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"title": "New 'Quar-Horror' Films Show Staying at Home is Scary Too",
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"content": "\u003cp>It’s no exaggeration to say this year feels like a horror movie. And now, a few filmmakers are making it official.\u003c/p>\n\u003cp>All over YouTube, you can find inventive homemade horror shorts taking the pandemic as inspiration. (They come \u003ca href=\"https://www.youtube.com/watch?v=bh3_arF9g8M\" target=\"_blank\" rel=\"noopener noreferrer\">from Brazil\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=BdkwVF-5l0Y\" target=\"_blank\" rel=\"noopener noreferrer\">from Canada\u003c/a> and from, \u003ca href=\"https://www.youtube.com/watch?v=mF1r2W1fAGs\" target=\"_blank\" rel=\"noopener noreferrer\">well, Funny or Die\u003c/a>.) And a new movie \u003cem>Host\u003c/em>, filmed over twelve weeks in quarantine and entirely on Zoom, debuted on the horror channel Shudder last week.\u003c/p>\n\u003cp>Call it “quar-horror.”\u003c/p>\n\u003cp>Among the most chilling of the YouTube offerings is \u003ca href=\"https://www.youtube.com/watch?v=YLAwv5E5bUc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Stay At Home\u003c/em>, part horror movie and part PSA\u003c/a> from a filmmaker in New Orleans.\u003c/p>\n\u003cp>“I literally just grabbed a box, and I set up the camera on a tripod and gave myself a scenario,” says Kenneth Brown, a former Uber driver turned horror auteur. “And the story started to build and build and build.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brown went to film school, and you can tell. Based on the myth of Pandora’s Box and the evening news, \u003cem>Stay At Home\u003c/em> is elegantly lit and crafted. As of this writing, it’s racked up nearly 200,000 views on YouTube.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YLAwv5E5bUc\u003c/p>\n\u003cp>Part of what makes \u003cem>Stay At Home\u003c/em> so effective—and heartfelt—is the insistent drone of news anchors discussing the mounting carnage. “That’s everything I need to say as far as reaching African Americans, which is the population most vulnerable to this virus,” says Brown, who is Black himself.\u003c/p>\n\u003cp>But escapism is also the point, say Nathan Crooker and James Gannon. Their upcoming quar-horror, called\u003cem> Isolation\u003c/em>, just wrapped principal photography. The two produced the film; Crooker is also its director. \u003cem>Isolation\u003c/em> is an anthology; nine interconnected shorts by different directors who filmed their movies using only resources immediately available to them.\u003c/p>\n\u003cp>“This is where our brains went,” Gannon says. “Instead of making bread, we were like, ‘What can we do with how we’re creative?'”\u003c/p>\n\u003cp>Everyone involved in \u003cem>Isolation\u003c/em> observed strict quarantine, the producers say. The directors made their movies at home, with family serving as cast and crew. Each explored different terrifying aspects of today’s world, from conspiracy theories involving 5G towers to the world of two small siblings whose mother has died. (Crooker and Gannon say their parents filmed a fake ending, to reassure the little kids that everything was okay.)\u003c/p>\n\u003cfigure id=\"attachment_13884318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884318\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/whale_custom-8c19b74ff1d2162d9c53d76bdd1a1662be50700a-800x428.jpg\" alt=\"In a scene from the upcoming quar-horror movie 'Isolation,' two children confront the body of a dead whale discovered on a beach.\" width=\"800\" height=\"428\">\u003cfigcaption class=\"wp-caption-text\">In a scene from the upcoming quar-horror movie ‘Isolation,’ two children confront the body of a dead whale discovered on a beach. \u003ccite>(Bobby Roe /Ghost Gang Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think there’s something to be said for a cathartic experience,” Crooker says. “We want to respect that this [pandemic] is something real and we don’t want to make light of it. But horror can be a way to process our worst fears.”\u003c/p>\n\u003cp>A group of girls hold a virtual séance over Zoom during lockdown in \u003cem>Host\u003c/em>, streaming now on Shudder. \u003cem>Host\u003c/em> may be the first quar-horror feature, and it effectively exploits what’s inherently creepy about Zoom: garbled audio, inexplicable dropouts, those weird fake backgrounds used to disguise where people actually are, and special effect filters that add horns or animal noses to human faces.\u003c/p>\n\u003cp>“Really, we had this great opportunity to freak people out with something that’s become part of their daily routine,” says director Rob Savage, with evident satisfaction. “Because this is how so many of us have been communicating over the past few months.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SNlKbqHqGcY\u003c/p>\n\u003cp>Filming \u003cem>Host\u003c/em> in less than three months, he says, wasn’t as hard as you’d think. The actors were all his friends, and because productions were shut down, a lot of talented professionals were out of work. So makeup artists, cinematographers, editors and even stunt people were willing to pitch in and help solve problems around actors filming themselves at home. For example, he says, the stunts were done using composite shots.\u003c/p>\n\u003cp>“So you’ll have a character wander in from their bedroom into their kitchen,” he explains. “But it won’t be their kitchen. It’ll be a stunt person’s kitchen and they’re wearing the same clothes. And they’ll perform a crazy stunt and then we’ll do a hidden cut and you’re back to the real actor.”\u003c/p>\n\u003cp>Savage says he occasionally directed his cast using the chat function on Zoom. It’s part of a way of existing now, he says, in a reality that stresses and frightens us. Horror movies are one way we talk about our nightmares.\u003c/p>\n\u003cp>Sitting at home, we need other people, he says. We need their vision, excitement and passion. And we need to see what scares them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory, and adapted for the Web by Neda Ulaby and Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+%27Quar-Horror%27+Films+Show+Staying+At+Home+Is+Scary+Too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s no exaggeration to say this year feels like a horror movie. And now, a few filmmakers are making it official.\u003c/p>\n\u003cp>All over YouTube, you can find inventive homemade horror shorts taking the pandemic as inspiration. (They come \u003ca href=\"https://www.youtube.com/watch?v=bh3_arF9g8M\" target=\"_blank\" rel=\"noopener noreferrer\">from Brazil\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=BdkwVF-5l0Y\" target=\"_blank\" rel=\"noopener noreferrer\">from Canada\u003c/a> and from, \u003ca href=\"https://www.youtube.com/watch?v=mF1r2W1fAGs\" target=\"_blank\" rel=\"noopener noreferrer\">well, Funny or Die\u003c/a>.) And a new movie \u003cem>Host\u003c/em>, filmed over twelve weeks in quarantine and entirely on Zoom, debuted on the horror channel Shudder last week.\u003c/p>\n\u003cp>Call it “quar-horror.”\u003c/p>\n\u003cp>Among the most chilling of the YouTube offerings is \u003ca href=\"https://www.youtube.com/watch?v=YLAwv5E5bUc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Stay At Home\u003c/em>, part horror movie and part PSA\u003c/a> from a filmmaker in New Orleans.\u003c/p>\n\u003cp>“I literally just grabbed a box, and I set up the camera on a tripod and gave myself a scenario,” says Kenneth Brown, a former Uber driver turned horror auteur. “And the story started to build and build and build.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brown went to film school, and you can tell. Based on the myth of Pandora’s Box and the evening news, \u003cem>Stay At Home\u003c/em> is elegantly lit and crafted. As of this writing, it’s racked up nearly 200,000 views on YouTube.\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/YLAwv5E5bUc'\n title='//www.youtube.com/embed/YLAwv5E5bUc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Part of what makes \u003cem>Stay At Home\u003c/em> so effective—and heartfelt—is the insistent drone of news anchors discussing the mounting carnage. “That’s everything I need to say as far as reaching African Americans, which is the population most vulnerable to this virus,” says Brown, who is Black himself.\u003c/p>\n\u003cp>But escapism is also the point, say Nathan Crooker and James Gannon. Their upcoming quar-horror, called\u003cem> Isolation\u003c/em>, just wrapped principal photography. The two produced the film; Crooker is also its director. \u003cem>Isolation\u003c/em> is an anthology; nine interconnected shorts by different directors who filmed their movies using only resources immediately available to them.\u003c/p>\n\u003cp>“This is where our brains went,” Gannon says. “Instead of making bread, we were like, ‘What can we do with how we’re creative?'”\u003c/p>\n\u003cp>Everyone involved in \u003cem>Isolation\u003c/em> observed strict quarantine, the producers say. The directors made their movies at home, with family serving as cast and crew. Each explored different terrifying aspects of today’s world, from conspiracy theories involving 5G towers to the world of two small siblings whose mother has died. (Crooker and Gannon say their parents filmed a fake ending, to reassure the little kids that everything was okay.)