and exploitative ways of doing things. That’s a seed that People’s Kitchen Collective wants to nurture as the organization prepares to take the documentary on a national tour, with more screenings to be announced after the July 27 event at BAMPFA.\u003c/p>\n\u003cp>“We understand that hyper-local actions impact globally,” says Jackson. “And that’s fundamentally where we want to go with this film. And we wouldn’t be doing this national tour except for that intention.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/earth-seed\">Earth Seed: A Journey of Radical Hospitality\u003c/a>’ screens for free on July 27, 2025, 3–6 p.m. at the Berkeley Art Museum and Pacific Film Archive, followed by a discussion with Jocelyn Jackson and Isis Asare of \u003ca href=\"https://sistahscifi.com/\">Sistah Scifi\u003c/a>, an online bookstore that focuses on speculative fiction by Black and Indigenous authors.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "5 New ‘Black Mirror’ Episodes Have Dropped — and There’s Not a Dud in the Bunch",
"headTitle": "5 New ‘Black Mirror’ Episodes Have Dropped — and There’s Not a Dud in the Bunch | KQED",
"content": "\u003cp>The Netflix anthology series \u003cem>Black Mirror\u003c/em> hasn’t presented any new episodes since 2019. But now it’s back, with a new season of five fresh episodes from writer-producer Charlie Brooker and company. They all premiered Thursday on Netflix — and I’ve seen them all. Which was a treat, because there haven’t been any new \u003cem>Black Mirror\u003c/em> episodes since before the pandemic — and even then, season five presented only three new episodes.\u003c/p>\n\u003cp>[aside postid='arts_13928545']I don’t mean to complain about either the infrequency or the relatively small portions dished out by this Netflix show — because \u003cem>Black Mirror\u003c/em> continues to be among the best anthology TV series ever made. Futuristic technology figures into many of the storylines, so it’s part science fiction. But it’s also wide-ranging enough to tap into other genres and styles. It’s part \u003cem>Outer Limits,\u003c/em> part \u003cem>Alfred Hitchcock Presents,\u003c/em> part\u003cem> Twilight Zone\u003c/em> — the classic one from Rod Serling, not the disappointing recent remake — and completely, delightfully entertaining.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5jY1ecibLYo\u003c/p>\n\u003cp>My challenge here is to convey how much I love this new sixth season of \u003cem>Black Mirror\u003c/em> without revealing any spoilers about the five individual installments. The show’s executive producers, Charlie Brooker and Annabel Jones, have crafted an environment in which, as with the best anthologies, anything can happen at any time. Characters don’t have to live, because they’re not coming back for a second episode, so any suspense is real, and earned. And Brooker, who wrote four of this season’s episodes and co-wrote the fifth, has doubled down on the unpredictability across the board. This year’s shows can begin with a comic tone but end darkly — or start off as one genre, and lurch unexpectedly into another. And without fail, they’re fun to watch, almost impossible to predict, and equally impossible to forget afterward.\u003c/p>\n\u003cp>[aside postid='arts_13930117']The first episode on this season’s Netflix list is titled “Joan Is Awful.” It stars Annie Murphy from \u003cem>Schitt’s Creek\u003c/em> as a woman named Joan, who is, well, awful. We see her cold-bloodedly firing an employee at work, betraying her boyfriend by reconnecting with an old flame, then returning to her boyfriend (Himesh Patel) for a quiet meal at home — which he’s lovingly prepared — before settling down on the couch to watch some TV together. But because this is \u003cem>Black Mirror,\u003c/em> the TV they’re watching is a streaming service that looks almost exactly like Netflix. Except it’s called “Streamberry,” and the title of one new offering on the scroll-down menu catches his eye. Once they hit play, this episode of \u003cem>Black Mirror\u003c/em> goes into unexpected territory — and a very wild, technologically topical ride.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another episode, “Demon 79,” is a weird one that’s all the more charming for being so offbeat. Anjana Vasan, from Peacock’s \u003cem>We Are Lady Parts,\u003c/em> plays a meek employee at a department store who’s visited by an apprentice demon — sort of like the flip side of Clarence the angel in \u003cem>It’s a Wonderful Life.\u003c/em> Only this demon has to persuade her to kill three people in as many days, or the world will end. She tries to run from him, but he keeps popping in wherever she goes to continue the conversation. Paapa Essiedu plays the fast-moving, faster-talking demon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>From there, this episode, too, goes to places that are not at all easily predicted. Brooker co-wrote “Demon 79” with Bisha K. Ali, wrote all the others himself and each installment is gloriously different. “Mazey Day” is about paparazzi chasing an actress. “Loch Henry” — a title, if you look closely, actually included in the Streamberry program menu during “Joan Is Awful” — is about an old murder case in a small Scottish town. And “Beyond the Sea,” the most haunting of them all, stars Aaron Paul and Josh Hartnett as astronauts on a long, remote space mission. There’s not a dud in the bunch. “Joan Is Awful” and “Beyond the Sea” may be my favorites from this cycle — but I scarfed up and loved all five, and predict you will, too. When it comes to the imagination behind \u003cem>Black Mirror,\u003c/em> that’s about the only type of prediction that’s safe to make.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+new+%27Black+Mirror%27+episodes+have+dropped+%E2%80%94+and+there%27s+not+a+dud+in+the+bunch&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Netflix anthology series \u003cem>Black Mirror\u003c/em> hasn’t presented any new episodes since 2019. But now it’s back, with a new season of five fresh episodes from writer-producer Charlie Brooker and company. They all premiered Thursday on Netflix — and I’ve seen them all. Which was a treat, because there haven’t been any new \u003cem>Black Mirror\u003c/em> episodes since before the pandemic — and even then, season five presented only three new episodes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I don’t mean to complain about either the infrequency or the relatively small portions dished out by this Netflix show — because \u003cem>Black Mirror\u003c/em> continues to be among the best anthology TV series ever made. Futuristic technology figures into many of the storylines, so it’s part science fiction. But it’s also wide-ranging enough to tap into other genres and styles. It’s part \u003cem>Outer Limits,\u003c/em> part \u003cem>Alfred Hitchcock Presents,\u003c/em> part\u003cem> Twilight Zone\u003c/em> — the classic one from Rod Serling, not the disappointing recent remake — and completely, delightfully entertaining.\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/5jY1ecibLYo'\n title='//www.youtube.com/embed/5jY1ecibLYo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>My challenge here is to convey how much I love this new sixth season of \u003cem>Black Mirror\u003c/em> without revealing any spoilers about the five individual installments. The show’s executive producers, Charlie Brooker and Annabel Jones, have crafted an environment in which, as with the best anthologies, anything can happen at any time. Characters don’t have to live, because they’re not coming back for a second episode, so any suspense is real, and earned. And Brooker, who wrote four of this season’s episodes and co-wrote the fifth, has doubled down on the unpredictability across the board. This year’s shows can begin with a comic tone but end darkly — or start off as one genre, and lurch unexpectedly into another. And without fail, they’re fun to watch, almost impossible to predict, and equally impossible to forget afterward.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The first episode on this season’s Netflix list is titled “Joan Is Awful.” It stars Annie Murphy from \u003cem>Schitt’s Creek\u003c/em> as a woman named Joan, who is, well, awful. We see her cold-bloodedly firing an employee at work, betraying her boyfriend by reconnecting with an old flame, then returning to her boyfriend (Himesh Patel) for a quiet meal at home — which he’s lovingly prepared — before settling down on the couch to watch some TV together. But because this is \u003cem>Black Mirror,\u003c/em> the TV they’re watching is a streaming service that looks almost exactly like Netflix. Except it’s called “Streamberry,” and the title of one new offering on the scroll-down menu catches his eye. Once they hit play, this episode of \u003cem>Black Mirror\u003c/em> goes into unexpected territory — and a very wild, technologically topical ride.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another episode, “Demon 79,” is a weird one that’s all the more charming for being so offbeat. Anjana Vasan, from Peacock’s \u003cem>We Are Lady Parts,\u003c/em> plays a meek employee at a department store who’s visited by an apprentice demon — sort of like the flip side of Clarence the angel in \u003cem>It’s a Wonderful Life.\u003c/em> Only this demon has to persuade her to kill three people in as many days, or the world will end. She tries to run from him, but he keeps popping in wherever she goes to continue the conversation. Paapa Essiedu plays the fast-moving, faster-talking demon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>From there, this episode, too, goes to places that are not at all easily predicted. Brooker co-wrote “Demon 79” with Bisha K. Ali, wrote all the others himself and each installment is gloriously different. “Mazey Day” is about paparazzi chasing an actress. “Loch Henry” — a title, if you look closely, actually included in the Streamberry program menu during “Joan Is Awful” — is about an old murder case in a small Scottish town. And “Beyond the Sea,” the most haunting of them all, stars Aaron Paul and Josh Hartnett as astronauts on a long, remote space mission. There’s not a dud in the bunch. “Joan Is Awful” and “Beyond the Sea” may be my favorites from this cycle — but I scarfed up and loved all five, and predict you will, too. When it comes to the imagination behind \u003cem>Black Mirror,\u003c/em> that’s about the only type of prediction that’s safe to make.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+new+%27Black+Mirror%27+episodes+have+dropped+%E2%80%94+and+there%27s+not+a+dud+in+the+bunch&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Octavia Butler’s Prescient ‘Parable of the Sower’ Comes Alive as an Opera",
"headTitle": "Octavia Butler’s Prescient ‘Parable of the Sower’ Comes Alive as an Opera | KQED",
"content": "\u003cp>\u003cem>All that you touch\u003c/em>\u003c/p>\n\u003cp>\u003cem>You Change.\u003c/em>\u003c/p>\n\u003cp>\u003cem>All that you Change\u003c/em>\u003c/p>\n\u003cp>\u003cem>Changes you.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The only lasting truth\u003c/em>\u003c/p>\n\u003cp>\u003cem>Is Change.\u003c/em>\u003c/p>\n\u003cp>\u003cem>God\u003c/em>\u003c/p>\n\u003cp>\u003cem>Is Change.\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003cem>Earthseed: The Books of the Living\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003cem>Saturday, July 20, 2024\u003c/em>\u003c/p>\n\u003cp>One thing that’s changed since Octavia E. Butler first published her 1993 dystopian masterpiece \u003cem>Parable of the Sower\u003c/em> is that her prescience has come more clearly and disturbingly into focus. Hailed as a landmark of Afrofuturism, the novel and its sequel, 1998’s \u003cem>Parable of the Talents\u003c/em>, read increasingly like tomorrow’s headlines.\u003c/p>\n\u003cp>Unfolding in the journal of teenaged Lauren Olamina, a character with all the revelatory power of Huck Finn, the Joads and other American castoffs forced to hit the road for survival, \u003cem>Parable of the Sower \u003c/em>describes California as a chaotic landscape where water is privatized and the weather is more unstable and extreme due to global warming.\u003c/p>\n\u003cp>Law and order has broken down as new illegal drugs drive people to commit wanton acts of destruction. Anyone without protections afforded by wealth is subject to looting and violence at the hands of the dispossessed. Did I mention that the novel opens on July 20, 2024?\u003c/p>\n\u003cp>For vocalist, guitarist and composer Toshi Reagon and her legendary mother, civil rights activist, scholar and Sweet Honey in the Rock founder Bernice Johnson Reagon, that impending date served as a beacon. They’ve been developing the music for decades, and ended up bringing \u003cem>Parable of the Sower\u003c/em> to the stage as a “congregational opera.” Co-directed by Eric Ting and Signe V. Harriday, the latest production makes its Bay Area premiere \u003ca href=\"https://calperformances.org/events/2022-23/illuminations-human-and-machine/octavia-e-butlers-parable-of-the-sower/\">May 5 and 6 at UC Berkeley’s Zellerbach Hall\u003c/a>, presented by Cal Performances.\u003c/p>\n\u003cp>https://youtu.be/Ds1rNB2jJB8\u003c/p>\n\u003cp>Toshi Reagon, a life-long science fiction fan who read \u003cem>Parable\u003c/em> when it was first published, saw Butler’s story as a creative challenge. “I thought \u003cem>Parable\u003c/em> would be innovative for us to witness,” she says, noting that the unspecified apocalypse that sets the scene for the novel seemed a long way off in 1993. “I thought, ‘That’s terrible, but that can’t happen.’”\u003c/p>\n\u003cp>In recent years, however, events have made her feel “a desperation to get it out. I didn’t want to go into 2024 without something in my hand,” she says, particularly as the news increasingly came to echo Butler’s tale. “There is no way we can all be okay with the way governments are leading the planet. Octavia makes the options so clear. You take these steps or you’re on the highway.”\u003c/p>\n\u003cp>Part of what sets \u003cem>Parable\u003c/em> apart from other classic dystopian tales like George Orwell’s \u003cem>1984\u003c/em>, Aldous Huxley’s \u003cem>Brave New World\u003c/em> and Cormac McCarthy’s \u003cem>The Road\u003c/em> is that Butler offers far more than a vision of Hobbesian humanity at its worst. She also details a path forward, via Lauren’s epigraphic philosophy about change as the universe’s governing force. Teased out and applied to envisioning a new society, her creed resonates deeply with African American music’s deepest roots, spirituals and blues, which defined, healed and sustained embattled communities through extreme depredations.\u003c/p>\n\u003cfigure id=\"attachment_13928145\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928145\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-800x533.jpeg\" alt=\"Toshi Reagon plays her acoustic guitar on a dimly lit theater stage.