\u003c/p>\n\u003cfigure id=\"attachment_13884318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884318\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/whale_custom-8c19b74ff1d2162d9c53d76bdd1a1662be50700a-800x428.jpg\" alt=\"In a scene from the upcoming quar-horror movie 'Isolation,' two children confront the body of a dead whale discovered on a beach.\" width=\"800\" height=\"428\">\u003cfigcaption class=\"wp-caption-text\">In a scene from the upcoming quar-horror movie ‘Isolation,’ two children confront the body of a dead whale discovered on a beach. \u003ccite>(Bobby Roe /Ghost Gang Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think there’s something to be said for a cathartic experience,” Crooker says. “We want to respect that this [pandemic] is something real and we don’t want to make light of it. But horror can be a way to process our worst fears.”\u003c/p>\n\u003cp>A group of girls hold a virtual séance over Zoom during lockdown in \u003cem>Host\u003c/em>, streaming now on Shudder. \u003cem>Host\u003c/em> may be the first quar-horror feature, and it effectively exploits what’s inherently creepy about Zoom: garbled audio, inexplicable dropouts, those weird fake backgrounds used to disguise where people actually are, and special effect filters that add horns or animal noses to human faces.\u003c/p>\n\u003cp>“Really, we had this great opportunity to freak people out with something that’s become part of their daily routine,” says director Rob Savage, with evident satisfaction. “Because this is how so many of us have been communicating over the past few months.”\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/SNlKbqHqGcY'\n title='//www.youtube.com/embed/SNlKbqHqGcY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Filming \u003cem>Host\u003c/em> in less than three months, he says, wasn’t as hard as you’d think. The actors were all his friends, and because productions were shut down, a lot of talented professionals were out of work. So makeup artists, cinematographers, editors and even stunt people were willing to pitch in and help solve problems around actors filming themselves at home. For example, he says, the stunts were done using composite shots.\u003c/p>\n\u003cp>“So you’ll have a character wander in from their bedroom into their kitchen,” he explains. “But it won’t be their kitchen. It’ll be a stunt person’s kitchen and they’re wearing the same clothes. And they’ll perform a crazy stunt and then we’ll do a hidden cut and you’re back to the real actor.”\u003c/p>\n\u003cp>Savage says he occasionally directed his cast using the chat function on Zoom. It’s part of a way of existing now, he says, in a reality that stresses and frightens us. Horror movies are one way we talk about our nightmares.\u003c/p>\n\u003cp>Sitting at home, we need other people, he says. We need their vision, excitement and passion. And we need to see what scares them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory, and adapted for the Web by Neda Ulaby and Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+%27Quar-Horror%27+Films+Show+Staying+At+Home+Is+Scary+Too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>YouTube beauty vlogger Nikkie de Jager, best known as \u003ca href=\"https://www.youtube.com/channel/UCzTKskwIc_-a0cGvCXA848Q\" target=\"_blank\" rel=\"noopener noreferrer\">NikkieTutorials\u003c/a>, was forced to come out to her 12.7 million subscribers this week after blackmailers threatened to reveal her trans status, she said.\u003c/p>\n\u003cp>The 17-minute Jan. 13 video, simply titled “\u003ca href=\"https://www.youtube.com/watch?v=QOOw2E_qAsE\" target=\"_blank\" rel=\"noopener noreferrer\">I’m Coming Out\u003c/a>,” constitutes an emotional roller coaster as Nikkie talks candidly about her childhood sense of being female, her ultra-supportive mother and her teenage transition. Throughout, she expresses her nervousness about coming out, her joy at finally doing so and, most of all, her newfound feeling of liberation.\u003c/p>\n\u003cp>Toward the end of the video, she addresses the blackmail. “I’ve always wanted to share this side of myself with you. I just wanted to do it under my conditions,” she explains. “But… I have been blackmailed by people who wanted to leak my story to the press. At first it was frightening… It is vile and it is gross… They said they wanted to leak it because I’m lying or that I don’t want to tell my truth, or because they feel like I’m too scared for people to know who I truly am. I’m not scared.”\u003c/p>\n\u003cp>At press time, the video has received 17 million views in 20 hours, with fans overwhelmingly expressing love and support. @DyedLittlePrincess said, “I cried so much watching this. I’m so sorry your choice to announce this to the world was taken from you but you are such an incredibly strong, beautiful and inspirational woman. We love you endlessly.” @TinyKraken posted, “2014: I love this goddess and everything she does. 2020: I love this goddess and everything she does.” After the video posted, the number of subscribers on the NikkieTutorials page increased.\u003c/p>\n\u003cp>In the short clip, Nikkie—who has previously collaborated with the likes of Marc Jacobs Beauty, Sephora and Maybelline—succeeded in succinctly encapsulating both the difficulties trans people can face in their personal lives (she notes that she did not tell her fiancé sooner because she feared losing him), and the beauty and grace that accompanies outwardly becoming your authentic self. (By the end of the clip, Nikkie is laughing infectiously and singing Kesha’s “\u003ca href=\"https://www.youtube.com/watch?v=lXyA4MXKIKo\" target=\"_blank\" rel=\"noopener noreferrer\">Woman\u003c/a>.”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If you feel like you’re trapped and there’s no way out,” Nikkie concludes, “know that it gets better. Trust me. It gets better.”\u003c/p>\n\u003cp>You can watch Nikkie’s coming out video in full below:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QOOw2E_qAsE\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>YouTube beauty vlogger Nikkie de Jager, best known as \u003ca href=\"https://www.youtube.com/channel/UCzTKskwIc_-a0cGvCXA848Q\" target=\"_blank\" rel=\"noopener noreferrer\">NikkieTutorials\u003c/a>, was forced to come out to her 12.7 million subscribers this week after blackmailers threatened to reveal her trans status, she said.\u003c/p>\n\u003cp>The 17-minute Jan. 13 video, simply titled “\u003ca href=\"https://www.youtube.com/watch?v=QOOw2E_qAsE\" target=\"_blank\" rel=\"noopener noreferrer\">I’m Coming Out\u003c/a>,” constitutes an emotional roller coaster as Nikkie talks candidly about her childhood sense of being female, her ultra-supportive mother and her teenage transition. Throughout, she expresses her nervousness about coming out, her joy at finally doing so and, most of all, her newfound feeling of liberation.\u003c/p>\n\u003cp>Toward the end of the video, she addresses the blackmail. “I’ve always wanted to share this side of myself with you. I just wanted to do it under my conditions,” she explains. “But… I have been blackmailed by people who wanted to leak my story to the press. At first it was frightening… It is vile and it is gross… They said they wanted to leak it because I’m lying or that I don’t want to tell my truth, or because they feel like I’m too scared for people to know who I truly am. I’m not scared.”\u003c/p>\n\u003cp>At press time, the video has received 17 million views in 20 hours, with fans overwhelmingly expressing love and support. @DyedLittlePrincess said, “I cried so much watching this. I’m so sorry your choice to announce this to the world was taken from you but you are such an incredibly strong, beautiful and inspirational woman. We love you endlessly.” @TinyKraken posted, “2014: I love this goddess and everything she does. 2020: I love this goddess and everything she does.” After the video posted, the number of subscribers on the NikkieTutorials page increased.\u003c/p>\n\u003cp>In the short clip, Nikkie—who has previously collaborated with the likes of Marc Jacobs Beauty, Sephora and Maybelline—succeeded in succinctly encapsulating both the difficulties trans people can face in their personal lives (she notes that she did not tell her fiancé sooner because she feared losing him), and the beauty and grace that accompanies outwardly becoming your authentic self. (By the end of the clip, Nikkie is laughing infectiously and singing Kesha’s “\u003ca href=\"https://www.youtube.com/watch?v=lXyA4MXKIKo\" target=\"_blank\" rel=\"noopener noreferrer\">Woman\u003c/a>.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you feel like you’re trapped and there’s no way out,” Nikkie concludes, “know that it gets better. Trust me. It gets better.”\u003c/p>\n\u003cp>You can watch Nikkie’s coming out video in full below:\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QOOw2E_qAsE'\n title='//www.youtube.com/embed/QOOw2E_qAsE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>She was the rescued feral cat from Indiana with dreamy green eyes, four extra toes and a tongue even more famous than Miley’s. But on Monday morning, news broke that \u003ca href=\"http://lilbub.