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson.jpeg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toshi Reagon in Octavia E. Butler’s ‘Parable of the Sower,’ which premieres in the Bay Area May 5 and 6 at UC Berkeley’s Zellerbach Hall. \u003ccite>(Reed Hutchinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If there’s anything Toshi wants people to understand about \u003cem>Parable\u003c/em> it’s that “it really is an opera,” she says. “It is not a musical. No one is going to stop and talk to you. We sing for a few hours, and we definitely follow the arc of the book. The first half of the story is in a community where the trouble is coming. The second half is in the unknown, trying to get somewhere else and survive. There’s a lot of narrative, so even if you didn’t read the books the story is recognizable.”\u003c/p>\n\u003cp>\u003cem>Parable’s\u003c/em> birth was midwifed by Toni Morrison. In the late 1990s, she invited Bernice Johnson Reagon to teach an Atelier course at Princeton University. Given all her responsibilities \u003cspan style=\"font-weight: 400\">— \u003c/span>Sweet Honey in the Rock was touring internationally \u003cspan style=\"font-weight: 400\">— \u003c/span>Toshi took over from her mom to teach half the semester. After noticing Princeton’s numerous student a cappella ensembles, she realized the time was ripe to start writing music for \u003cem>Parable\u003c/em>. [aside postid='arts_13928016']\u003c/p>\n\u003cp>The Reagons ended up composing dozens of songs, though it wasn’t until about five years later that they started to shape the material into a narrative. A workshop in 2008 set it on course for a premiere at the New York City Opera, but the company ended up folding in 2013 (it returned from bankruptcy three years later). The public first got a glimpse at some of the material in 2014 when Toshi Reagon closed her annual birthday concert at Joe’s Pub with a set of \u003cem>Parable\u003c/em> songs.\u003c/p>\n\u003cp>“She presented three acts of music, and one was of this show no one had heard,” says Eric Ting, who recently stepped down after a brilliant seven-year run as artistic director at Cal Shakes. His wife Meiyin Wang was director of New York’s Under the Radar Festival at the time, and quickly booked the Reagons to present a concert version of \u003cem>Parable\u003c/em> at the Public Theatre in 2015.\u003c/p>\n\u003cp>Ting came on as director, “someone who could shepherd a narrative out of this huge collection of songs,” he says. “We started with four hours of content and that was only a fraction of what they’d written! There’s still music that I’ve never heard, and Toshi has brought plenty of new music to the project.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Part of the challenge was threading the needle in adapting beloved literary works with ardent followings while creating an opera accessible to people who’ve never read Butler. During Ting’s tenure at Cal Shakes, he brought Toshi in to do a developmental workshop, but the production she envisioned was too ambitious for the company to tackle.\u003c/p>\n\u003cp>“It’s a big show, 15 performers, a five-piece rock band, and they all travel from out of town, so there are flights and rooms,” Ting says. “That was one of the challenges.”\u003c/p>\n\u003cp>https://youtu.be/Wie63mAbm8s\u003c/p>\n\u003cp>\u003cem>Parable\u003c/em>’s extended development speaks both to Reagon’s dogged commitment and the opera’s organic evolution. In the past few years, Cal Performances has presented several disappointing \u003ca href=\"https://datebook.sfchronicle.com/theater/review-marquee-name-grand-venue-host-amateur-hour-in-angelique-kidjos-yemandja\">high-profile shows\u003c/a> that were rushed into Zellerbach without the necessary time and resources. Reagon formed her own production company and steadily pushed the boulder up the mountain with her team, honing the work year after year. \u003c/p>\n\u003cp>Reagon often creates ancillary programming around the production, community building that she calls \u003ca href=\"https://www.bowdoin.edu/parable-path-maine/\">the Parable Path\u003c/a>. Whenever possible she sets up a residency at a theater, and often holds song sessions, teaching people \u003cem>Parable\u003c/em> pieces so they can join in the production. There wasn’t time to develop many Parable Path activities for the Cal Performances engagement, but she’s got her eye on coming back to the Bay Area. Ultimately, \u003cem>Parable of the Sower\u003c/em> reflects the novels upon which its based, drawing strength from sacred and vernacular Black culture to offer a path away from societal collapse.\u003c/p>\n\u003cp>“I think the innovation in terms of contemporary performance is that we don’t see the work itself as a whole,” Toshi says. “So much is about urging or challenging our communities to confront the fragility of the world we live in. How we survive is so tied up in how we relate to each other.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Parable of the Sower \u003cem>makes its Bay Area debut at Zellerbach Hall at UC Berkeley on May 5 and 6. \u003ca href=\"https://calperformances.org/events/2022-23/illuminations-human-and-machine/octavia-e-butlers-parable-of-the-sower/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Toshi and Bernice Johnson Reagon's adaptation of the sci-fi classic makes its Bay Area debut May 5-6.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>All that you touch\u003c/em>\u003c/p>\n\u003cp>\u003cem>You Change.\u003c/em>\u003c/p>\n\u003cp>\u003cem>All that you Change\u003c/em>\u003c/p>\n\u003cp>\u003cem>Changes you.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The only lasting truth\u003c/em>\u003c/p>\n\u003cp>\u003cem>Is Change.\u003c/em>\u003c/p>\n\u003cp>\u003cem>God\u003c/em>\u003c/p>\n\u003cp>\u003cem>Is Change.\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003cem>Earthseed: The Books of the Living\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003cem>Saturday, July 20, 2024\u003c/em>\u003c/p>\n\u003cp>One thing that’s changed since Octavia E. Butler first published her 1993 dystopian masterpiece \u003cem>Parable of the Sower\u003c/em> is that her prescience has come more clearly and disturbingly into focus. Hailed as a landmark of Afrofuturism, the novel and its sequel, 1998’s \u003cem>Parable of the Talents\u003c/em>, read increasingly like tomorrow’s headlines.\u003c/p>\n\u003cp>Unfolding in the journal of teenaged Lauren Olamina, a character with all the revelatory power of Huck Finn, the Joads and other American castoffs forced to hit the road for survival, \u003cem>Parable of the Sower \u003c/em>describes California as a chaotic landscape where water is privatized and the weather is more unstable and extreme due to global warming.\u003c/p>\n\u003cp>Law and order has broken down as new illegal drugs drive people to commit wanton acts of destruction. Anyone without protections afforded by wealth is subject to looting and violence at the hands of the dispossessed. Did I mention that the novel opens on July 20, 2024?\u003c/p>\n\u003cp>For vocalist, guitarist and composer Toshi Reagon and her legendary mother, civil rights activist, scholar and Sweet Honey in the Rock founder Bernice Johnson Reagon, that impending date served as a beacon. They’ve been developing the music for decades, and ended up bringing \u003cem>Parable of the Sower\u003c/em> to the stage as a “congregational opera.” Co-directed by Eric Ting and Signe V. Harriday, the latest production makes its Bay Area premiere \u003ca href=\"https://calperformances.org/events/2022-23/illuminations-human-and-machine/octavia-e-butlers-parable-of-the-sower/\">May 5 and 6 at UC Berkeley’s Zellerbach Hall\u003c/a>, presented by Cal Performances.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Ds1rNB2jJB8'\n title='//www.youtube.com/embed/Ds1rNB2jJB8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Toshi Reagon, a life-long science fiction fan who read \u003cem>Parable\u003c/em> when it was first published, saw Butler’s story as a creative challenge. “I thought \u003cem>Parable\u003c/em> would be innovative for us to witness,” she says, noting that the unspecified apocalypse that sets the scene for the novel seemed a long way off in 1993. “I thought, ‘That’s terrible, but that can’t happen.’”\u003c/p>\n\u003cp>In recent years, however, events have made her feel “a desperation to get it out. I didn’t want to go into 2024 without something in my hand,” she says, particularly as the news increasingly came to echo Butler’s tale. “There is no way we can all be okay with the way governments are leading the planet. Octavia makes the options so clear. You take these steps or you’re on the highway.”\u003c/p>\n\u003cp>Part of what sets \u003cem>Parable\u003c/em> apart from other classic dystopian tales like George Orwell’s \u003cem>1984\u003c/em>, Aldous Huxley’s \u003cem>Brave New World\u003c/em> and Cormac McCarthy’s \u003cem>The Road\u003c/em> is that Butler offers far more than a vision of Hobbesian humanity at its worst. She also details a path forward, via Lauren’s epigraphic philosophy about change as the universe’s governing force. Teased out and applied to envisioning a new society, her creed resonates deeply with African American music’s deepest roots, spirituals and blues, which defined, healed and sustained embattled communities through extreme depredations.\u003c/p>\n\u003cfigure id=\"attachment_13928145\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928145\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-800x533.jpeg\" alt=\"Toshi Reagon plays her acoustic guitar on a dimly lit theater stage.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson.jpeg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toshi Reagon in Octavia E. Butler’s ‘Parable of the Sower,’ which premieres in the Bay Area May 5 and 6 at UC Berkeley’s Zellerbach Hall. \u003ccite>(Reed Hutchinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If there’s anything Toshi wants people to understand about \u003cem>Parable\u003c/em> it’s that “it really is an opera,” she says. “It is not a musical. No one is going to stop and talk to you. We sing for a few hours, and we definitely follow the arc of the book. The first half of the story is in a community where the trouble is coming. The second half is in the unknown, trying to get somewhere else and survive. There’s a lot of narrative, so even if you didn’t read the books the story is recognizable.”\u003c/p>\n\u003cp>\u003cem>Parable’s\u003c/em> birth was midwifed by Toni Morrison. In the late 1990s, she invited Bernice Johnson Reagon to teach an Atelier course at Princeton University. Given all her responsibilities \u003cspan style=\"font-weight: 400\">— \u003c/span>Sweet Honey in the Rock was touring internationally \u003cspan style=\"font-weight: 400\">— \u003c/span>Toshi took over from her mom to teach half the semester. After noticing Princeton’s numerous student a cappella ensembles, she realized the time was ripe to start writing music for \u003cem>Parable\u003c/em>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Reagons ended up composing dozens of songs, though it wasn’t until about five years later that they started to shape the material into a narrative. A workshop in 2008 set it on course for a premiere at the New York City Opera, but the company ended up folding in 2013 (it returned from bankruptcy three years later). The public first got a glimpse at some of the material in 2014 when Toshi Reagon closed her annual birthday concert at Joe’s Pub with a set of \u003cem>Parable\u003c/em> songs.\u003c/p>\n\u003cp>“She presented three acts of music, and one was of this show no one had heard,” says Eric Ting, who recently stepped down after a brilliant seven-year run as artistic director at Cal Shakes. His wife Meiyin Wang was director of New York’s Under the Radar Festival at the time, and quickly booked the Reagons to present a concert version of \u003cem>Parable\u003c/em> at the Public Theatre in 2015.\u003c/p>\n\u003cp>Ting came on as director, “someone who could shepherd a narrative out of this huge collection of songs,” he says. “We started with four hours of content and that was only a fraction of what they’d written! There’s still music that I’ve never heard, and Toshi has brought plenty of new music to the project.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Part of the challenge was threading the needle in adapting beloved literary works with ardent followings while creating an opera accessible to people who’ve never read Butler. During Ting’s tenure at Cal Shakes, he brought Toshi in to do a developmental workshop, but the production she envisioned was too ambitious for the company to tackle.\u003c/p>\n\u003cp>“It’s a big show, 15 performers, a five-piece rock band, and they all travel from out of town, so there are flights and rooms,” Ting says. “That was one of the challenges.”\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/Wie63mAbm8s'\n title='//www.youtube.com/embed/Wie63mAbm8s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Parable\u003c/em>’s extended development speaks both to Reagon’s dogged commitment and the opera’s organic evolution. In the past few years, Cal Performances has presented several disappointing \u003ca href=\"https://datebook.sfchronicle.com/theater/review-marquee-name-grand-venue-host-amateur-hour-in-angelique-kidjos-yemandja\">high-profile shows\u003c/a> that were rushed into Zellerbach without the necessary time and resources. Reagon formed her own production company and steadily pushed the boulder up the mountain with her team, honing the work year after year. \u003c/p>\n\u003cp>Reagon often creates ancillary programming around the production, community building that she calls \u003ca href=\"https://www.bowdoin.edu/parable-path-maine/\">the Parable Path\u003c/a>. Whenever possible she sets up a residency at a theater, and often holds song sessions, teaching people \u003cem>Parable\u003c/em> pieces so they can join in the production. There wasn’t time to develop many Parable Path activities for the Cal Performances engagement, but she’s got her eye on coming back to the Bay Area. Ultimately, \u003cem>Parable of the Sower\u003c/em> reflects the novels upon which its based, drawing strength from sacred and vernacular Black culture to offer a path away from societal collapse.\u003c/p>\n\u003cp>“I think the innovation in terms of contemporary performance is that we don’t see the work itself as a whole,” Toshi says. “So much is about urging or challenging our communities to confront the fragility of the world we live in. How we survive is so tied up in how we relate to each other.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Parable of the Sower \u003cem>makes its Bay Area debut at Zellerbach Hall at UC Berkeley on May 5 and 6. \u003ca href=\"https://calperformances.org/events/2022-23/illuminations-human-and-machine/octavia-e-butlers-parable-of-the-sower/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Racist 'Star Wars' Fans Aren't New. Why Doesn't Disney Do More to Protect its Actors?",
"headTitle": "Racist ‘Star Wars’ Fans Aren’t New. Why Doesn’t Disney Do More to Protect its Actors? | KQED",
"content": "\u003cp>The most surprising thing about the racism directed at \u003cem>Obi-Wan Kenobi\u003c/em> star Moses Ingram is the fact that some people are still surprised by it.\u003c/p>\n\u003cp>After all, other actors of color who have joined the \u003cem>Star Wars\u003c/em> universe in recent years have complained about racist attacks from fans online, including \u003ca href=\"https://www.vanityfair.com/hollywood/2020/09/john-boyega-star-wars-racism-interview\" target=\"_blank\" rel=\"noopener noreferrer\">John Boyega\u003c/a> and \u003ca href=\"https://www.insider.com/kelly-marie-tran-racist-sexist-trolls-social-media-2021-3\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly Marie Tran\u003c/a>.\u003c/p>\n\u003cp>So it wasn’t exactly shocking to this non-white \u003cem>Star Wars\u003c/em> fan when Ingram–whose turn as villainous Inquisitor Reva Sevander lights up the series—shared messages she received on social media from trolls using insults and the n-word to denigrate one of the most powerful Black women to join the franchise.\u003c/p>\n\u003cp>https://twitter.com/ReignOfApril/status/1531660224456626177\u003c/p>\n\u003cp>Here’s what is surprising to me: that the media companies behind the \u003cem>Star Wars \u003c/em>juggernaut—Lucasfilm and its owner, Disney—haven’t done more to proactively support non-white actors and push back against the racism they regularly face when taking prominent roles in the franchise.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Why did Ingram have to reveal deeply hurtful and traumatizing messages to get this conversation out in the open? She has said that the studio \u003ca href=\"https://www.indiewire.com/2022/05/obi-wan-kenobi-moses-ingram-lucasfilm-warned-star-wars-racism-1234727577/\" target=\"_blank\" rel=\"noopener noreferrer\">warned her privately \u003c/a>racist fans would come after her when the TV series debuted—why didn’t they take action beforehand to denounce what they knew would likely come?\u003c/p>\n\u003cp>[aside postid='arts_13892633']Let’s see prominent executives talk about the racism among fans before actors of color have to go public with their trauma. Let’s see an advertising campaign directed specifically at calling out racists and uplifting non-white performers. How about social media events with fans aimed at celebrating franchise diversity before a new TV show or film even debuts?\u003c/p>\n\u003cp>It is well past time for the companies which make billions from these media properties to take action before the racists do.\u003c/p>\n\u003ch3>Diversity in the franchise brings new challenges\u003c/h3>\n\u003cp>Producers are filling \u003cem>Star Wars\u003c/em> movies with non-white stars, moving away from the franchise’s white-centered narratives in a way which makes the new stories more appealing to young audiences raised in a more multicultural society. Upcoming series \u003cem>Andor, Ahsoka \u003c/em>and \u003cem>Lando\u003c/em> have been announced, starring non-white actors Diego Luna, Rosario Dawson and Donald Glover.\u003c/p>\n\u003cp>But that diversity, welcome as it is, also turns these actors of color into targets for a disaffected portion of the fanbase who seem personally threatened by the changes. These performers already face tremendous pressure to maintain the quality of a legendary franchise; now, the public can see the extra burden they face in the form of online harassment and insults.\u003c/p>\n\u003cp>https://twitter.com/YNB/status/1531760996489961472\u003c/p>\n\u003cp>This is also a unique crystallization of a debate we have been having in the public space over many different issues. Does amping up the racial and ethnic diversity of a storied franchise improve its storytelling or needlessly hobble it?\u003c/p>\n\u003cp>In other words, is diversity an institution’s strength or a weakness?\u003c/p>\n\u003cp>To be honest, this is a question I thought was answered long ago. Especially after one look at Chadwick Boseman in \u003cem>Black Panther\u003c/em>, Zendaya and Jacob Batalon in Marvel’s recent \u003cem>Spider-Man\u003c/em> movies, Pedro Pascal in \u003cem>The Mandalorian \u003c/em>and Dawson’s amazing performances \u003ca href=\"https://www.vanityfair.com/hollywood/2020/11/rosario-dawson-dave-filoni-mandalorian-ahsoka-tano-grogu\" target=\"_blank\" rel=\"noopener noreferrer\">bringing to life\u003c/a> the character of former Jedi Padawan Ahsoka Tano. These gifted performers have enriched the movie and TV franchises where they have appeared, thrilling us fans.\u003c/p>\n\u003cp>But they shouldn’t have to face abuse from an online mob alone to do it.\u003c/p>\n\u003ch3>An issue that reaches back to the beginning\u003c/h3>\n\u003cp>In a way, these problems trace back to the beginnings of the franchise. As I noted \u003ca href=\"https://www.npr.org/2022/05/27/1101767449/obi-wan-kenobi-star-wars-disney-review\" target=\"_blank\" rel=\"noopener noreferrer\">in my review\u003c/a> of \u003cem>Obi-Wan Kenobi,\u003c/em> \u003cem>Star Wars\u003c/em> creator George Lucas has acknowledged that the Japanese film \u003cem>The Hidden Fortress\u003c/em> \u003ca href=\"https://daily.jstor.org/is-star-wars-cultural-appropriation/\" target=\"_blank\" rel=\"noopener noreferrer\">inspired aspects of his films\u003c/a>. The style of the Jedi Knights’ clothing, their fighting style and mysticism all seem lifted from that ethos—an unfortunate example of Hollywood’s tendency to appropriate Asian culture without featuring Asian actors or characters.\u003c/p>\n\u003cp>[aside postid='arts_13889379']Because of this, and because the original films had so little space for characters of color, it has been tough for some racist fans of the franchise to see a version of \u003cem>Star Wars\u003c/em> that is more inclusive without feeling it is somehow compromised. On one level, it is bizarre to think that people could object to Black, Latinx or Asian actors in a story set in a faraway galaxy including non-human characters that resemble outsize dogs and goldfish.\u003c/p>\n\u003cp>But quality science fiction stories are always about us humans in the time they were written, regardless of when or where they are set. So it makes sense that our current debates about tribalism, multiculturalism and equality would pop up here, too.\u003c/p>\n\u003cp>(Look up \u003ca href=\"https://en.wikipedia.org/wiki/Group_threat_theory\" target=\"_blank\" rel=\"noopener noreferrer\">the definition of\u003c/a> Group Threat Theory to see an academic explanation for how a group in the majority reacts when a smaller minority gets more power.)\u003c/p>\n\u003cp>I’m glad Ingram revealed this publicly. As a Black man who writes often about race and media, I’ve been on the receiving end of a lot of racist vitriol online myself, and it is seriously traumatizing to experience—let alone talk about openly. Still, detailing these messages are the only way to show the extent of the problem, and marshal support from non-racist fans, the studio, the press and \u003ca href=\"https://ew.com/tv/ewan-mcgregor-youre-no-star-wars-fan-bullying-moses-ingram/\" target=\"_blank\" rel=\"noopener noreferrer\">fellow actors\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/starwars/status/1531804726165401600\u003c/p>\n\u003cp>I’m also glad Disney and Lucasfilm are committed to the kind of casting choices which may anger some fans, but ultimately prove that science fiction and fantasy stories are places where anyone can be a hero. Young children of color today who imagine themselves as the good guys in a \u003cem>Star Wars\u003c/em> story while at play, don’t have to also imagine that they are white—like fans from my generation mostly had to do.\u003c/p>\n\u003cp>[aside postid='pop_83529']It is time now to protect that progress by protecting the actors of color who make it possible. Lucasfilm and Disney must find ways to help move this conversation along—in public—so that racist fans feel less welcome to express their noxious views and actors of color don’t have to feel like targets.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>These actors shouldn’t have to shoulder the extra burden of figuring out how to handle the racism unloaded on them by dozens of nameless fans. But to make that happen, the companies which employ them need to get visibly and substantially involved in working to drown out toxic voices attacking the franchise’s future.\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=Racist+%27Star+Wars%27+fans+aren%27t+new.+Why+doesn%27t+Disney+do+more+to+protect+its+actors%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The most surprising thing about the racism directed at \u003cem>Obi-Wan Kenobi\u003c/em> star Moses Ingram is the fact that some people are still surprised by it.\u003c/p>\n\u003cp>After all, other actors of color who have joined the \u003cem>Star Wars\u003c/em> universe in recent years have complained about racist attacks from fans online, including \u003ca href=\"https://www.vanityfair.com/hollywood/2020/09/john-boyega-star-wars-racism-interview\" target=\"_blank\" rel=\"noopener noreferrer\">John Boyega\u003c/a> and \u003ca href=\"https://www.insider.com/kelly-marie-tran-racist-sexist-trolls-social-media-2021-3\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly Marie Tran\u003c/a>.\u003c/p>\n\u003cp>So it wasn’t exactly shocking to this non-white \u003cem>Star Wars\u003c/em> fan when Ingram–whose turn as villainous Inquisitor Reva Sevander lights up the series—shared messages she received on social media from trolls using insults and the n-word to denigrate one of the most powerful Black women to join the franchise.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Here’s what is surprising to me: that the media companies behind the \u003cem>Star Wars \u003c/em>juggernaut—Lucasfilm and its owner, Disney—haven’t done more to proactively support non-white actors and push back against the racism they regularly face when taking prominent roles in the franchise.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Why did Ingram have to reveal deeply hurtful and traumatizing messages to get this conversation out in the open? She has said that the studio \u003ca href=\"https://www.indiewire.com/2022/05/obi-wan-kenobi-moses-ingram-lucasfilm-warned-star-wars-racism-1234727577/\" target=\"_blank\" rel=\"noopener noreferrer\">warned her privately \u003c/a>racist fans would come after her when the TV series debuted—why didn’t they take action beforehand to denounce what they knew would likely come?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Let’s see prominent executives talk about the racism among fans before actors of color have to go public with their trauma. Let’s see an advertising campaign directed specifically at calling out racists and uplifting non-white performers. How about social media events with fans aimed at celebrating franchise diversity before a new TV show or film even debuts?\u003c/p>\n\u003cp>It is well past time for the companies which make billions from these media properties to take action before the racists do.\u003c/p>\n\u003ch3>Diversity in the franchise brings new challenges\u003c/h3>\n\u003cp>Producers are filling \u003cem>Star Wars\u003c/em> movies with non-white stars, moving away from the franchise’s white-centered narratives in a way which makes the new stories more appealing to young audiences raised in a more multicultural society. Upcoming series \u003cem>Andor, Ahsoka \u003c/em>and \u003cem>Lando\u003c/em> have been announced, starring non-white actors Diego Luna, Rosario Dawson and Donald Glover.\u003c/p>\n\u003cp>But that diversity, welcome as it is, also turns these actors of color into targets for a disaffected portion of the fanbase who seem personally threatened by the changes. These performers already face tremendous pressure to maintain the quality of a legendary franchise; now, the public can see the extra burden they face in the form of online harassment and insults.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This is also a unique crystallization of a debate we have been having in the public space over many different issues. Does amping up the racial and ethnic diversity of a storied franchise improve its storytelling or needlessly hobble it?\u003c/p>\n\u003cp>In other words, is diversity an institution’s strength or a weakness?\u003c/p>\n\u003cp>To be honest, this is a question I thought was answered long ago. Especially after one look at Chadwick Boseman in \u003cem>Black Panther\u003c/em>, Zendaya and Jacob Batalon in Marvel’s recent \u003cem>Spider-Man\u003c/em> movies, Pedro Pascal in \u003cem>The Mandalorian \u003c/em>and Dawson’s amazing performances \u003ca href=\"https://www.vanityfair.com/hollywood/2020/11/rosario-dawson-dave-filoni-mandalorian-ahsoka-tano-grogu\" target=\"_blank\" rel=\"noopener noreferrer\">bringing to life\u003c/a> the character of former Jedi Padawan Ahsoka Tano. These gifted performers have enriched the movie and TV franchises where they have appeared, thrilling us fans.\u003c/p>\n\u003cp>But they shouldn’t have to face abuse from an online mob alone to do it.\u003c/p>\n\u003ch3>An issue that reaches back to the beginning\u003c/h3>\n\u003cp>In a way, these problems trace back to the beginnings of the franchise. As I noted \u003ca href=\"https://www.npr.org/2022/05/27/1101767449/obi-wan-kenobi-star-wars-disney-review\" target=\"_blank\" rel=\"noopener noreferrer\">in my review\u003c/a> of \u003cem>Obi-Wan Kenobi,\u003c/em> \u003cem>Star Wars\u003c/em> creator George Lucas has acknowledged that the Japanese film \u003cem>The Hidden Fortress\u003c/em> \u003ca href=\"https://daily.jstor.org/is-star-wars-cultural-appropriation/\" target=\"_blank\" rel=\"noopener noreferrer\">inspired aspects of his films\u003c/a>. The style of the Jedi Knights’ clothing, their fighting style and mysticism all seem lifted from that ethos—an unfortunate example of Hollywood’s tendency to appropriate Asian culture without featuring Asian actors or characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Because of this, and because the original films had so little space for characters of color, it has been tough for some racist fans of the franchise to see a version of \u003cem>Star Wars\u003c/em> that is more inclusive without feeling it is somehow compromised. On one level, it is bizarre to think that people could object to Black, Latinx or Asian actors in a story set in a faraway galaxy including non-human characters that resemble outsize dogs and goldfish.\u003c/p>\n\u003cp>But quality science fiction stories are always about us humans in the time they were written, regardless of when or where they are set. So it makes sense that our current debates about tribalism, multiculturalism and equality would pop up here, too.\u003c/p>\n\u003cp>(Look up \u003ca href=\"https://en.wikipedia.org/wiki/Group_threat_theory\" target=\"_blank\" rel=\"noopener noreferrer\">the definition of\u003c/a> Group Threat Theory to see an academic explanation for how a group in the majority reacts when a smaller minority gets more power.)\u003c/p>\n\u003cp>I’m glad Ingram revealed this publicly. As a Black man who writes often about race and media, I’ve been on the receiving end of a lot of racist vitriol online myself, and it is seriously traumatizing to experience—let alone talk about openly. Still, detailing these messages are the only way to show the extent of the problem, and marshal support from non-racist fans, the studio, the press and \u003ca href=\"https://ew.com/tv/ewan-mcgregor-youre-no-star-wars-fan-bullying-moses-ingram/\" target=\"_blank\" rel=\"noopener noreferrer\">fellow actors\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>I’m also glad Disney and Lucasfilm are committed to the kind of casting choices which may anger some fans, but ultimately prove that science fiction and fantasy stories are places where anyone can be a hero. Young children of color today who imagine themselves as the good guys in a \u003cem>Star Wars\u003c/em> story while at play, don’t have to also imagine that they are white—like fans from my generation mostly had to do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It is time now to protect that progress by protecting the actors of color who make it possible. Lucasfilm and Disney must find ways to help move this conversation along—in public—so that racist fans feel less welcome to express their noxious views and actors of color don’t have to feel like targets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These actors shouldn’t have to shoulder the extra burden of figuring out how to handle the racism unloaded on them by dozens of nameless fans. But to make that happen, the companies which employ them need to get visibly and substantially involved in working to drown out toxic voices attacking the franchise’s future.\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=Racist+%27Star+Wars%27+fans+aren%27t+new.+Why+doesn%27t+Disney+do+more+to+protect+its+actors%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Doctor Who' Has its First Black Lead. Will the Show Contend With Race?",