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lil BUB\u003c/a> had waddled off to the catnip palace in the sky, breaking the hearts of her 3 million Facebook fans.\u003c/p>\n\u003cp>https://twitter.com/IAMLILBUB/status/1201552296489967621\u003c/p>\n\u003cp>Never held back by her dwarfism, in her short life this four-pound kitty achieved more than many humans five times her age. BUB helped out creatures less fortunate than herself by raising over $300,000 for the ASPCA via \u003ca href=\"https://store.lilbub.com/\" target=\"_blank\" rel=\"noopener noreferrer\">merch sales\u003c/a>, public appearances and other \u003ca href=\"https://secure.aspca.org/donate/lilbub\" target=\"_blank\" rel=\"noopener noreferrer\">fundraising\u003c/a> efforts. Possibly even more remarkably, an hour-long video of her \u003ca href=\"https://www.youtube.com/watch?v=ZuHZSbPJhaY\" target=\"_blank\" rel=\"noopener noreferrer\">purring in front of a fireplace\u003c/a> once garnered over 4 million views on YouTube.\u003c/p>\n\u003cp>And that’s not all. In addition to authoring her own book, \u003ca href=\"https://www.amazon.com/Lil-BUBs-Book-Extraordinary-Amazing/dp/B00NAK01KQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lil BUB’s Lil Book: The Extraordinary Life of the Most Amazing Cat on the Planet\u003c/em>\u003c/a>, BUB also appeared in two movies—\u003ca href=\"https://www.imdb.com/title/tt4383594/fullcredits/?ref_=tt_ov_st_sm\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Nine Lives\u003c/em>\u003c/a> (starring Christopher Walken!) and \u003ca href=\"https://www.imdb.com/title/tt4057146/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I’ll Be Next Door For Christmas\u003c/em>\u003c/a>—as well as a documentary about her life and origins, titled \u003ca href=\"https://www.youtube.com/watch?v=gNyW-GKOG2k\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lil BUB & Friends\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Her YouTube talk show (why \u003cem>wouldn’t\u003c/em> she have one of those?) featured guests like \u003ca href=\"https://www.youtube.com/watch?v=mbICDkQb46g\" target=\"_blank\" rel=\"noopener noreferrer\">Michelle Obama\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=r7tETcTnQcM\" target=\"_blank\" rel=\"noopener noreferrer\">Whoopi Goldberg\u003c/a> and punk rock hero \u003ca href=\"https://www.youtube.com/watch?v=HW4mwjSIkoE\" target=\"_blank\" rel=\"noopener noreferrer\">Steve Albini\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r7tETcTnQcM&t=173s\u003c/p>\n\u003cp>BUB tried to sum up her own enduring appeal in her book. “My limitless wisdom and razor-sharp wit, paired with my ability to overcome disabilities,” she wrote, “provide laughter, hope and inspiration to humans all over the world.” Arguably though, her spirit was best captured on the duet she recorded with party pal Andrew WK, on which he sang: “Stronger than a lion / Cuter than a baby / You bounce through space / Like a magical feline lady.”\u003c/p>\n\u003cp>She does now, Andrew WK. She does now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gVYRR1Fj17M\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Never held back by her dwarfism, in her short life this four-pound kitty achieved more than many humans five times her age. BUB helped out creatures less fortunate than herself by raising over $300,000 for the ASPCA via \u003ca href=\"https://store.lilbub.com/\" target=\"_blank\" rel=\"noopener noreferrer\">merch sales\u003c/a>, public appearances and other \u003ca href=\"https://secure.aspca.org/donate/lilbub\" target=\"_blank\" rel=\"noopener noreferrer\">fundraising\u003c/a> efforts. Possibly even more remarkably, an hour-long video of her \u003ca href=\"https://www.youtube.com/watch?v=ZuHZSbPJhaY\" target=\"_blank\" rel=\"noopener noreferrer\">purring in front of a fireplace\u003c/a> once garnered over 4 million views on YouTube.\u003c/p>\n\u003cp>And that’s not all. In addition to authoring her own book, \u003ca href=\"https://www.amazon.com/Lil-BUBs-Book-Extraordinary-Amazing/dp/B00NAK01KQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lil BUB’s Lil Book: The Extraordinary Life of the Most Amazing Cat on the Planet\u003c/em>\u003c/a>, BUB also appeared in two movies—\u003ca href=\"https://www.imdb.com/title/tt4383594/fullcredits/?ref_=tt_ov_st_sm\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Nine Lives\u003c/em>\u003c/a> (starring Christopher Walken!) and \u003ca href=\"https://www.imdb.com/title/tt4057146/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I’ll Be Next Door For Christmas\u003c/em>\u003c/a>—as well as a documentary about her life and origins, titled \u003ca href=\"https://www.youtube.com/watch?v=gNyW-GKOG2k\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lil BUB & Friends\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Her YouTube talk show (why \u003cem>wouldn’t\u003c/em> she have one of those?) featured guests like \u003ca href=\"https://www.youtube.com/watch?v=mbICDkQb46g\" target=\"_blank\" rel=\"noopener noreferrer\">Michelle Obama\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=r7tETcTnQcM\" target=\"_blank\" rel=\"noopener noreferrer\">Whoopi Goldberg\u003c/a> and punk rock hero \u003ca href=\"https://www.youtube.com/watch?v=HW4mwjSIkoE\" target=\"_blank\" rel=\"noopener noreferrer\">Steve Albini\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/r7tETcTnQcM'\n title='//www.youtube.com/embed/r7tETcTnQcM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>BUB tried to sum up her own enduring appeal in her book. “My limitless wisdom and razor-sharp wit, paired with my ability to overcome disabilities,” she wrote, “provide laughter, hope and inspiration to humans all over the world.” Arguably though, her spirit was best captured on the duet she recorded with party pal Andrew WK, on which he sang: “Stronger than a lion / Cuter than a baby / You bounce through space / Like a magical feline lady.”\u003c/p>\n\u003cp>She does now, Andrew WK. She does now.\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/gVYRR1Fj17M'\n title='//www.youtube.com/embed/gVYRR1Fj17M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Within the last year, drummer Nandi Bushell has \u003ca href=\"https://www.instagram.com/p/Bz30fNtgROO/\">hung out with Questlove\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=WyaKxwYXVKU\">performed with Lenny Kravitz\u003c/a> and been \u003ca href=\"https://www.ipswichstar.co.uk/news/nandi-bushell-ipswich-drummer-argos-christmas-advert-1-6375730\">featured in an ad\u003c/a> for the British retailer Argos. Oh, and she’s nine years old.\u003c/p>\n\u003cp>The drumming prodigy and rock and roll enthusiast from Ipswich, England has been posting drumming videos online since she was \u003ca href=\"https://www.youtube.com/channel/UCbMg1QLaHBzmww35QK-mHEQ/videos\">six years old\u003c/a>, and her latest release shows her drumming alongside \u003ca href=\"https://www.npr.org/artists/15446165/nirvana\">Nirvana\u003c/a>‘s 1991 classic “In Bloom.” It is, frankly, delightful.\u003c/p>\n\u003cp>The video has it all: impeccable timing, mind-melting screams and a very satisfied smile right at the end. For added context, the British and Zulu rock star shares that she’s a big fan of Dave Grohl and \u003cem>School of Rock\u003c/em>, which she calls “the best film in the world.” Rock on, Nandi.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Mlm0qws5kjE&feature=emb_logo\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Watch+This+9-Year-Old+Girl+Drum+Her+Heart+Out+To+Nirvana%27s+%27In+Bloom%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Within the last year, drummer Nandi Bushell has \u003ca href=\"https://www.instagram.com/p/Bz30fNtgROO/\">hung out with Questlove\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=WyaKxwYXVKU\">performed with Lenny Kravitz\u003c/a> and been \u003ca href=\"https://www.ipswichstar.co.uk/news/nandi-bushell-ipswich-drummer-argos-christmas-advert-1-6375730\">featured in an ad\u003c/a> for the British retailer Argos. Oh, and she’s nine years old.\u003c/p>\n\u003cp>The drumming prodigy and rock and roll enthusiast from Ipswich, England has been posting drumming videos online since she was \u003ca href=\"https://www.youtube.com/channel/UCbMg1QLaHBzmww35QK-mHEQ/videos\">six years old\u003c/a>, and her latest release shows her drumming alongside \u003ca href=\"https://www.npr.org/artists/15446165/nirvana\">Nirvana\u003c/a>‘s 1991 classic “In Bloom.” It is, frankly, delightful.\u003c/p>\n\u003cp>The video has it all: impeccable timing, mind-melting screams and a very satisfied smile right at the end. For added context, the British and Zulu rock star shares that she’s a big fan of Dave Grohl and \u003cem>School of Rock\u003c/em>, which she calls “the best film in the world.” Rock on, Nandi.\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/Mlm0qws5kjE'\n title='//www.youtube.com/embed/Mlm0qws5kjE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Watch+This+9-Year-Old+Girl+Drum+Her+Heart+Out+To+Nirvana%27s+%27In+Bloom%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How to Become an Influencer in 2019? Attack Other Influencers",