"headTitle": "‘Doctor Who’ Has its First Black Lead. Will the Show Contend With Race? | KQED",
"content": "\u003cp>When news first broke that Ncuti Gatwa \u003ca href=\"https://www.npr.org/2022/05/08/1097488412/ncuti-gatwa-doctor-who?utm_source=npr_newsletter&utm_medium=email&utm_content=20220513&utm_term=6700828&utm_campaign=pop-culture&utm_id=18014506&orgid=671&utm_att1=\" target=\"_blank\" rel=\"noopener noreferrer\">would be the new star\u003c/a> of the BBC’s long-running science fiction series \u003cem>Doctor Who\u003c/em>, it felt like an important step forward for the franchise.\u003c/p>\n\u003cp>After all, the show’s lead character—a time traveling alien thousands of years old known as The Doctor—has only been played by white people since the show’s inception in 1963.\u003c/p>\n\u003cp>[aside postid='pop_13273']Current star Jodie Whittaker became the first woman to star in the show just five years ago. And Gatwa, a Black man born in Rwanda and raised in Scotland who earned raves playing a gay high schooler on the Netflix series \u003cem>Sex Education\u003c/em>, seems poised to offer an even more revolutionary vision for one of TV’s most enduring science fiction characters.\u003c/p>\n\u003cp>That news was compounded by more announcements: David Tennant, who played a popular version of The Doctor from 2005 to 2010, \u003ca href=\"https://www.bbc.com/news/entertainment-arts-61455936?xtor=AL-72-%5Bpartner%5D-%5Bbbc.news.twitter%5D-%5Bheadline%5D-%5Bnews%5D-%5Bbizdev%5D-%5Bisapi%5D&at_custom3=%40BBCNews&at_campaign=64&at_custom2=twitter&at_custom1=%5Bpost+type%5D&at_medium=custom7&at_custom4=FE1F63CA-D478-11EC-8C91-89BA4744363C\" target=\"_blank\" rel=\"noopener noreferrer\">will return\u003c/a> for the show’s 60th anniversary next year. He’ll be joined by Catherine Tate who played a popular sidekick to The Doctor—they’re known as “companions” on the show—Donna Noble.\u003c/p>\n\u003cp>And Yasmin Finney, last seen in Netflix’s popular British coming-of-age teen drama, \u003cem>Heartstopper\u003c/em>, \u003ca href=\"https://variety.com/2022/tv/news/heartstopper-yasmin-finney-doctor-who-rose-tyler-1235268305/\" target=\"_blank\" rel=\"noopener noreferrer\">will join the cast\u003c/a> as one of the few openly transgender actors to appear on \u003cem>Doctor Who\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All this will be guided by returning showrunner Russell T. Davies, who revived \u003cem>Doctor Who\u003c/em> in 2005 after a 16-year hiatus and left the series when Tennant did in 2010. With credits that include groundbreaking work like \u003cem>Queer as Folk\u003c/em> and \u003cem>It’s a Sin\u003c/em>, there seems little doubt that Davies plans on taking the show in directions it’s never traveled before.\u003c/p>\n\u003cp>And yet. As a longtime Whovian—that’s nerdspeak for a fan of the show—I’m left to wonder if the new \u003cem>Doctor Who\u003c/em> will fully take advantage of all the diversity in its new casting choices.\u003c/p>\n\u003cp>Specifically, I fear \u003cem>Doctor Who\u003c/em> may not really explore what it means to turn a Black man into one of Britain’s most beloved TV characters. Because, when the current production team had a chance to develop storylines around reimagining The Doctor as a woman, they often skirted the issue.\u003c/p>\n\u003ch3>Reimagining the show through regeneration\u003c/h3>\n\u003cp>For those unfamiliar with the show, \u003cem>Doctor Who\u003c/em> came up with an ingenious way to keep the series going in its early days, allowing the program to switch out its lead actors. The Doctor undergoes what’s called a “regeneration,” where he morphs into a new body, often with a different personality, accounting for his tremendously long life.\u003c/p>\n\u003cp>In practical terms, this storytelling device allows the show to change its star whenever necessary, fueling \u003cem>Doctor Who\u003c/em>‘s rise as a British TV institution and international phenomenon. And in 2017, Scottish actor Peter Capaldi departed the role as Whittaker took over.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=m_cchDZGtwE\u003c/p>\n\u003cp>I’ll be honest, I haven’t been all that impressed with the episodes featuring Whittaker, crafted by current showrunner Chris Chibnall. Too often, it seems as if the show races through plotting and circumstances at breakneck speed, leaving me yearning for a little more time spent developing the characters.\u003c/p>\n\u003cp>No shade intended for the show’s actors—especially Whittaker, who has plunged into playing The Doctor with an appealing abandon. She nails every scene in a way that recalls the best characteristics of the classic Doctors, while also developing her own vision. Still, the show’s writing too often hasn’t matched her skill.\u003c/p>\n\u003cp>The series’ recent six-episode story arc, dubbed \u003cem>Flux\u003c/em>, featured The Doctor facing off against a cavalcade of bad guys, including two aliens who looked like they had crystals stuck to their faces, classic villains like the Weeping Angels, another murderous alien called The Grand Serpent and a character who claimed to be our hero’s adoptive mother. Even in a season aiming for an epic story, it felt a bit overstuffed.\u003c/p>\n\u003cp>[aside postid='pop_106360']To be sure, the core of \u003cem>Flux\u003c/em>‘s story turns on important revelations about The Doctor’s origin and life story. But it tumbles out in a rush, culminating with The Doctor’s decision—spoiler alert!—to turn away from an object which would allow her to access all the memories of her previous lives, closing the door on too much introspection and robbing the character of her biggest weapon: her experience.\u003c/p>\n\u003cp>What there wasn’t enough of—at least from my perspective—was a peek inside The Doctor’s own head. In the last special, \u003cem>Legend of the Sea Devils\u003c/em>, The Doctor turned down a romantic relationship with her companion, Mandip Gill’s steadfast Yasmin Khan, for fear of getting hurt. The wonderfully poignant scene was one of the few times we saw her inner life emerge—but almost as it was happening, she turned away.\u003c/p>\n\u003cp>One of my greatest joys in watching Whittaker’s predecessor, the wiry-browed Capaldi, was seeing him develop the Doctor from a curmudgeonly know-it-all with little patience for individual humanoids to a character who begrudgingly appreciated his connection to others. Especially his companions.\u003c/p>\n\u003cp>It’s something I’ve always felt was true about the best \u003cem>Doctor Who\u003c/em> storylines; The most interesting aspect of any episode is always The Doctor.\u003c/p>\n\u003cfigure id=\"attachment_13913567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913567\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/doctor-who-flux-1_wide-eef5162326205b50ab10ca6778717812b7febf39-800x450.jpe\" alt=\"A South Asian woman with hair pulled back, a white blonde woman and a white man with greying hair stand side by side, serious expressions on their faces.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Mandip Gill, Jodie Whittaker and John Bishop from the cast of ‘Doctor Who.’ \u003ccite>(James Pardon/BBC Studios/BBC America)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Think about it: Even for a series which goes to the end of time and back, what could be more interesting than a super-intelligent, eccentrically charming, steadfastly moral alien who has seen it all and still cares? How that character views existence, danger, romance and societies is often the most exciting and revelatory element of my favorite episodes, including \u003cem>The Day of the Doctor—\u003c/em>a special episode featuring Tennant, Matt Smith and John Hurt as three different iterations of The Doctor working together.\u003c/p>\n\u003cp>Despite all the ground they have covered, the Chibnall/Whittaker episodes haven’t really connected with what it might mean to change the gender of a character who has been a man onscreen for nearly 60 years. This feels like something of an opportunity missed, muting the impact of such revolutionary casting.\u003c/p>\n\u003ch3>Why diversity matters on a show about an alien\u003c/h3>\n\u003cp>It may sound bizarre, worrying that a show about a time traveling alien doesn’t sufficiently explore gender or race on screen. But that is the unique vision of \u003cem>Doctor Who\u003c/em>; it’s a series that sends its characters to the end of the universe and time, yet grounds it all in a cheeky reflection of British culture.\u003c/p>\n\u003cp>It is, like so many of the best iterations of science fiction in media, a grand palette for exploring the current state of humanity. And centering the narrative on characters from groups previously marginalized by big, venerated franchises like\u003cem> Doctor Who\u003c/em>, requires more than just casting a new actor—it demands building a new character rooted in a new identity.\u003c/p>\n\u003cp>[aside postid='pop_92372']Davies is a skilled showrunner who has deftly handled depictions of race and identity in other series, so I remain hopeful these new casting decisions reflect a willingness to dig into the possibilities. (After \u003cem>Flux\u003c/em>, Whittaker and Chibnall have produced three \u003cem>Doctor Who\u003c/em> specials for this year, culminating with her final appearance in \u003ca href=\"https://www.digitalspy.com/tv/a39991185/doctor-who-jodie-whittaker-final-episode-runtime/\" target=\"_blank\" rel=\"noopener noreferrer\">a 90-minute finale\u003c/a> in October.)\u003c/p>\n\u003cp>Gatwa’s casting actually reminded me of an old joke a white comedian told to a Black friend about time machines—saying that he could go anywhere he wanted, but his friend could only travel back to about 1965 before he would have some serious problems.\u003c/p>\n\u003cp>I’m hopeful, in an odd way, that Gatwa’s version of The Doctor winds up reckoning with the painful reality behind that joke—particularly, how people of color and folks from LGBTQ communities have been treated throughout human history. And I can’t wait for the symbolic impact of seeing a Black man as the charismatic know-it-all with all the answers—a type of role far too often denied non-white performers.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It may not be quite as seismic as a Black actor playing James Bond. But for this Whovian of color—who has watched the show off and on since the mid-1970s—it’s close enough.\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=%27Doctor+Who%27+has+its+first+Black+lead.+Will+the+show+contend+with+race%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Ncuti Gatwa is the new Time Lord! But when the show cast its first female Doctor, it avoided the issue of gender entirely.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When news first broke that Ncuti Gatwa \u003ca href=\"https://www.npr.org/2022/05/08/1097488412/ncuti-gatwa-doctor-who?utm_source=npr_newsletter&utm_medium=email&utm_content=20220513&utm_term=6700828&utm_campaign=pop-culture&utm_id=18014506&orgid=671&utm_att1=\" target=\"_blank\" rel=\"noopener noreferrer\">would be the new star\u003c/a> of the BBC’s long-running science fiction series \u003cem>Doctor Who\u003c/em>, it felt like an important step forward for the franchise.\u003c/p>\n\u003cp>After all, the show’s lead character—a time traveling alien thousands of years old known as The Doctor—has only been played by white people since the show’s inception in 1963.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Current star Jodie Whittaker became the first woman to star in the show just five years ago. And Gatwa, a Black man born in Rwanda and raised in Scotland who earned raves playing a gay high schooler on the Netflix series \u003cem>Sex Education\u003c/em>, seems poised to offer an even more revolutionary vision for one of TV’s most enduring science fiction characters.\u003c/p>\n\u003cp>That news was compounded by more announcements: David Tennant, who played a popular version of The Doctor from 2005 to 2010, \u003ca href=\"https://www.bbc.com/news/entertainment-arts-61455936?xtor=AL-72-%5Bpartner%5D-%5Bbbc.news.twitter%5D-%5Bheadline%5D-%5Bnews%5D-%5Bbizdev%5D-%5Bisapi%5D&at_custom3=%40BBCNews&at_campaign=64&at_custom2=twitter&at_custom1=%5Bpost+type%5D&at_medium=custom7&at_custom4=FE1F63CA-D478-11EC-8C91-89BA4744363C\" target=\"_blank\" rel=\"noopener noreferrer\">will return\u003c/a> for the show’s 60th anniversary next year. He’ll be joined by Catherine Tate who played a popular sidekick to The Doctor—they’re known as “companions” on the show—Donna Noble.\u003c/p>\n\u003cp>And Yasmin Finney, last seen in Netflix’s popular British coming-of-age teen drama, \u003cem>Heartstopper\u003c/em>, \u003ca href=\"https://variety.com/2022/tv/news/heartstopper-yasmin-finney-doctor-who-rose-tyler-1235268305/\" target=\"_blank\" rel=\"noopener noreferrer\">will join the cast\u003c/a> as one of the few openly transgender actors to appear on \u003cem>Doctor Who\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All this will be guided by returning showrunner Russell T. Davies, who revived \u003cem>Doctor Who\u003c/em> in 2005 after a 16-year hiatus and left the series when Tennant did in 2010. With credits that include groundbreaking work like \u003cem>Queer as Folk\u003c/em> and \u003cem>It’s a Sin\u003c/em>, there seems little doubt that Davies plans on taking the show in directions it’s never traveled before.\u003c/p>\n\u003cp>And yet. As a longtime Whovian—that’s nerdspeak for a fan of the show—I’m left to wonder if the new \u003cem>Doctor Who\u003c/em> will fully take advantage of all the diversity in its new casting choices.\u003c/p>\n\u003cp>Specifically, I fear \u003cem>Doctor Who\u003c/em> may not really explore what it means to turn a Black man into one of Britain’s most beloved TV characters. Because, when the current production team had a chance to develop storylines around reimagining The Doctor as a woman, they often skirted the issue.\u003c/p>\n\u003ch3>Reimagining the show through regeneration\u003c/h3>\n\u003cp>For those unfamiliar with the show, \u003cem>Doctor Who\u003c/em> came up with an ingenious way to keep the series going in its early days, allowing the program to switch out its lead actors. The Doctor undergoes what’s called a “regeneration,” where he morphs into a new body, often with a different personality, accounting for his tremendously long life.\u003c/p>\n\u003cp>In practical terms, this storytelling device allows the show to change its star whenever necessary, fueling \u003cem>Doctor Who\u003c/em>‘s rise as a British TV institution and international phenomenon. And in 2017, Scottish actor Peter Capaldi departed the role as Whittaker took over.\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/m_cchDZGtwE'\n title='//www.youtube.com/embed/m_cchDZGtwE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I’ll be honest, I haven’t been all that impressed with the episodes featuring Whittaker, crafted by current showrunner Chris Chibnall. Too often, it seems as if the show races through plotting and circumstances at breakneck speed, leaving me yearning for a little more time spent developing the characters.\u003c/p>\n\u003cp>No shade intended for the show’s actors—especially Whittaker, who has plunged into playing The Doctor with an appealing abandon. She nails every scene in a way that recalls the best characteristics of the classic Doctors, while also developing her own vision. Still, the show’s writing too often hasn’t matched her skill.\u003c/p>\n\u003cp>The series’ recent six-episode story arc, dubbed \u003cem>Flux\u003c/em>, featured The Doctor facing off against a cavalcade of bad guys, including two aliens who looked like they had crystals stuck to their faces, classic villains like the Weeping Angels, another murderous alien called The Grand Serpent and a character who claimed to be our hero’s adoptive mother. Even in a season aiming for an epic story, it felt a bit overstuffed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To be sure, the core of \u003cem>Flux\u003c/em>‘s story turns on important revelations about The Doctor’s origin and life story. But it tumbles out in a rush, culminating with The Doctor’s decision—spoiler alert!—to turn away from an object which would allow her to access all the memories of her previous lives, closing the door on too much introspection and robbing the character of her biggest weapon: her experience.\u003c/p>\n\u003cp>What there wasn’t enough of—at least from my perspective—was a peek inside The Doctor’s own head. In the last special, \u003cem>Legend of the Sea Devils\u003c/em>, The Doctor turned down a romantic relationship with her companion, Mandip Gill’s steadfast Yasmin Khan, for fear of getting hurt. The wonderfully poignant scene was one of the few times we saw her inner life emerge—but almost as it was happening, she turned away.\u003c/p>\n\u003cp>One of my greatest joys in watching Whittaker’s predecessor, the wiry-browed Capaldi, was seeing him develop the Doctor from a curmudgeonly know-it-all with little patience for individual humanoids to a character who begrudgingly appreciated his connection to others. Especially his companions.\u003c/p>\n\u003cp>It’s something I’ve always felt was true about the best \u003cem>Doctor Who\u003c/em> storylines; The most interesting aspect of any episode is always The Doctor.\u003c/p>\n\u003cfigure id=\"attachment_13913567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913567\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/doctor-who-flux-1_wide-eef5162326205b50ab10ca6778717812b7febf39-800x450.jpe\" alt=\"A South Asian woman with hair pulled back, a white blonde woman and a white man with greying hair stand side by side, serious expressions on their faces.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Mandip Gill, Jodie Whittaker and John Bishop from the cast of ‘Doctor Who.’ \u003ccite>(James Pardon/BBC Studios/BBC America)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Think about it: Even for a series which goes to the end of time and back, what could be more interesting than a super-intelligent, eccentrically charming, steadfastly moral alien who has seen it all and still cares? How that character views existence, danger, romance and societies is often the most exciting and revelatory element of my favorite episodes, including \u003cem>The Day of the Doctor—\u003c/em>a special episode featuring Tennant, Matt Smith and John Hurt as three different iterations of The Doctor working together.\u003c/p>\n\u003cp>Despite all the ground they have covered, the Chibnall/Whittaker episodes haven’t really connected with what it might mean to change the gender of a character who has been a man onscreen for nearly 60 years. This feels like something of an opportunity missed, muting the impact of such revolutionary casting.\u003c/p>\n\u003ch3>Why diversity matters on a show about an alien\u003c/h3>\n\u003cp>It may sound bizarre, worrying that a show about a time traveling alien doesn’t sufficiently explore gender or race on screen. But that is the unique vision of \u003cem>Doctor Who\u003c/em>; it’s a series that sends its characters to the end of the universe and time, yet grounds it all in a cheeky reflection of British culture.\u003c/p>\n\u003cp>It is, like so many of the best iterations of science fiction in media, a grand palette for exploring the current state of humanity. And centering the narrative on characters from groups previously marginalized by big, venerated franchises like\u003cem> Doctor Who\u003c/em>, requires more than just casting a new actor—it demands building a new character rooted in a new identity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Davies is a skilled showrunner who has deftly handled depictions of race and identity in other series, so I remain hopeful these new casting decisions reflect a willingness to dig into the possibilities. (After \u003cem>Flux\u003c/em>, Whittaker and Chibnall have produced three \u003cem>Doctor Who\u003c/em> specials for this year, culminating with her final appearance in \u003ca href=\"https://www.digitalspy.com/tv/a39991185/doctor-who-jodie-whittaker-final-episode-runtime/\" target=\"_blank\" rel=\"noopener noreferrer\">a 90-minute finale\u003c/a> in October.)\u003c/p>\n\u003cp>Gatwa’s casting actually reminded me of an old joke a white comedian told to a Black friend about time machines—saying that he could go anywhere he wanted, but his friend could only travel back to about 1965 before he would have some serious problems.\u003c/p>\n\u003cp>I’m hopeful, in an odd way, that Gatwa’s version of The Doctor winds up reckoning with the painful reality behind that joke—particularly, how people of color and folks from LGBTQ communities have been treated throughout human history. And I can’t wait for the symbolic impact of seeing a Black man as the charismatic know-it-all with all the answers—a type of role far too often denied non-white performers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It may not be quite as seismic as a Black actor playing James Bond. But for this Whovian of color—who has watched the show off and on since the mid-1970s—it’s close enough.\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=%27Doctor+Who%27+has+its+first+Black+lead.+Will+the+show+contend+with+race%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "beautiful-but-oh-so-cold-devs-delivers-arty-take-on-silicon-valley-dystopia",
"title": "Beautiful But Oh So Cold: 'Devs' Delivers Arty Take on Silicon Valley Dystopia",
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"content": "\u003cp>Regardless of whether you like anything else about the FX sci fi thriller \u003ca href=\"https://www.fxnetworks.com/shows/devs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Devs\u003c/em>\u003c/a>, its cold, ethereal, luminous vision of the San Francisco Bay Area in the near future captures the look and feel of our lives right now. From a strictly visual perspective, \u003cem>Devs\u003c/em> is a work of art.\u003c/p>\n\u003cp>Writer/director \u003ca href=\"https://en.wikipedia.org/wiki/Alex_Garland\" target=\"_blank\" rel=\"noopener noreferrer\">Alex Garland\u003c/a> (\u003cem>Ex Machina\u003c/em>, \u003cem>Annihilation\u003c/em>) has a degree in art history, and with this TV series, he reconstituted a team with a history of producing visually striking work: production designer \u003ca href=\"https://gersh.com/production/clients/mark-digby/\" target=\"_blank\" rel=\"noopener noreferrer\">Mark Digby\u003c/a>, set decorator \u003ca href=\"http://www.michelle-day.com\" target=\"_blank\" rel=\"noopener noreferrer\">Michelle Day\u003c/a>, cinematographer \u003ca href=\"https://luxartists.net/rob-hardy/\" target=\"_blank\" rel=\"noopener noreferrer\">Rob Hardy\u003c/a> and visual effects supervisor \u003ca href=\"http://www.andrew-whitehurst.net\" target=\"_blank\" rel=\"noopener noreferrer\">Andrew Whitehurst\u003c/a>. Together, they’ve created an ever so slightly fictional take on Silicon Valley, one drenched in light, color and contrast.\u003c/p>\n\u003cp>Naturally, there are establishing shots of San Francisco: foggy, silver, washed out, when it’s not glowing like a silicon chip at night. The series begins in the white, washed out apartment of software engineer \u003ca href=\"https://www.instagram.com/p/B9DGqaVH7jJ/\" target=\"_blank\" rel=\"noopener noreferrer\">Lily\u003c/a> (Sonoya Mizuno) and her boyfriend Sergei (Karl Glusman). Both live in the city and ride a company shuttle to work far, far away in some unnamed suburb to the south.\u003c/p>\n\u003cp>Amaya, the cultish tech company where they work, is set on a campus tucked inside a grove of redwoods — in real life \u003ca href=\"https://www.thecinemaholic.com/devs-filming-locations/\" target=\"_blank\" rel=\"noopener noreferrer\">shot at UC Santa Cruz\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13876669\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876669\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut.jpg\" alt=\"The crew of the FX TV series Devs shoots a scene on the campus of UC Santa Cruz\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crew of the FX TV series Devs shoots a scene on the campus of UC Santa Cruz \u003ccite>(Courtesy of Raymond Liu/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why UC Santa Cruz? For a start, it was available. “\u003cb>\u003c/b>We would never be able to use the real [tech campuses], because they’re always in use by the companies. We needed somewhere that we were going to be for several months, shooting in and out, coming back,” said Digby, who admits the \u003cem>Devs\u003c/em> team was initially looking for a modern campus full of glass and steel, more akin to what you see in downtown San Francisco today.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But as with any visual production team, they adjusted to account for practical constraints and on-site inspiration. “I\u003cb>\u003c/b>t was a little bit out of left field,” Digby said of the slightly older, Brutalist buildings that dominate the UC Santa Cruz campus. Their characteristically massive, monolithic appearance, though, won the team over. “The minute we stepped foot in the area, we fell in love.”\u003c/p>\n\u003cp>So it was McHenry Library, Quarry Plaza and Science Hill provided the exteriors for Amaya’s public-facing office complex in \u003cem>Devs\u003c/em>. And from the inside, you could be looking at any Silicon Valley open floor office plan, featuring floor-to-ceiling glass and sweetly nerdy Millenials tapping away intently at their computer stations.\u003c/p>\n\u003cp>In this case, they look out on those bucolic, green redwoods. “\u003cb>\u003c/b>The redwoods embed you in California and the Bay Area,” Digby said.\u003c/p>\n\u003cp>Add a monumental, pop art statue of a little girl incongruously towering over the campus in a manner not unlike Robert Arneson’s \u003cem>Eggheads\u003c/em> at \u003ca href=\"https://www.kqed.org/arts/12413395/the-10-shocking-toilets-that-helped-put-uc-davis-on-the-art-world-map\" target=\"_blank\" rel=\"noopener noreferrer\">UC Davis\u003c/a>, and you have \u003cem>foreshadowing\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13876668\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DEVS_SET_033.jpg\" alt=\"The quantum supercomputer at the heart of Devs, an eight episode FX series that streaming on Hulu in March.\" width=\"1600\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-1020x680.jpg 1020w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">The quantum supercomputer at the heart of Devs, an eight episode FX series that streaming on Hulu in March. \u003ccite>(Courtesy of Mia Mizuno/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What’s Inside the Box\u003c/h2>\n\u003cp>Because, of course, all is not well in this Garden of Eden. The company is running a secret operation that the world and most of its employees know nothing about.\u003c/p>\n\u003cp>Set off from the other buildings in a nearby meadow, there sits a computer-generated, concrete ziggurat that looks like a bunker or utility building from the World War II era. “It’s supposed to detract from any interest,” said Digby, “but it’s supposed to have scale. Also, from the outside, it’s supposed to juxtapose with what’s inside. W\u003cb>\u003c/b>hat’s inside is supposed to take your breath away.”\u003c/p>\n\u003cp>Inside sits a shimmering, gold jewel box of an office that is the heart of \u003cem>Devs\u003c/em>. Constructed and shot in a U.K. sound studio, it’s also an unabashed temple to technology as it might be in the near future. At the center of the cube, encased in glass, floats the innards of a quantum supercomputer that looks a lot like, for example, IBM’s Q System One.\u003c/p>\n\u003cfigure id=\"attachment_13876667\" class=\"wp-caption aligncenter\" style=\"max-width: 1919px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut.jpeg\" alt=\"The quantum supercomputer at the center of the FX TV series Devs looks a lot like IBM's Q System One.