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"content": "\u003cp>A few weeks ago, a young woman named Natalie Beach wrote an exposé for \u003ca href=\"https://www.thecut.com/2019/09/the-story-of-caroline-calloway-and-her-ghostwriter-natalie.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Cut\u003c/em>\u003c/a> about her friendship and working life with controversial influencer, \u003ca href=\"https://www.instagram.com/carolinecalloway/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Caroline Calloway\u003c/a>. It caused a stir on social media, some extremely \u003ca href=\"https://www.instagram.com/p/B2YEL-0BzyP/\" target=\"_blank\" rel=\"noopener noreferrer\">erratic behavior\u003c/a> from Calloway on her Instagram, and a story in \u003ca href=\"https://www.theatlantic.com/ideas/archive/2019/09/i-get-caroline-calloway/598918/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Atlantic\u003c/em>\u003c/a> that sought to undo any damage.\u003c/p>\n\u003cp>In the \u003cem>Cut\u003c/em> story, Beach gripes about trying to keep up with her richer, better dressed friend Calloway, as the two travel Europe producing Instagram content for which Beach is compensated and Calloway takes all the credit. The “big” reveals of the piece are that: Calloway didn’t write a book that Beach would have financially benefitted from (it’s worth noting that no contracts between the two were ever signed), and that Calloway left Beach locked out of a hotel room in Amsterdam one night because Beach didn’t wind up hooking up with a bartender after all. Sure, Calloway sounds annoying. But, frankly, so does Beach.\u003c/p>\n\u003cp>Throughout the article, Beach tries to depict herself as a hapless victim who was too enthralled by a charismatic woman, too convinced of the validity of social media content creation. She talks repeatedly of being “broke,” even as she describes traveling extensively, eating out frequently, and living in New York City. At one point, she talks about being paid $200 a week to prep Calloway’s Airbnb for new guests, as if it’s slave labor.\u003c/p>\n\u003cp>In critiquing the life of the famous influencer she used to work with though, Natalie Beach overnight became a writer-to-watch. Over the weekend, during an appearance on the \u003ca href=\"https://redscarepodcast.libsyn.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Red Scare\u003c/em>\u003c/a> podcast, Calloway claimed Beach now has a \u003ca href=\"https://www.dailydot.com/upstream/caroline-calloway-natalie-beach-movie-deal/\" target=\"_blank\" rel=\"noopener noreferrer\">$1 million movie deal\u003c/a> with Ryan Murphy to tell the story of their friendship.\u003c/p>\n\u003cp>It isn’t working with a social media influencer that has put Beach on the map, then—it’s complaining about it after the fact. And it is becoming increasingly clear that what just happened for Beach isn’t a fluke, it’s a full-blown trend. What’s more, some of the people critiquing online influencers are now also directly benefiting from the same system that supports them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Take, for example, Australian YouTuber \u003ca href=\"https://www.youtube.com/channel/UCrroaGjAjAjqXEjqdsjLMIw\" target=\"_blank\" rel=\"noopener noreferrer\">Currently Hannah\u003c/a>, who recently donned an American accent, threw on several swimsuits, then put together a 3-minute clip highlighting the artifice and contrived nature of many travel vlogs. If you don’t know who Currently Hannah is, it all seems fairly hilarious.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=81&v=wnI8TA8XCt4\u003c/p>\n\u003cp>The problem is, the videos Hannah regularly produces for her 149,000 subscribers are almost identical to the parody she made. (Which is probably why she felt the need to follow it with a 3-minute explanation about how much she’s \u003cem>not\u003c/em> making fun of other travel vloggers.)\u003c/p>\n\u003cp>Below is one of Hannah’s regular clips. You’ll notice it features a multitude of things she made fun of in the parody, including: “uplifting cinematic music”; “the right dramatic pauses”; “places like untouched waterfalls, pristine rice fields, mountains I didn’t climb, and blue-ass water”; “swimming in the clearest water you’ve ever seen”; “a surprising amount of sexually seductive movement”; “not [showing] you the stress of making our flights on time”; “white sand” and “slow motion palm trees.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=77BckjW3cRQ\u003c/p>\n\u003cp>When Hannah says in the parody that she’s “here to show you how amazing my life is, but not how you can do it yourself,” she is obliviously describing her own work. In a rational world, a critique of misleading narratives sold by social media influencers should probably not be made by one of those influencers. It doesn’t matter—the parody clip is Hannah’s most-watched video in about a year.\u003c/p>\n\u003cp>Hannah is not the only YouTuber actively trying to portray themselves as less pretentious than their peers. Take, for example, \u003ca href=\"https://www.youtube.com/user/AwakenWithJP/videos\" target=\"_blank\" rel=\"noopener noreferrer\">AwakenWithJP\u003c/a>. JP Sears’ online persona is a parody of holistically-inclined social media influencers, but the lines between his real-life personality and online persona are so blurred in so many videos (like the one below where he makes fun of ‘How To’ videos about getting perfect abs, while also sporting perfect abs), Sears is forced to admit in the “About” section of his channel: “Satirical and serious are two parts that make the whole of me and what I do.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T66UyxiPr-I\u003c/p>\n\u003cp>Regardless of that strange juxtaposition, making fun of other influencers who hold similar values has earned Sears enough followers to be classed as one.\u003c/p>\n\u003cp>Though less popular (27,000 subscribers vs. Sears’ 808,000), Alysse Paris has also garnered millions of views on YouTube by making fun of \u003ca href=\"https://www.youtube.com/watch?v=bT44_1mZMQI&t=116s\" target=\"_blank\" rel=\"noopener noreferrer\">exercise videos\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=sp1CZcJTtd4\" target=\"_blank\" rel=\"noopener noreferrer\">beauty vloggers\u003c/a>, Instagrammers and \u003ca href=\"https://www.youtube.com/watch?v=T8UwhCPj8cU\" target=\"_blank\" rel=\"noopener noreferrer\">health bloggers\u003c/a>. The fact that Paris is as conventionally physically attractive as the influencers she’s making fun of can’t help but factor into her appeal, but she presents her often flawless appearance as something that is merely part of the joke.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xISv41LaheA&t=27s\u003c/p>\n\u003cp>All of this, of course, is beyond meta. It’s the proverbial snake eating its own tail. Even more remarkably, it was all predicted by \u003cem>Ingrid Goes West\u003c/em>; arguably the most astute movie about social media culture of our times. In the film, Ingrid (Aubrey Plaza), a lonely, disaffected woman, figures out how to befriend Taylor (Elizabeth Olsen), a popular social media influencer, in an attempt to transform her own life into something like the one she sees on Taylor’s Instagram.\u003c/p>\n\u003cp>At the climax of the movie, what the viewer thinks will be the end of Ingrid—her exposure as a liar, her excommunication from Taylor’s friend group, her attempt to commit suicide on camera—ends up being the thing that propels her to her own stardom. It is when she comes clean, and talks about social media being an elaborate fabrication, that she finally acquires her own influencer status. That very thing is now being mirrored in reality.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xP4vD1tWbPU\u003c/p>\n\u003cp>The plot of the 2017 movie is now so of the moment that Natalie Beach even referenced it in her \u003cem>Cut\u003c/em> article, claiming that people ask her if Caroline Calloway is “both characters from \u003cem>Ingrid Goes West\u003c/em>.” A closer analogy (at least if you take the movie’s kidnapping and violence out of the mix) would very much leave Beach in the Ingrid role. It’s unlikely she realizes that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>While the heady mix of trying to be simultaneously perfect and relatable is one that has always made influencers and vloggers ripe for mockery, increasingly, the people pointing the finger look more and more like the people they’re making fun of. In the vast sea of social media influencers and YouTube personalities, it makes sense that individuals will do just about anything to stand out—including ignoring their own hypocrisy.\u003c/p>\n\n",