\" width=\"1919\" height=\"2027\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut.jpeg 1919w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-160x169.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-800x845.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-768x811.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-1020x1077.jpeg 1020w\" sizes=\"(max-width: 1919px) 100vw, 1919px\">\u003cfigcaption class=\"wp-caption-text\">The quantum supercomputer at the center of the FX TV series Devs looks a lot like IBM’s Q System One. \u003ccite>(Courtesy of David Becker/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which was the idea.\u003c/p>\n\u003cp>“They are amazing pieces of art. Once they’re taken out of their shields, they are these gold and glass and aluminum and silver masterpieces. You know, the machines that we use, the insides of computers, are absolutely beautiful. It can be Awesome!-inspiring. It’s a character in itself,” Digby said.\u003c/p>\n\u003cp>The supercomputer is also at the center of the \u003cem>Devs\u003c/em> story. Much as my first impression of the space was of the lobby of a boutique hotel, or a futuristic, black, gold and glass inversion of an Apple store, Digby explained that science inspired the visual look of the supercomputer’s home.\u003c/p>\n\u003cp>Sound waves, light waves, electromagnetic waves — nothing will be able to penetrate this bunker encased in concrete and lined with lead and gold. Or gold leaf: the team applied hundreds of squares of gold leaf to the walls, using a recurring fractal pattern called a \u003ca href=\"https://en.wikipedia.org/wiki/Menger_sponge\" target=\"_blank\" rel=\"noopener noreferrer\">Menger sponge\u003c/a>, a visual representation of the idea of boxes within boxes within boxes.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=Fp9LMsI6uJ8]It’s a gilded, airless, isolated space that also looks and feels quasi-religious. The story circles around a metaphysical topic obsessed about in classic, \u003ca href=\"https://www.kqed.org/arts/13876008/devs-explores-modern-tech-driven-cultural-alienation-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">over-heated\u003c/a> sci fi fashion by Amaya’s multibillionaire founder, Forest (Nick Offerman).\u003c/p>\n\u003cp>Does knowing the future allows us to change it to something more akin to our liking? Or are we compelled to act out the future laid before us in the magic mirror by artificial intelligence we built? It’s the old free will versus determinism debate some of you will remember from university philosophy classes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Moody, self-doubting, passively trapped in a gilded box of our own making: sounds like Silicon Valley in 2020. Looks like it, too.\u003c/p>\n\n",
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"title": "Beautiful But Oh So Cold: 'Devs' Delivers Arty Take on Silicon Valley Dystopia | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Regardless of whether you like anything else about the FX sci fi thriller \u003ca href=\"https://www.fxnetworks.com/shows/devs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Devs\u003c/em>\u003c/a>, its cold, ethereal, luminous vision of the San Francisco Bay Area in the near future captures the look and feel of our lives right now. From a strictly visual perspective, \u003cem>Devs\u003c/em> is a work of art.\u003c/p>\n\u003cp>Writer/director \u003ca href=\"https://en.wikipedia.org/wiki/Alex_Garland\" target=\"_blank\" rel=\"noopener noreferrer\">Alex Garland\u003c/a> (\u003cem>Ex Machina\u003c/em>, \u003cem>Annihilation\u003c/em>) has a degree in art history, and with this TV series, he reconstituted a team with a history of producing visually striking work: production designer \u003ca href=\"https://gersh.com/production/clients/mark-digby/\" target=\"_blank\" rel=\"noopener noreferrer\">Mark Digby\u003c/a>, set decorator \u003ca href=\"http://www.michelle-day.com\" target=\"_blank\" rel=\"noopener noreferrer\">Michelle Day\u003c/a>, cinematographer \u003ca href=\"https://luxartists.net/rob-hardy/\" target=\"_blank\" rel=\"noopener noreferrer\">Rob Hardy\u003c/a> and visual effects supervisor \u003ca href=\"http://www.andrew-whitehurst.net\" target=\"_blank\" rel=\"noopener noreferrer\">Andrew Whitehurst\u003c/a>. Together, they’ve created an ever so slightly fictional take on Silicon Valley, one drenched in light, color and contrast.\u003c/p>\n\u003cp>Naturally, there are establishing shots of San Francisco: foggy, silver, washed out, when it’s not glowing like a silicon chip at night. The series begins in the white, washed out apartment of software engineer \u003ca href=\"https://www.instagram.com/p/B9DGqaVH7jJ/\" target=\"_blank\" rel=\"noopener noreferrer\">Lily\u003c/a> (Sonoya Mizuno) and her boyfriend Sergei (Karl Glusman). Both live in the city and ride a company shuttle to work far, far away in some unnamed suburb to the south.\u003c/p>\n\u003cp>Amaya, the cultish tech company where they work, is set on a campus tucked inside a grove of redwoods — in real life \u003ca href=\"https://www.thecinemaholic.com/devs-filming-locations/\" target=\"_blank\" rel=\"noopener noreferrer\">shot at UC Santa Cruz\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13876669\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876669\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut.jpg\" alt=\"The crew of the FX TV series Devs shoots a scene on the campus of UC Santa Cruz\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crew of the FX TV series Devs shoots a scene on the campus of UC Santa Cruz \u003ccite>(Courtesy of Raymond Liu/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why UC Santa Cruz? For a start, it was available. “\u003cb>\u003c/b>We would never be able to use the real [tech campuses], because they’re always in use by the companies. We needed somewhere that we were going to be for several months, shooting in and out, coming back,” said Digby, who admits the \u003cem>Devs\u003c/em> team was initially looking for a modern campus full of glass and steel, more akin to what you see in downtown San Francisco today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But as with any visual production team, they adjusted to account for practical constraints and on-site inspiration. “I\u003cb>\u003c/b>t was a little bit out of left field,” Digby said of the slightly older, Brutalist buildings that dominate the UC Santa Cruz campus. Their characteristically massive, monolithic appearance, though, won the team over. “The minute we stepped foot in the area, we fell in love.”\u003c/p>\n\u003cp>So it was McHenry Library, Quarry Plaza and Science Hill provided the exteriors for Amaya’s public-facing office complex in \u003cem>Devs\u003c/em>. And from the inside, you could be looking at any Silicon Valley open floor office plan, featuring floor-to-ceiling glass and sweetly nerdy Millenials tapping away intently at their computer stations.\u003c/p>\n\u003cp>In this case, they look out on those bucolic, green redwoods. “\u003cb>\u003c/b>The redwoods embed you in California and the Bay Area,” Digby said.\u003c/p>\n\u003cp>Add a monumental, pop art statue of a little girl incongruously towering over the campus in a manner not unlike Robert Arneson’s \u003cem>Eggheads\u003c/em> at \u003ca href=\"https://www.kqed.org/arts/12413395/the-10-shocking-toilets-that-helped-put-uc-davis-on-the-art-world-map\" target=\"_blank\" rel=\"noopener noreferrer\">UC Davis\u003c/a>, and you have \u003cem>foreshadowing\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13876668\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DEVS_SET_033.jpg\" alt=\"The quantum supercomputer at the heart of Devs, an eight episode FX series that streaming on Hulu in March.\" width=\"1600\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-1020x680.jpg 1020w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">The quantum supercomputer at the heart of Devs, an eight episode FX series that streaming on Hulu in March. \u003ccite>(Courtesy of Mia Mizuno/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What’s Inside the Box\u003c/h2>\n\u003cp>Because, of course, all is not well in this Garden of Eden. The company is running a secret operation that the world and most of its employees know nothing about.\u003c/p>\n\u003cp>Set off from the other buildings in a nearby meadow, there sits a computer-generated, concrete ziggurat that looks like a bunker or utility building from the World War II era. “It’s supposed to detract from any interest,” said Digby, “but it’s supposed to have scale. Also, from the outside, it’s supposed to juxtapose with what’s inside. W\u003cb>\u003c/b>hat’s inside is supposed to take your breath away.”\u003c/p>\n\u003cp>Inside sits a shimmering, gold jewel box of an office that is the heart of \u003cem>Devs\u003c/em>. Constructed and shot in a U.K. sound studio, it’s also an unabashed temple to technology as it might be in the near future. At the center of the cube, encased in glass, floats the innards of a quantum supercomputer that looks a lot like, for example, IBM’s Q System One.\u003c/p>\n\u003cfigure id=\"attachment_13876667\" class=\"wp-caption aligncenter\" style=\"max-width: 1919px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut.jpeg\" alt=\"The quantum supercomputer at the center of the FX TV series Devs looks a lot like IBM's Q System One.\" width=\"1919\" height=\"2027\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut.jpeg 1919w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-160x169.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-800x845.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-768x811.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-1020x1077.jpeg 1020w\" sizes=\"(max-width: 1919px) 100vw, 1919px\">\u003cfigcaption class=\"wp-caption-text\">The quantum supercomputer at the center of the FX TV series Devs looks a lot like IBM’s Q System One. \u003ccite>(Courtesy of David Becker/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which was the idea.\u003c/p>\n\u003cp>“They are amazing pieces of art. Once they’re taken out of their shields, they are these gold and glass and aluminum and silver masterpieces. You know, the machines that we use, the insides of computers, are absolutely beautiful. It can be Awesome!-inspiring. It’s a character in itself,” Digby said.\u003c/p>\n\u003cp>The supercomputer is also at the center of the \u003cem>Devs\u003c/em> story. Much as my first impression of the space was of the lobby of a boutique hotel, or a futuristic, black, gold and glass inversion of an Apple store, Digby explained that science inspired the visual look of the supercomputer’s home.\u003c/p>\n\u003cp>Sound waves, light waves, electromagnetic waves — nothing will be able to penetrate this bunker encased in concrete and lined with lead and gold. Or gold leaf: the team applied hundreds of squares of gold leaf to the walls, using a recurring fractal pattern called a \u003ca href=\"https://en.wikipedia.org/wiki/Menger_sponge\" target=\"_blank\" rel=\"noopener noreferrer\">Menger sponge\u003c/a>, a visual representation of the idea of boxes within boxes within boxes.\u003c/p>\n\u003cp>\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/Fp9LMsI6uJ8'\n title='//www.youtube.com/embed/Fp9LMsI6uJ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>It’s a gilded, airless, isolated space that also looks and feels quasi-religious. The story circles around a metaphysical topic obsessed about in classic, \u003ca href=\"https://www.kqed.org/arts/13876008/devs-explores-modern-tech-driven-cultural-alienation-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">over-heated\u003c/a> sci fi fashion by Amaya’s multibillionaire founder, Forest (Nick Offerman).\u003c/p>\n\u003cp>Does knowing the future allows us to change it to something more akin to our liking? Or are we compelled to act out the future laid before us in the magic mirror by artificial intelligence we built? It’s the old free will versus determinism debate some of you will remember from university philosophy classes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Moody, self-doubting, passively trapped in a gilded box of our own making: sounds like Silicon Valley in 2020. Looks like it, too.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Science fiction wasn’t always the genre of blockbuster films. There used to be a time when it was a much-maligned genre of fiction, something no writer would pursue if they wanted to be taken seriously. Thankfully those days are over, and the San Francisco Public Library is devoting three entire months to a celebration of all things science fiction and fantasy.\u003c/p>\n\u003cp>\u003ca href=\"https://sfpl.org/events/special-programs/sf-bay\" rel=\"noopener noreferrer\" target=\"_blank\">SF by the Bay\u003c/a> programming kicks off with an opening reception on Feb. 15. Catch a screening of a silent film from 1924 Soviet Russia called \u003ci>Aelita: Queen of Mars\u003c/i>, with live piano accompaniment by Frederick Hodges. This plot is much what you’d expect: A young man, Los, travels to Mars, falls in love the planet’s queen and participates in a Martian workers’ revolt. (Picture all of the above with angular and wonderfully impractical constructivist sets and costumes.)\u003c/p>\n\u003cp>Other events of note during the three-month program include a panel of local black authors who write speculative fiction (Feb. 19), a costume contest (April 12), a live radio play (March 28) and even a book club conversation about Virginia Woolf’s gender-fluid, time-stretching 1928 novel \u003ci>Orlando\u003c/i> (March 5).\u003c/p>\n\u003cp>Also of note, the homegrown podcast \u003ci>Our Opinions Are Correct\u003c/i>, hosted by sci-fi authors Annalee Newitz and Charlie Jane Anders (a science journalist and science enthusiast, respectively) record an episode of their show live at the library on April 16. They promise to discuss the sci-fi’s “relevance to real-life science and society.”\u003c/p>\n\u003cp>Science fiction stretches our imaginations to accommodate big, seemingly impossible ideas. It’s only by imagining other futures that we can start to bring about the one we want to inhabit. \u003ci>–Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Science fiction wasn’t always the genre of blockbuster films. There used to be a time when it was a much-maligned genre of fiction, something no writer would pursue if they wanted to be taken seriously. Thankfully those days are over, and the San Francisco Public Library is devoting three entire months to a celebration of all things science fiction and fantasy.