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"excerpt": "As Natalie Beach and Caroline Calloway look increasingly like 'Ingrid Goes West' brought to life, a new surge of influencers are getting famous for mocking their peers. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few weeks ago, a young woman named Natalie Beach wrote an exposé for \u003ca href=\"https://www.thecut.com/2019/09/the-story-of-caroline-calloway-and-her-ghostwriter-natalie.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Cut\u003c/em>\u003c/a> about her friendship and working life with controversial influencer, \u003ca href=\"https://www.instagram.com/carolinecalloway/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Caroline Calloway\u003c/a>. It caused a stir on social media, some extremely \u003ca href=\"https://www.instagram.com/p/B2YEL-0BzyP/\" target=\"_blank\" rel=\"noopener noreferrer\">erratic behavior\u003c/a> from Calloway on her Instagram, and a story in \u003ca href=\"https://www.theatlantic.com/ideas/archive/2019/09/i-get-caroline-calloway/598918/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Atlantic\u003c/em>\u003c/a> that sought to undo any damage.\u003c/p>\n\u003cp>In the \u003cem>Cut\u003c/em> story, Beach gripes about trying to keep up with her richer, better dressed friend Calloway, as the two travel Europe producing Instagram content for which Beach is compensated and Calloway takes all the credit. The “big” reveals of the piece are that: Calloway didn’t write a book that Beach would have financially benefitted from (it’s worth noting that no contracts between the two were ever signed), and that Calloway left Beach locked out of a hotel room in Amsterdam one night because Beach didn’t wind up hooking up with a bartender after all. Sure, Calloway sounds annoying. But, frankly, so does Beach.\u003c/p>\n\u003cp>Throughout the article, Beach tries to depict herself as a hapless victim who was too enthralled by a charismatic woman, too convinced of the validity of social media content creation. She talks repeatedly of being “broke,” even as she describes traveling extensively, eating out frequently, and living in New York City. At one point, she talks about being paid $200 a week to prep Calloway’s Airbnb for new guests, as if it’s slave labor.\u003c/p>\n\u003cp>In critiquing the life of the famous influencer she used to work with though, Natalie Beach overnight became a writer-to-watch. Over the weekend, during an appearance on the \u003ca href=\"https://redscarepodcast.libsyn.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Red Scare\u003c/em>\u003c/a> podcast, Calloway claimed Beach now has a \u003ca href=\"https://www.dailydot.com/upstream/caroline-calloway-natalie-beach-movie-deal/\" target=\"_blank\" rel=\"noopener noreferrer\">$1 million movie deal\u003c/a> with Ryan Murphy to tell the story of their friendship.\u003c/p>\n\u003cp>It isn’t working with a social media influencer that has put Beach on the map, then—it’s complaining about it after the fact. And it is becoming increasingly clear that what just happened for Beach isn’t a fluke, it’s a full-blown trend. What’s more, some of the people critiquing online influencers are now also directly benefiting from the same system that supports them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Take, for example, Australian YouTuber \u003ca href=\"https://www.youtube.com/channel/UCrroaGjAjAjqXEjqdsjLMIw\" target=\"_blank\" rel=\"noopener noreferrer\">Currently Hannah\u003c/a>, who recently donned an American accent, threw on several swimsuits, then put together a 3-minute clip highlighting the artifice and contrived nature of many travel vlogs. If you don’t know who Currently Hannah is, it all seems fairly hilarious.\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/wnI8TA8XCt4'\n title='//www.youtube.com/embed/wnI8TA8XCt4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The problem is, the videos Hannah regularly produces for her 149,000 subscribers are almost identical to the parody she made. (Which is probably why she felt the need to follow it with a 3-minute explanation about how much she’s \u003cem>not\u003c/em> making fun of other travel vloggers.)\u003c/p>\n\u003cp>Below is one of Hannah’s regular clips. You’ll notice it features a multitude of things she made fun of in the parody, including: “uplifting cinematic music”; “the right dramatic pauses”; “places like untouched waterfalls, pristine rice fields, mountains I didn’t climb, and blue-ass water”; “swimming in the clearest water you’ve ever seen”; “a surprising amount of sexually seductive movement”; “not [showing] you the stress of making our flights on time”; “white sand” and “slow motion palm trees.”\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/77BckjW3cRQ'\n title='//www.youtube.com/embed/77BckjW3cRQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When Hannah says in the parody that she’s “here to show you how amazing my life is, but not how you can do it yourself,” she is obliviously describing her own work. In a rational world, a critique of misleading narratives sold by social media influencers should probably not be made by one of those influencers. It doesn’t matter—the parody clip is Hannah’s most-watched video in about a year.\u003c/p>\n\u003cp>Hannah is not the only YouTuber actively trying to portray themselves as less pretentious than their peers. Take, for example, \u003ca href=\"https://www.youtube.com/user/AwakenWithJP/videos\" target=\"_blank\" rel=\"noopener noreferrer\">AwakenWithJP\u003c/a>. JP Sears’ online persona is a parody of holistically-inclined social media influencers, but the lines between his real-life personality and online persona are so blurred in so many videos (like the one below where he makes fun of ‘How To’ videos about getting perfect abs, while also sporting perfect abs), Sears is forced to admit in the “About” section of his channel: “Satirical and serious are two parts that make the whole of me and what I do.”\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/T66UyxiPr-I'\n title='//www.youtube.com/embed/T66UyxiPr-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Regardless of that strange juxtaposition, making fun of other influencers who hold similar values has earned Sears enough followers to be classed as one.\u003c/p>\n\u003cp>Though less popular (27,000 subscribers vs. Sears’ 808,000), Alysse Paris has also garnered millions of views on YouTube by making fun of \u003ca href=\"https://www.youtube.com/watch?v=bT44_1mZMQI&t=116s\" target=\"_blank\" rel=\"noopener noreferrer\">exercise videos\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=sp1CZcJTtd4\" target=\"_blank\" rel=\"noopener noreferrer\">beauty vloggers\u003c/a>, Instagrammers and \u003ca href=\"https://www.youtube.com/watch?v=T8UwhCPj8cU\" target=\"_blank\" rel=\"noopener noreferrer\">health bloggers\u003c/a>. The fact that Paris is as conventionally physically attractive as the influencers she’s making fun of can’t help but factor into her appeal, but she presents her often flawless appearance as something that is merely part of the joke.\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/xISv41LaheA'\n title='//www.youtube.com/embed/xISv41LaheA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All of this, of course, is beyond meta. It’s the proverbial snake eating its own tail. Even more remarkably, it was all predicted by \u003cem>Ingrid Goes West\u003c/em>; arguably the most astute movie about social media culture of our times. In the film, Ingrid (Aubrey Plaza), a lonely, disaffected woman, figures out how to befriend Taylor (Elizabeth Olsen), a popular social media influencer, in an attempt to transform her own life into something like the one she sees on Taylor’s Instagram.\u003c/p>\n\u003cp>At the climax of the movie, what the viewer thinks will be the end of Ingrid—her exposure as a liar, her excommunication from Taylor’s friend group, her attempt to commit suicide on camera—ends up being the thing that propels her to her own stardom. It is when she comes clean, and talks about social media being an elaborate fabrication, that she finally acquires her own influencer status. That very thing is now being mirrored in reality.\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/xP4vD1tWbPU'\n title='//www.youtube.com/embed/xP4vD1tWbPU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The plot of the 2017 movie is now so of the moment that Natalie Beach even referenced it in her \u003cem>Cut\u003c/em> article, claiming that people ask her if Caroline Calloway is “both characters from \u003cem>Ingrid Goes West\u003c/em>.” A closer analogy (at least if you take the movie’s kidnapping and violence out of the mix) would very much leave Beach in the Ingrid role. It’s unlikely she realizes that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the heady mix of trying to be simultaneously perfect and relatable is one that has always made influencers and vloggers ripe for mockery, increasingly, the people pointing the finger look more and more like the people they’re making fun of. In the vast sea of social media influencers and YouTube personalities, it makes sense that individuals will do just about anything to stand out—including ignoring their own hypocrisy.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Whatever Happened to the Indian Farmers Who Won the 'Kiki Challenge'?",
"headTitle": "Whatever Happened to the Indian Farmers Who Won the ‘Kiki Challenge’? | KQED",