\u003c/p>\n\u003cp>\u003ca href=\"https://sfpl.org/events/special-programs/sf-bay\" rel=\"noopener noreferrer\" target=\"_blank\">SF by the Bay\u003c/a> programming kicks off with an opening reception on Feb. 15. Catch a screening of a silent film from 1924 Soviet Russia called \u003ci>Aelita: Queen of Mars\u003c/i>, with live piano accompaniment by Frederick Hodges. This plot is much what you’d expect: A young man, Los, travels to Mars, falls in love the planet’s queen and participates in a Martian workers’ revolt. (Picture all of the above with angular and wonderfully impractical constructivist sets and costumes.)\u003c/p>\n\u003cp>Other events of note during the three-month program include a panel of local black authors who write speculative fiction (Feb. 19), a costume contest (April 12), a live radio play (March 28) and even a book club conversation about Virginia Woolf’s gender-fluid, time-stretching 1928 novel \u003ci>Orlando\u003c/i> (March 5).\u003c/p>\n\u003cp>Also of note, the homegrown podcast \u003ci>Our Opinions Are Correct\u003c/i>, hosted by sci-fi authors Annalee Newitz and Charlie Jane Anders (a science journalist and science enthusiast, respectively) record an episode of their show live at the library on April 16. They promise to discuss the sci-fi’s “relevance to real-life science and society.”\u003c/p>\n\u003cp>Science fiction stretches our imaginations to accommodate big, seemingly impossible ideas. It’s only by imagining other futures that we can start to bring about the one we want to inhabit. \u003ci>–Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Science fiction has always been a creative space for working out our deepest hopes and fears about the future, and really, the present. White males have dominated the genre for decades, but that’s not to say it’s a white, male genre. After all, it all started with Mary Shelley’s seminal 1818 novel \u003cem>Frankenstein.\u003c/em>\u003c/p>\n\u003cp>So let’s start here with the idea that Latino artists and writers have a long history mining ancient and native mythologies and incorporating them into modern contexts with magical realism, as in Gabriel García Márquez’s \u003cem>One Hundred Years of Solitude\u003c/em>.\u003c/p>\n\u003cp>GenXers and younger will recall \u003ca href=\"http://www.fantagraphics.com/series/loveandrockets/\" target=\"_blank\" rel=\"noopener\">\u003cem>Love and Rockets\u003c/em>\u003c/a>, a comic book series birthed in the early 1980 and recently rebooted by Fantagraphics from brothers Gilbert, Jaime, and Mario Hernandez of Oxnard.\u003c/p>\n\u003cp>Sci fi is not a stretch.\u003c/p>\n\u003cfigure id=\"attachment_13859673\" class=\"wp-caption aligncenter\" style=\"max-width: 1369px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37717.jpg\" alt=\""El Calendario," by San Jose artist Claudia Blanco. Note that this sci fi nod to Jesus Helguera's iconic 1966 painting "La Leyenda de los Volcanes" purports to come from the East Palo Alto bakery called the Pink Elephant.\" width=\"1369\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-1920x2872.jpg 1920w\" sizes=\"(max-width: 1369px) 100vw, 1369px\">\u003cfigcaption class=\"wp-caption-text\">“El Calendario,” by San Jose artist Claudia Blanco. Note that this sci fi nod to Jesus Helguera’s iconic 1966 painting “La Leyenda de los Volcanes” purports to come from the East Palo Alto bakery called the\u003ca href=\"http://thepinkelephantbakery.com\" target=\"_blank\" rel=\"noopener\"> Pink Elephant\u003c/a>. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unicorns, Aliens, and Futuristic Cities at Movimiento de Arte y Cultura Latino Americana (MACLA) in San Jose is a pocket-sized exhibit that showcases a handful of contemporary visual artists exploring dystopian paranoia, fantasy and humor. The exhibition was co-curated by Joey Reyes and MACLA’s Visual Arts Engagement Coordinator Maryela Perez.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>El Calen\u003c/i>\u003ci>da\u003c/i>\u003ci>rio\u003c/i>, a painting created for this exhibit by San Jose artist Claudia Blanco, functions as its visual mascot, and for good reason. “She reimagines a calendar that a lot of Latino folks that visit bakeries, like, panderias, they get at the end of the year,” Perez says.\u003c/p>\n\u003cp>Many of these calendars feature a particular, iconic image by Mexican artist Jesus Helguera called \u003ci>La Leyenda de los Volcanes,\u003c/i> or \u003cem>The Legend of the Volcanos\u003c/em>. Our Aztec hero staggers forward with his dead lover, tragically limp in his arms. On Blanco’s calendar, the warrior is replaced by an alien from the 1996 movie \u003ca href=\"https://www.rottentomatoes.com/m/mars_attacks\" target=\"_blank\" rel=\"noopener\">\u003cem>Mars Attacks\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13859674\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859674\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut.jpg\" alt='\"Birth of the Four Directions,\" by Jorge Gonzales. Color pencil on paper, 2016.' width=\"1920\" height=\"1625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-800x677.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-768x650.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-1020x863.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-1200x1016.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">“Birth of the Four Directions,” by Jorge Gonzales. Color pencil on paper, 2016. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit also explores an unexpected affinity between science fiction and spirituality. Take \u003cem>Birth of the Four Directions\u003c/em> by Jorge Gonzales. The pencil drawing depicts a ball of concentrated energy in the cosmos bursting into four directions.\u003cbr>\n“We often think about the Big Bang and how it was the birth of the universe, but you can easily connect the birth of the four directions,” Perez says.\u003c/p>\n\u003cp>There is an aspect of science fiction that echoes the imperialistic compulsions of colonialism. Think of the appeal of creating “new worlds,” bumping aside “alien” species to pursue a nationalistic vision with self-righteous violence.\u003c/p>\n\u003cp>\u003cem>La Raza Cosmica\u003c/em> (see above) by Michael Menchaca reinterprets an essay by Mexican philosopher Jose Vasconcelo that imagines a “fifth race” in the Americas. Inspired by pre-Columbian iconography, Menchaca deconstructs Vasconcelo’s mestizo identity theory with animated animals.\u003c/p>\n\u003cfigure id=\"attachment_13859675\" class=\"wp-caption aligncenter\" style=\"max-width: 858px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut.jpg\" alt='\"Double Ass Coyotl\" by Javier Martinez. \"No matter what way you turn, your past is going to be following you,\" says MACLA’s Visual Arts Engagement Coordinator Maryela Perez.' width=\"858\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut.jpg 858w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-768x527.jpg 768w\" sizes=\"(max-width: 858px) 100vw, 858px\">\u003cfigcaption class=\"wp-caption-text\">“Double Ass Coyotl” by Javier Martinez. “No matter what way you turn, your past is going to be following you,” says MACLA’s Visual Arts Engagement Coordinator Maryela Perez. \u003ccite>(Courtesy of MACLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cats, clowns, bears and elephants dance about in the multi-media video installation, at once cartoonish and fantastical. With multi-layered humor, Menchaca is essentially thumbing his nose at Spanish racism as it’s played out in the New World.\u003c/p>\n\u003cp>Even lowrider culture gets a spacey nod from Javier Martinez, who explores fantastical combinations of machine, machine and animal in three pieces on view in the gallery. Each one is funny, but also a little bit disturbing, provocative.\u003c/p>\n\u003cp>Have you noticed? Latinx sci fi is having a moment right now: in \u003ca href=\"http://www.comicosity.com/tag/comix-latinx/\" target=\"_blank\" rel=\"noopener\">comic books\u003c/a>, \u003ca href=\"https://queensmuseum.org/2018/09/mundos-alternos\" target=\"_blank\" rel=\"noopener\">museums\u003c/a>, even \u003ci>Black Mirror \u003c/i>on Netflix, which just produced a series of \u003ca href=\"https://www.youtube.com/channel/UC5ZiUaIJ2b5dYBYGf5iEUrA\" target=\"_blank\" rel=\"noopener\">YouTube\u003c/a> shorts in Spanish , featuring a cast of Latinx social media stars.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=RqATb20dO34]\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ci>Unicorns, Aliens, and Futuristic Cities \u003c/i>\u003c/strong>runs June 5 – August 19, 2019 at Movimiento de Arte y Cultura Latino Americana (MACLA) in San Jose. For more information, click \u003cstrong>\u003ca href=\"https://maclaarte.org/programs/visual-arts/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Science fiction has always been a creative space for working out our deepest hopes and fears about the future, and really, the present. White males have dominated the genre for decades, but that’s not to say it’s a white, male genre. After all, it all started with Mary Shelley’s seminal 1818 novel \u003cem>Frankenstein.\u003c/em>\u003c/p>\n\u003cp>So let’s start here with the idea that Latino artists and writers have a long history mining ancient and native mythologies and incorporating them into modern contexts with magical realism, as in Gabriel García Márquez’s \u003cem>One Hundred Years of Solitude\u003c/em>.\u003c/p>\n\u003cp>GenXers and younger will recall \u003ca href=\"http://www.fantagraphics.com/series/loveandrockets/\" target=\"_blank\" rel=\"noopener\">\u003cem>Love and Rockets\u003c/em>\u003c/a>, a comic book series birthed in the early 1980 and recently rebooted by Fantagraphics from brothers Gilbert, Jaime, and Mario Hernandez of Oxnard.\u003c/p>\n\u003cp>Sci fi is not a stretch.\u003c/p>\n\u003cfigure id=\"attachment_13859673\" class=\"wp-caption aligncenter\" style=\"max-width: 1369px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37717.jpg\" alt=\""El Calendario," by San Jose artist Claudia Blanco. Note that this sci fi nod to Jesus Helguera's iconic 1966 painting "La Leyenda de los Volcanes" purports to come from the East Palo Alto bakery called the Pink Elephant.\" width=\"1369\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-1920x2872.jpg 1920w\" sizes=\"(max-width: 1369px) 100vw, 1369px\">\u003cfigcaption class=\"wp-caption-text\">“El Calendario,” by San Jose artist Claudia Blanco. Note that this sci fi nod to Jesus Helguera’s iconic 1966 painting “La Leyenda de los Volcanes” purports to come from the East Palo Alto bakery called the\u003ca href=\"http://thepinkelephantbakery.com\" target=\"_blank\" rel=\"noopener\"> Pink Elephant\u003c/a>. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unicorns, Aliens, and Futuristic Cities at Movimiento de Arte y Cultura Latino Americana (MACLA) in San Jose is a pocket-sized exhibit that showcases a handful of contemporary visual artists exploring dystopian paranoia, fantasy and humor. The exhibition was co-curated by Joey Reyes and MACLA’s Visual Arts Engagement Coordinator Maryela Perez.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>El Calen\u003c/i>\u003ci>da\u003c/i>\u003ci>rio\u003c/i>, a painting created for this exhibit by San Jose artist Claudia Blanco, functions as its visual mascot, and for good reason. “She reimagines a calendar that a lot of Latino folks that visit bakeries, like, panderias, they get at the end of the year,” Perez says.\u003c/p>\n\u003cp>Many of these calendars feature a particular, iconic image by Mexican artist Jesus Helguera called \u003ci>La Leyenda de los Volcanes,\u003c/i> or \u003cem>The Legend of the Volcanos\u003c/em>. Our Aztec hero staggers forward with his dead lover, tragically limp in his arms. On Blanco’s calendar, the warrior is replaced by an alien from the 1996 movie \u003ca href=\"https://www.rottentomatoes.com/m/mars_attacks\" target=\"_blank\" rel=\"noopener\">\u003cem>Mars Attacks\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13859674\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859674\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut.jpg\" alt='\"Birth of the Four Directions,\" by Jorge Gonzales. Color pencil on paper, 2016.' width=\"1920\" height=\"1625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-800x677.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-768x650.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-1020x863.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-1200x1016.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">“Birth of the Four Directions,” by Jorge Gonzales. Color pencil on paper, 2016. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit also explores an unexpected affinity between science fiction and spirituality. Take \u003cem>Birth of the Four Directions\u003c/em> by Jorge Gonzales. The pencil drawing depicts a ball of concentrated energy in the cosmos bursting into four directions.\u003cbr>\n“We often think about the Big Bang and how it was the birth of the universe, but you can easily connect the birth of the four directions,” Perez says.\u003c/p>\n\u003cp>There is an aspect of science fiction that echoes the imperialistic compulsions of colonialism. Think of the appeal of creating “new worlds,” bumping aside “alien” species to pursue a nationalistic vision with self-righteous violence.\u003c/p>\n\u003cp>\u003cem>La Raza Cosmica\u003c/em> (see above) by Michael Menchaca reinterprets an essay by Mexican philosopher Jose Vasconcelo that imagines a “fifth race” in the Americas. Inspired by pre-Columbian iconography, Menchaca deconstructs Vasconcelo’s mestizo identity theory with animated animals.\u003c/p>\n\u003cfigure id=\"attachment_13859675\" class=\"wp-caption aligncenter\" style=\"max-width: 858px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut.jpg\" alt='\"Double Ass Coyotl\" by Javier Martinez. \"No matter what way you turn, your past is going to be following you,\" says MACLA’s Visual Arts Engagement Coordinator Maryela Perez.' width=\"858\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut.jpg 858w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-768x527.jpg 768w\" sizes=\"(max-width: 858px) 100vw, 858px\">\u003cfigcaption class=\"wp-caption-text\">“Double Ass Coyotl” by Javier Martinez. “No matter what way you turn, your past is going to be following you,” says MACLA’s Visual Arts Engagement Coordinator Maryela Perez. \u003ccite>(Courtesy of MACLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cats, clowns, bears and elephants dance about in the multi-media video installation, at once cartoonish and fantastical. With multi-layered humor, Menchaca is essentially thumbing his nose at Spanish racism as it’s played out in the New World.\u003c/p>\n\u003cp>Even lowrider culture gets a spacey nod from Javier Martinez, who explores fantastical combinations of machine, machine and animal in three pieces on view in the gallery. Each one is funny, but also a little bit disturbing, provocative.\u003c/p>\n\u003cp>Have you noticed? Latinx sci fi is having a moment right now: in \u003ca href=\"http://www.comicosity.com/tag/comix-latinx/\" target=\"_blank\" rel=\"noopener\">comic books\u003c/a>, \u003ca href=\"https://queensmuseum.org/2018/09/mundos-alternos\" target=\"_blank\" rel=\"noopener\">museums\u003c/a>, even \u003ci>Black Mirror \u003c/i>on Netflix, which just produced a series of \u003ca href=\"https://www.youtube.com/channel/UC5ZiUaIJ2b5dYBYGf5iEUrA\" target=\"_blank\" rel=\"noopener\">YouTube\u003c/a> shorts in Spanish , featuring a cast of Latinx social media stars.\u003c/p>\n\u003cp>\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/RqATb20dO34'\n title='//www.youtube.com/embed/RqATb20dO34'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ci>Unicorns, Aliens, and Futuristic Cities \u003c/i>\u003c/strong>runs June 5 – August 19, 2019 at Movimiento de Arte y Cultura Latino Americana (MACLA) in San Jose. For more information, click \u003cstrong>\u003ca href=\"https://maclaarte.org/programs/visual-arts/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In McEwan's Latest, the 'Machine' Is Too Much Like You",