"content": "\u003cp>\u003cstrong>\u003cem>In August 2018, NPR reported on two farmers from a small village in India who went viral for \u003c/em>\u003c/strong>\u003ca href=\"https://www.kqed.org/pop/104969/indian-farmers-plus-oxen-just-won-the-kiki-challenge\" target=\"_blank\" rel=\"noopener\">\u003cstrong>\u003cem>dancing in a rice paddy\u003c/em>\u003c/strong>\u003c/a>\u003cstrong>\u003cem> to rapper Drake’s hit song, “In My Feelings.” The video of them doing the so-called “Kiki challenge” racked up more than 1 million views. Where are the farmers and the creator of the video now? \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Ever since the internet hailed the dancing farmer video, life has changed in big and small ways, says Sriram Srikanth, 28, the vlogger who choreographed the dance and shot the video.\u003c/p>\n\u003cp>Their little jig put the tiny village of \u003ca href=\"http://www.onefivenine.com/india/villages/Karimnagar/Mallial/Lambadipally\">Lambadipally\u003c/a> in the southern Indian state of Telangana on the map.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=so0BwyMEO8w\u003c/p>\n\u003cp>Fans seek out their village, Srikanth says. “Many of our days begin by meeting people who’ve traveled long hours to come to see us,” he says. At least 20 people show up every day on weekdays, and many more on weekends. He says they often just want to tell them how much they appreciate village life and their vlogs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s a great feeling to meet them, to see their interest in our village and our work,” he adds.\u003c/p>\n\u003cp>The viral video also helped grow Srikanth’s YouTube channel, \u003ca href=\"https://www.youtube.com/results?search_query=My+village+show\">My Village Show\u003c/a>. He started it in 2012 to chronicle the exasperating and endearing aspects of village life with doses of slapstick comedy. When the channel first launched, it had a little over 1,000 subscribers. Today, it has over 900,000 subscribers and 200 episodes.\u003c/p>\n\u003cp>After the Kiki challenge, Srikanth and his team uploaded 38 videos last year, 22 of which have scored over a million views. Some of their popular videos are humorous takes about how villagers deal with the influences of modern life—smartphones, selfie sticks, virtual reality technology, even fidget spinners.\u003c/p>\n\u003cp>The success has helped Srikanth build a steady income with advertising revenue and allowed him to pay his team and actors.\u003c/p>\n\u003cp>In the months after the Kiki challenge video, the My Village Show team expanded. “We’re currently employing eight villagers who’ve joined us in acting and scriptwriting,” says Srikanth. “We’ve built an office, and we train people in computer literacy. We’re hoping that it will help the younger ones find employment.”\u003c/p>\n\u003cp>Some people in the village are still trying to figure out why the Kiki video captivated a global audience. “They wonder why the international media came knocking on our doors when all we did was dance in the muck,” says Srikanth, laughing.\u003c/p>\n\u003cp>And what about the dancing farmers?\u003c/p>\n\u003cp>Anil Geela, 25, has been offered a role in an Indian film. He’s transitioned from farming and being a regular on My Village Show to full-time acting. “It’s a small role—I play the friend of the bad guy and there’s lots of comedy,” he says with a laugh. The movie is set for a year-end release.\u003c/p>\n\u003cp>Pilli Tirupati, 29, had a baby boy just days after the video went viral. The villagers started calling the infant Kiki and the nickname stuck, he says.\u003c/p>\n\u003cp>Still a rice farmer, Tirupati shares one of his current struggles. “In Lambadipally village, water scarcity isn’t the big problem. The biggest problem is the monkey menace,” he says. “We have to stick to paddy farming, because if we plant fruits or vegetables, unruly monkeys end up eating and ruining our crops!”\u003c/p>\n\u003cp>Though things are busier for the team at My Village Show and more villagers are recruited to act in the vlogs, life for the farmers and the vlogger has remained more or less the same, they say.\u003c/p>\n\u003cp>But they have noticed a change in the way outsiders view village life. “Everyone knows rural life isn’t easy. There’s a perception that it is impoverished, when there really is a lot of abundance,” says Srikanth.\u003c/p>\n\u003cp>“I feel like the biggest impact our work has made is to show how living in a village can be beautiful and charming, and that there are joyful experiences,” he adds.\u003c/p>\n\u003cp>Despite the hardships, we’re blessed to live this life, says Geela. “We’re healthy, happy, have strong friendships and deep connections to the land. If you have roots in a small village, it’s no longer a reason to be ashamed. And that’s the message we’d really like to see go viral.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kamala Thiagarajan is a freelance journalist based in Madurai, India. Her work has appeared in \u003c/em>The International New York Times, \u003cem>BBC Travel and \u003c/em>Forbes India. \u003cem>You can follow her \u003c/em>\u003ca href=\"https://twitter.com/kamal_t?lang=en\">@kamal_t\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Whatever+Happened+To+...+The+Farmers+Who+Danced+In+The+Mud+For+The+%27Kiki+Challenge%27%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>In August 2018, NPR reported on two farmers from a small village in India who went viral for \u003c/em>\u003c/strong>\u003ca href=\"https://www.kqed.org/pop/104969/indian-farmers-plus-oxen-just-won-the-kiki-challenge\" target=\"_blank\" rel=\"noopener\">\u003cstrong>\u003cem>dancing in a rice paddy\u003c/em>\u003c/strong>\u003c/a>\u003cstrong>\u003cem> to rapper Drake’s hit song, “In My Feelings.” The video of them doing the so-called “Kiki challenge” racked up more than 1 million views. Where are the farmers and the creator of the video now? \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Ever since the internet hailed the dancing farmer video, life has changed in big and small ways, says Sriram Srikanth, 28, the vlogger who choreographed the dance and shot the video.\u003c/p>\n\u003cp>Their little jig put the tiny village of \u003ca href=\"http://www.onefivenine.com/india/villages/Karimnagar/Mallial/Lambadipally\">Lambadipally\u003c/a> in the southern Indian state of Telangana on the map.\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/so0BwyMEO8w'\n title='//www.youtube.com/embed/so0BwyMEO8w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Fans seek out their village, Srikanth says. “Many of our days begin by meeting people who’ve traveled long hours to come to see us,” he says. At least 20 people show up every day on weekdays, and many more on weekends. He says they often just want to tell them how much they appreciate village life and their vlogs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a great feeling to meet them, to see their interest in our village and our work,” he adds.\u003c/p>\n\u003cp>The viral video also helped grow Srikanth’s YouTube channel, \u003ca href=\"https://www.youtube.com/results?search_query=My+village+show\">My Village Show\u003c/a>. He started it in 2012 to chronicle the exasperating and endearing aspects of village life with doses of slapstick comedy. When the channel first launched, it had a little over 1,000 subscribers. Today, it has over 900,000 subscribers and 200 episodes.\u003c/p>\n\u003cp>After the Kiki challenge, Srikanth and his team uploaded 38 videos last year, 22 of which have scored over a million views. Some of their popular videos are humorous takes about how villagers deal with the influences of modern life—smartphones, selfie sticks, virtual reality technology, even fidget spinners.\u003c/p>\n\u003cp>The success has helped Srikanth build a steady income with advertising revenue and allowed him to pay his team and actors.\u003c/p>\n\u003cp>In the months after the Kiki challenge video, the My Village Show team expanded. “We’re currently employing eight villagers who’ve joined us in acting and scriptwriting,” says Srikanth. “We’ve built an office, and we train people in computer literacy. We’re hoping that it will help the younger ones find employment.”\u003c/p>\n\u003cp>Some people in the village are still trying to figure out why the Kiki video captivated a global audience. “They wonder why the international media came knocking on our doors when all we did was dance in the muck,” says Srikanth, laughing.\u003c/p>\n\u003cp>And what about the dancing farmers?\u003c/p>\n\u003cp>Anil Geela, 25, has been offered a role in an Indian film. He’s transitioned from farming and being a regular on My Village Show to full-time acting. “It’s a small role—I play the friend of the bad guy and there’s lots of comedy,” he says with a laugh. The movie is set for a year-end release.\u003c/p>\n\u003cp>Pilli Tirupati, 29, had a baby boy just days after the video went viral. The villagers started calling the infant Kiki and the nickname stuck, he says.\u003c/p>\n\u003cp>Still a rice farmer, Tirupati shares one of his current struggles. “In Lambadipally village, water scarcity isn’t the big problem. The biggest problem is the monkey menace,” he says. “We have to stick to paddy farming, because if we plant fruits or vegetables, unruly monkeys end up eating and ruining our crops!”\u003c/p>\n\u003cp>Though things are busier for the team at My Village Show and more villagers are recruited to act in the vlogs, life for the farmers and the vlogger has remained more or less the same, they say.\u003c/p>\n\u003cp>But they have noticed a change in the way outsiders view village life. “Everyone knows rural life isn’t easy. There’s a perception that it is impoverished, when there really is a lot of abundance,” says Srikanth.\u003c/p>\n\u003cp>“I feel like the biggest impact our work has made is to show how living in a village can be beautiful and charming, and that there are joyful experiences,” he adds.\u003c/p>\n\u003cp>Despite the hardships, we’re blessed to live this life, says Geela. “We’re healthy, happy, have strong friendships and deep connections to the land. If you have roots in a small village, it’s no longer a reason to be ashamed. And that’s the message we’d really like to see go viral.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kamala Thiagarajan is a freelance journalist based in Madurai, India. Her work has appeared in \u003c/em>The International New York Times, \u003cem>BBC Travel and \u003c/em>Forbes India. \u003cem>You can follow her \u003c/em>\u003ca href=\"https://twitter.com/kamal_t?lang=en\">@kamal_t\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Whatever+Happened+To+...+The+Farmers+Who+Danced+In+The+Mud+For+The+%27Kiki+Challenge%27%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Shout-out to the Latino gang out here,” said Colombian superstar J. Balvin as he and Spanish singer \u003cspan class=\"s1\">Rosalía\u003c/span> \u003ca href=\"https://twitter.com/MTV/status/1166168772094414848?s=20\" target=\"_blank\" rel=\"noopener\">accepted their VMA\u003c/a> for their summer hit, “\u003ca href=\"https://www.youtube.com/watch?v=p7bfOZek9t4\" target=\"_blank\" rel=\"noopener\">Con Altura\u003c/a>.” “This is beautiful because this is my first time singing in Spanish right now for this audience.”\u003c/p>\n\u003cp>In 2019, Latinx artists continue to have a major impact on U.S. Billboard charts, and it’s evident that MTV is cashing in on the momentum, nominating Spanish-language songs in mainstream categories as well as Best Latin. Spanish-speaking heavy hitters stacked the nominations and performances at this year’s MTV Video Music Awards. First-time nominees included Boricua superstar Bad Bunny, pan-Latino boy band CNCO and power duo Karol G and Anuel AA. [aside postid='arts_13864915']\u003c/p>\n\u003cp>While last night’s award ceremony showed that MTV is making strides in amplifying Latinx voices, the media giant can do a better job of reflecting the diversity of the diaspora—particularly in amplifying \u003ca href=\"https://www.kqed.org/arts/13861579/before-urbano-took-over-the-airwaves-oakland-had-los-rakas\" target=\"_blank\" rel=\"noopener\">Afro-Latinx artists\u003c/a>, who are (and have historically been) crucial to the development of reggaeton and urbano.\u003c/p>\n\u003cp>In one of the most elaborate performances of the night, second only to \u003ca href=\"https://www.kqed.org/arts/13864915/the-liberated-pop-future-missy-elliott-envisioned-is-now\" target=\"_blank\" rel=\"noopener\">Missy Elliott\u003c/a>‘s, Bad Bunny and J. Balvin repped Puerto Rico and Colombia on the televised stage. Their psychedelic performance of “Que Pretendes” felt like looking at the world through VR goggles. Amid technicolor cacti, emojis and whimsical animal characters, the duo coaxed us into their magical-realist world with a stretch of their comically inflated fingers. Shouting out their Latino Gang at the top of the performance to hordes of adoring fans, the duo’s live show proved to be a joyful highlight, and underscored the importance of the unprecedented Latinx representation at this year’s awards.\u003c/p>\n\u003cp>https://youtu.be/qOSSmwK-PR0\u003c/p>\n\u003cp>\u003cspan class=\"s1\">Sensing the gravity of this opportunity, J. Balvin used his screen time wisely. In an unscripted moment midway through his acceptance speech for the Best Latin award, he drew attention to the raging blaze in the Amazon that has \u003ca href=\"https://www.kqed.org/science/1946729/harrowing-photos-from-the-amazon-rainforest-wildfires\" target=\"_blank\" rel=\"noopener\">devastated millions of acres\u003c/a> of forest and displaced indigenous tribes. \u003c/span>\u003c/p>\n\u003cp>Yet, despite significantly increasing Latinx representation, the VMAs sometimes lacked nuance, as \u003cspan class=\"s1\">Rosalía, who is from Spain and not Latin America, was the co-recipient of the Best Latin title\u003c/span>\u003cspan class=\"s1\">. A big part of Rosalía’s appeal relies on her singing over Afro-Caribbean beats and referencing the diaspora’s aesthetics, like elaborate acrylic nails and laid edges. Although she’s undeniably talented and belonged at the VMAs, her win in the Latin category reveals how quickly the mainstream moves to privilege white artists over Afro-Latinx ones. Indeed, fellow chart-topper \u003ca href=\"https://www.npr.org/artists/570164401/ozuna\" target=\"_blank\" rel=\"noopener\">Ozuna\u003c/a>, who is Puerto Rican and Dominican, only got a minute of screen time during Rosalía’s performance. \u003c/span>\u003c/p>\n\u003cp>MTV’s shortcomings when it comes to allyship aren’t surprising when one examines the bigger picture: VMA sponsor Taco Bell’s \u003ca href=\"https://www.opensecrets.org/pacs/lookup2.php?strID=C00330118&cycle=2018\">TACO PAC\u003c/a> supported President Trump’s virulently anti-immigrant 2016 campaign.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3EDbDtVcmYA\u003c/p>\n\u003cp>While no one expects the VMAs to solve the world’s problems, MTV has the power to define the cultural narrative. As mainstream U.S. audiences finally begin to appreciate urbano and Latin trap, it’s critical consumers pay attention to which artists get recognition for these traditionally Afro-Latinx art forms. Although a move in the right direction, MTV’s attempts at representation fell short.\u003c/p>\n\u003cp>Still, for now, the simple fact that multiple artists performed in Spanish at the VMAs was a hopeful indicator that MTV is embracing Latinx artists. The opportunity to be themselves without translating their music sent a powerful message that the Latinx community deserves a seat at the table, and has for a long time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Shout-out to the Latino gang out here,” said Colombian superstar J. Balvin as he and Spanish singer \u003cspan class=\"s1\">Rosalía\u003c/span> \u003ca href=\"https://twitter.com/MTV/status/1166168772094414848?s=20\" target=\"_blank\" rel=\"noopener\">accepted their VMA\u003c/a> for their summer hit, “\u003ca href=\"https://www.youtube.com/watch?v=p7bfOZek9t4\" target=\"_blank\" rel=\"noopener\">Con Altura\u003c/a>.” “This is beautiful because this is my first time singing in Spanish right now for this audience.”\u003c/p>\n\u003cp>In 2019, Latinx artists continue to have a major impact on U.S. Billboard charts, and it’s evident that MTV is cashing in on the momentum, nominating Spanish-language songs in mainstream categories as well as Best Latin. Spanish-speaking heavy hitters stacked the nominations and performances at this year’s MTV Video Music Awards. First-time nominees included Boricua superstar Bad Bunny, pan-Latino boy band CNCO and power duo Karol G and Anuel AA. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While last night’s award ceremony showed that MTV is making strides in amplifying Latinx voices, the media giant can do a better job of reflecting the diversity of the diaspora—particularly in amplifying \u003ca href=\"https://www.kqed.org/arts/13861579/before-urbano-took-over-the-airwaves-oakland-had-los-rakas\" target=\"_blank\" rel=\"noopener\">Afro-Latinx artists\u003c/a>, who are (and have historically been) crucial to the development of reggaeton and urbano.\u003c/p>\n\u003cp>In one of the most elaborate performances of the night, second only to \u003ca href=\"https://www.kqed.org/arts/13864915/the-liberated-pop-future-missy-elliott-envisioned-is-now\" target=\"_blank\" rel=\"noopener\">Missy Elliott\u003c/a>‘s, Bad Bunny and J. Balvin repped Puerto Rico and Colombia on the televised stage. Their psychedelic performance of “Que Pretendes” felt like looking at the world through VR goggles. Amid technicolor cacti, emojis and whimsical animal characters, the duo coaxed us into their magical-realist world with a stretch of their comically inflated fingers. Shouting out their Latino Gang at the top of the performance to hordes of adoring fans, the duo’s live show proved to be a joyful highlight, and underscored the importance of the unprecedented Latinx representation at this year’s awards.