"headTitle": "In McEwan’s Latest, the ‘Machine’ Is Too Much Like You | KQED",
"content": "\u003cfigure id=\"attachment_13856047\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856047\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/machines-like-me-800x1185.jpg\" alt=\"'Machines Like Me,' Ian McEwan.\" width=\"800\" height=\"1185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/machines-like-me.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/machines-like-me-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/machines-like-me-768x1138.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Machines Like Me,’ Ian McEwan.\u003c/figcaption>\u003c/figure>\n\u003cp>There are certain authors I read no matter what they write. Ian McEwan is one of them. Over the course of more than 40 years and some dozen and a half books—including \u003cem>Amsterdam, Atonement, \u003c/em>and \u003cem>The Children Act—\u003c/em>his generally realist, propulsive work reveals an abiding preoccupation with both the repercussions of deceit and how life can change in an instant.\u003c/p>\n\u003cp>His most recent novel, \u003cem>Nutshell \u003c/em>(2016), a clever twist on \u003cem>Hamlet\u003c/em> narrated by a near-full-term baby still in utero\u003cem>, \u003c/em>pushed the borders of possibility. Now, with his latest, \u003cem>Machines Like Me,\u003c/em> he ventures into science fiction and alternate history territory to explore the moral ramifications of AI and the creation of machines that can outsmart humans. His story involves a man “cuckolded by an artefact,” which leads to a newfangled ménage-à-trois.\u003c/p>\n\u003cp>McEwan is not the first to broach these issues, and his dismissal of “conventional science fiction” \u003ca href=\"https://www.theguardian.com/books/2019/apr/14/ian-mcewan-interview-machines-like-me-artificial-intelligence\" target=\"_blank\" rel=\"noopener\">in a recent \u003cem>Guardian\u003c/em> interview\u003c/a>—coupled with a failure to acknowledge his many sci-fi forerunners—has raised hackles among some sci-fi aficionados.\u003c/p>\n\u003cp>But what McEwan brings to the table is crossover appeal to readers who don’t usually gravitate toward sci-fi. \u003cem>Machines Like Me, \u003c/em>like his other novels, is a thought-provoking, well-oiled literary machine. It is set in an alternate 1982 London which has already surpassed us technologically. Its streets are crowded with self-driving electric cars, and the first batch of pricy, eerily life-like artificial humans—12 Adams and 13 Eves—have just been sold to private buyers. McEwan’s narrator, a 32-year-old electronics and robotics buff named Charlie Friend, decides to sink his recent inheritance into one of the Adams. (He misses out on the Eves, seven of which land in Riyadh—one of many wry editorial comments embedded in the book.)\u003c/p>\n\u003cp>Charlie is, he confesses, a “culturally undernourished” wash-out who, after running afoul of the law for tax fraud, has decided that full-time employment is not for him. After various losing “schemes,” he currently plays the stock and currency markets (on his ancient 1960s computer!) from the “genteel ruin” of his two-room, ground floor flat in south London.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Charlie’s impulsive purchase is a 170-pound walking, talking, peeing, and yes, fornicating, “intellectual sparring partner.” Adam is a technological breakthrough with access to all the wisdom of the internet and a fixed notion of right and wrong. He’s creepy, but fascinating. One of the many ironies of this novel is that its human characters, Charlie and his inamorata—Miranda, a 22-year-old doctoral student who lives above him—are interesting mainly in the context of their fraught, shifting relationships with Adam.\u003c/p>\n\u003cp>Why 1982? Yes, it coincides with the Falklands War, an alternate account of which factors into the novel. But perhaps more significantly—although unacknowledged by McEwan—1982 also happens to be the year \u003cem>Blade Runner \u003c/em>was released. Based on Philip K. Dick’s 1968 novel \u003cem>Do Androids Dream of Electric Sheep?,\u003c/em> Ridley Scott’s cult classic explores the alarming effects of technology and “replicant” humans on society.\u003c/p>\n\u003cp>McEwan has fun with counterfactuals, many of which involve wishful historical rewrites: John F. Kennedy survives “near-death in Dallas”; Jimmy Carter wins a second term instead of losing to Ronald Reagan; John Lennon isn’t assassinated, and the Beatles regroup; Margaret Thatcher is vilified after \u003cem>losing \u003c/em>the Falklands War.\u003c/p>\n\u003cp>Most notably, in McEwan’s alternate world, Alan Turing didn’t die in 1954 or opt for chemical castration in lieu of prison after his conviction for homosexuality. Instead, he is alive and knighted, a driving force behind AI and computational biology. He plays a pivotal role in making Charlie realize that Adam is far more than just an “ambulant laptop,” arguing that he has a good mind and a conscious existence, although he’s admittedly “ill-equipped to understand human decision-making.”\u003c/p>\n\u003cp>McEwan certainly has a flair for unusual points of view. Adam, like the baby-in-waiting who narrates \u003cem>Nutshell, \u003c/em>is an extraordinarily smart, well-informed, and unorthodox character who catches his supposed caretakers off-guard with his perspicacity. Charlie drops clues that he is telling this tale decades after the fact: He relays the “well-known” (counter-factual to us) history of the Falklands war “for the benefit of younger readers who won’t be aware of its emotional impact,” and notes a resemblance between Turing in 1982 and the painter Lucian Freud in his later years. (Freud died in 2011 at age 88.) This time-lapse explains the lack of youthfulness of Charlie’s narrative voice, but only hints about how his personal future and that of technology will unfold.\u003c/p>\n\u003cp>\u003cem>Machines Like Me\u003c/em> involves a couple of dubious subplots, one concerning Miranda’s highly questionable judgement call involving vengeance for a violently wronged friend, and another her fierce attachment to a troubled foster child—which seems meant to show that she’s a fundamentally good person. But we’re distrustful of Miranda from early on, after Adam warns Charlie that she’s possibly a “systematic, malicious liar.” Interestingly, even after we learn that Adam has been inflexibly programmed to insist that “truth is everything” and a lie is a lie regardless of extenuating circumstances, it’s hard to override our earlier prejudices.\u003c/p>\n\u003cp>“There are some decisions, even moral ones, that are formed in regions below conscious thought,” McEwan writes at one intense turning point. \u003cem>Machines Like Me \u003c/em>explores some of those decisions. It also manages to flesh out—literally and grippingly—questions about what constitutes a person, and the troubling future of humans if the smart machines we create can overtake us.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2019 \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13856047\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856047\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/machines-like-me-800x1185.jpg\" alt=\"'Machines Like Me,' Ian McEwan.\" width=\"800\" height=\"1185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/machines-like-me.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/machines-like-me-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/machines-like-me-768x1138.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Machines Like Me,’ Ian McEwan.\u003c/figcaption>\u003c/figure>\n\u003cp>There are certain authors I read no matter what they write. Ian McEwan is one of them. Over the course of more than 40 years and some dozen and a half books—including \u003cem>Amsterdam, Atonement, \u003c/em>and \u003cem>The Children Act—\u003c/em>his generally realist, propulsive work reveals an abiding preoccupation with both the repercussions of deceit and how life can change in an instant.\u003c/p>\n\u003cp>His most recent novel, \u003cem>Nutshell \u003c/em>(2016), a clever twist on \u003cem>Hamlet\u003c/em> narrated by a near-full-term baby still in utero\u003cem>, \u003c/em>pushed the borders of possibility. Now, with his latest, \u003cem>Machines Like Me,\u003c/em> he ventures into science fiction and alternate history territory to explore the moral ramifications of AI and the creation of machines that can outsmart humans. His story involves a man “cuckolded by an artefact,” which leads to a newfangled ménage-à-trois.\u003c/p>\n\u003cp>McEwan is not the first to broach these issues, and his dismissal of “conventional science fiction” \u003ca href=\"https://www.theguardian.com/books/2019/apr/14/ian-mcewan-interview-machines-like-me-artificial-intelligence\" target=\"_blank\" rel=\"noopener\">in a recent \u003cem>Guardian\u003c/em> interview\u003c/a>—coupled with a failure to acknowledge his many sci-fi forerunners—has raised hackles among some sci-fi aficionados.\u003c/p>\n\u003cp>But what McEwan brings to the table is crossover appeal to readers who don’t usually gravitate toward sci-fi. \u003cem>Machines Like Me, \u003c/em>like his other novels, is a thought-provoking, well-oiled literary machine. It is set in an alternate 1982 London which has already surpassed us technologically. Its streets are crowded with self-driving electric cars, and the first batch of pricy, eerily life-like artificial humans—12 Adams and 13 Eves—have just been sold to private buyers. McEwan’s narrator, a 32-year-old electronics and robotics buff named Charlie Friend, decides to sink his recent inheritance into one of the Adams. (He misses out on the Eves, seven of which land in Riyadh—one of many wry editorial comments embedded in the book.)\u003c/p>\n\u003cp>Charlie is, he confesses, a “culturally undernourished” wash-out who, after running afoul of the law for tax fraud, has decided that full-time employment is not for him. After various losing “schemes,” he currently plays the stock and currency markets (on his ancient 1960s computer!) from the “genteel ruin” of his two-room, ground floor flat in south London.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Charlie’s impulsive purchase is a 170-pound walking, talking, peeing, and yes, fornicating, “intellectual sparring partner.” Adam is a technological breakthrough with access to all the wisdom of the internet and a fixed notion of right and wrong. He’s creepy, but fascinating. One of the many ironies of this novel is that its human characters, Charlie and his inamorata—Miranda, a 22-year-old doctoral student who lives above him—are interesting mainly in the context of their fraught, shifting relationships with Adam.\u003c/p>\n\u003cp>Why 1982? Yes, it coincides with the Falklands War, an alternate account of which factors into the novel. But perhaps more significantly—although unacknowledged by McEwan—1982 also happens to be the year \u003cem>Blade Runner \u003c/em>was released. Based on Philip K. Dick’s 1968 novel \u003cem>Do Androids Dream of Electric Sheep?,\u003c/em> Ridley Scott’s cult classic explores the alarming effects of technology and “replicant” humans on society.\u003c/p>\n\u003cp>McEwan has fun with counterfactuals, many of which involve wishful historical rewrites: John F. Kennedy survives “near-death in Dallas”; Jimmy Carter wins a second term instead of losing to Ronald Reagan; John Lennon isn’t assassinated, and the Beatles regroup; Margaret Thatcher is vilified after \u003cem>losing \u003c/em>the Falklands War.\u003c/p>\n\u003cp>Most notably, in McEwan’s alternate world, Alan Turing didn’t die in 1954 or opt for chemical castration in lieu of prison after his conviction for homosexuality. Instead, he is alive and knighted, a driving force behind AI and computational biology. He plays a pivotal role in making Charlie realize that Adam is far more than just an “ambulant laptop,” arguing that he has a good mind and a conscious existence, although he’s admittedly “ill-equipped to understand human decision-making.”\u003c/p>\n\u003cp>McEwan certainly has a flair for unusual points of view. Adam, like the baby-in-waiting who narrates \u003cem>Nutshell, \u003c/em>is an extraordinarily smart, well-informed, and unorthodox character who catches his supposed caretakers off-guard with his perspicacity. Charlie drops clues that he is telling this tale decades after the fact: He relays the “well-known” (counter-factual to us) history of the Falklands war “for the benefit of younger readers who won’t be aware of its emotional impact,” and notes a resemblance between Turing in 1982 and the painter Lucian Freud in his later years. (Freud died in 2011 at age 88.) This time-lapse explains the lack of youthfulness of Charlie’s narrative voice, but only hints about how his personal future and that of technology will unfold.\u003c/p>\n\u003cp>\u003cem>Machines Like Me\u003c/em> involves a couple of dubious subplots, one concerning Miranda’s highly questionable judgement call involving vengeance for a violently wronged friend, and another her fierce attachment to a troubled foster child—which seems meant to show that she’s a fundamentally good person. But we’re distrustful of Miranda from early on, after Adam warns Charlie that she’s possibly a “systematic, malicious liar.” Interestingly, even after we learn that Adam has been inflexibly programmed to insist that “truth is everything” and a lie is a lie regardless of extenuating circumstances, it’s hard to override our earlier prejudices.\u003c/p>\n\u003cp>“There are some decisions, even moral ones, that are formed in regions below conscious thought,” McEwan writes at one intense turning point. \u003cem>Machines Like Me \u003c/em>explores some of those decisions. It also manages to flesh out—literally and grippingly—questions about what constitutes a person, and the troubling future of humans if the smart machines we create can overtake us.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2019 \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"soldout": {
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