\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/qOSSmwK-PR0'\n title='//www.youtube.com/embed/qOSSmwK-PR0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan class=\"s1\">Sensing the gravity of this opportunity, J. Balvin used his screen time wisely. In an unscripted moment midway through his acceptance speech for the Best Latin award, he drew attention to the raging blaze in the Amazon that has \u003ca href=\"https://www.kqed.org/science/1946729/harrowing-photos-from-the-amazon-rainforest-wildfires\" target=\"_blank\" rel=\"noopener\">devastated millions of acres\u003c/a> of forest and displaced indigenous tribes. \u003c/span>\u003c/p>\n\u003cp>Yet, despite significantly increasing Latinx representation, the VMAs sometimes lacked nuance, as \u003cspan class=\"s1\">Rosalía, who is from Spain and not Latin America, was the co-recipient of the Best Latin title\u003c/span>\u003cspan class=\"s1\">. A big part of Rosalía’s appeal relies on her singing over Afro-Caribbean beats and referencing the diaspora’s aesthetics, like elaborate acrylic nails and laid edges. Although she’s undeniably talented and belonged at the VMAs, her win in the Latin category reveals how quickly the mainstream moves to privilege white artists over Afro-Latinx ones. Indeed, fellow chart-topper \u003ca href=\"https://www.npr.org/artists/570164401/ozuna\" target=\"_blank\" rel=\"noopener\">Ozuna\u003c/a>, who is Puerto Rican and Dominican, only got a minute of screen time during Rosalía’s performance. \u003c/span>\u003c/p>\n\u003cp>MTV’s shortcomings when it comes to allyship aren’t surprising when one examines the bigger picture: VMA sponsor Taco Bell’s \u003ca href=\"https://www.opensecrets.org/pacs/lookup2.php?strID=C00330118&cycle=2018\">TACO PAC\u003c/a> supported President Trump’s virulently anti-immigrant 2016 campaign.\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/3EDbDtVcmYA'\n title='//www.youtube.com/embed/3EDbDtVcmYA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While no one expects the VMAs to solve the world’s problems, MTV has the power to define the cultural narrative. As mainstream U.S. audiences finally begin to appreciate urbano and Latin trap, it’s critical consumers pay attention to which artists get recognition for these traditionally Afro-Latinx art forms. Although a move in the right direction, MTV’s attempts at representation fell short.\u003c/p>\n\u003cp>Still, for now, the simple fact that multiple artists performed in Spanish at the VMAs was a hopeful indicator that MTV is embracing Latinx artists. The opportunity to be themselves without translating their music sent a powerful message that the Latinx community deserves a seat at the table, and has for a long time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>What would you get if you combined Jackie Onassis’ poise, Jane Fonda’s comic timing and Audrey Hepburn’s love of wildlife? \u003c/p>\n\u003cp>It’s not a question anyone was asking, but now—thanks, internet!—we know the answer. \u003c/p>\n\u003cp>Georgette Spelvin remains a mystery, since she operates under \u003ca href=\"https://en.wikipedia.org/wiki/George_Spelvin\" target=\"_blank\" rel=\"noopener noreferrer\">a pseudonym\u003c/a>. What we \u003cem>do\u003c/em> know is that this Southern California resident has a multitude of opossums, a handful of squirrels and a killer sense of humor.\u003c/p>\n\u003cp>https://twitter.com/mallafemmina/status/1161126810194763776?s=21&fbclid=IwAR2lEkQMQS3dOL0Zx9G6E1w_A-GA90drWWBnyGQkcGtOCy3S0LoslHC94G0\u003c/p>\n\u003cp>Georgette’s \u003ca href=\"https://www.youtube.com/channel/UCATJh3BJNXTRX4EdxK2oDKw\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a> has shared these kinds of surreal moments of excellence on a regular basis since 2010. Her inherent watchability is rooted in the hilarious juxtaposition of her glamorous appearance and blue blooded demeanor with the rat-tailed fang-faces most commonly located in people’s trash. Georgette knows how to play up that weird combination with aplomb, thanks in part to her very relaxed means of handling the animals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0nDB_5dxzDM\u003c/p>\n\u003cp>Compounding confusion about her true identity, Georgette’s \u003ca href=\"https://mepearl.com/\" target=\"_blank\" rel=\"noopener noreferrer\">associated website\u003c/a> is even more bonkers than her YouTube channel, thanks to the fact that it’s purportedly written by Pearl, one of Georgette’s dead squirrels, who offers psychic advice to members of the public. (“I AM A DEAD SQUIRREL THAT KNOWS EVERYTHING,” screams the \u003ca href=\"http://mepearl.com/\" target=\"_blank\" rel=\"noopener noreferrer\">homepage\u003c/a>.) Pearl can also be seen regularly, presented as a sort of religious deity, in the background of Georgette’s videos.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=umfxbSJ1Stw\u003c/p>\n\u003cp>On the\u003ca href=\"https://mepearl.com/ask-pearl/\" target=\"_blank\" rel=\"noopener noreferrer\"> “Ask Pearl”\u003c/a> page of Georgette’s site, Pearl fields questions about readers’ biggest issues. On whether or not to leave a cheating lover, Pearl says: “You already know.” When a reader asks if she’s met her soul-mate, Pearl offers: “This one will be your truest love so long as you stop looking for anyone truer.” And when it comes to issues around proper gaming etiquette, Pearl explains: “Did you prance around the room going nanner nanner nanner? That’s usually where those Prussian Incursion games go south.” Occasionally though, readers also try and find out who Georgette really is… to no avail.\u003c/p>\n\u003cfigure id=\"attachment_13864547\" class=\"wp-caption alignnone\" style=\"max-width: 638px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864547\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-20-at-11.49.24-AM.png\" alt='\"Who the hell is Georgette Spelvin?\" ' width=\"638\" height=\"414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-20-at-11.49.24-AM.png 638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-20-at-11.49.24-AM-160x104.png 160w\" sizes=\"(max-width: 638px) 100vw, 638px\">\u003cfigcaption class=\"wp-caption-text\">“Who the hell is Georgette Spelvin?” \u003ccite>(http://mepearl.com/ask-pearl/)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, we only know what Georgette Spelvin wants us to know: that she is a very funny lady with a big heart when it comes to injured and in-need wildlife. The lesson she most often imparts in her videos is that “if you see an opossum or squirrel outside, leave it there,” and if you see one that’s injured or in danger, contact your nearest wildlife rescue.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We may never get Georgette’s full life story. But as long as she has a bongo-playing possum by her side and a scurry of squirrels on her shoulder, what more do we \u003cem>really\u003c/em> need to know?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What would you get if you combined Jackie Onassis’ poise, Jane Fonda’s comic timing and Audrey Hepburn’s love of wildlife? \u003c/p>\n\u003cp>It’s not a question anyone was asking, but now—thanks, internet!—we know the answer. \u003c/p>\n\u003cp>Georgette Spelvin remains a mystery, since she operates under \u003ca href=\"https://en.wikipedia.org/wiki/George_Spelvin\" target=\"_blank\" rel=\"noopener noreferrer\">a pseudonym\u003c/a>. What we \u003cem>do\u003c/em> know is that this Southern California resident has a multitude of opossums, a handful of squirrels and a killer sense of humor.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Georgette’s \u003ca href=\"https://www.youtube.com/channel/UCATJh3BJNXTRX4EdxK2oDKw\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a> has shared these kinds of surreal moments of excellence on a regular basis since 2010. Her inherent watchability is rooted in the hilarious juxtaposition of her glamorous appearance and blue blooded demeanor with the rat-tailed fang-faces most commonly located in people’s trash. Georgette knows how to play up that weird combination with aplomb, thanks in part to her very relaxed means of handling the animals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0nDB_5dxzDM'\n title='//www.youtube.com/embed/0nDB_5dxzDM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Compounding confusion about her true identity, Georgette’s \u003ca href=\"https://mepearl.com/\" target=\"_blank\" rel=\"noopener noreferrer\">associated website\u003c/a> is even more bonkers than her YouTube channel, thanks to the fact that it’s purportedly written by Pearl, one of Georgette’s dead squirrels, who offers psychic advice to members of the public. (“I AM A DEAD SQUIRREL THAT KNOWS EVERYTHING,” screams the \u003ca href=\"http://mepearl.com/\" target=\"_blank\" rel=\"noopener noreferrer\">homepage\u003c/a>.) Pearl can also be seen regularly, presented as a sort of religious deity, in the background of Georgette’s videos.\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/umfxbSJ1Stw'\n title='//www.youtube.com/embed/umfxbSJ1Stw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the\u003ca href=\"https://mepearl.com/ask-pearl/\" target=\"_blank\" rel=\"noopener noreferrer\"> “Ask Pearl”\u003c/a> page of Georgette’s site, Pearl fields questions about readers’ biggest issues. On whether or not to leave a cheating lover, Pearl says: “You already know.” When a reader asks if she’s met her soul-mate, Pearl offers: “This one will be your truest love so long as you stop looking for anyone truer.” And when it comes to issues around proper gaming etiquette, Pearl explains: “Did you prance around the room going nanner nanner nanner? That’s usually where those Prussian Incursion games go south.” Occasionally though, readers also try and find out who Georgette really is… to no avail.\u003c/p>\n\u003cfigure id=\"attachment_13864547\" class=\"wp-caption alignnone\" style=\"max-width: 638px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864547\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-20-at-11.49.24-AM.png\" alt='\"Who the hell is Georgette Spelvin?\" ' width=\"638\" height=\"414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-20-at-11.49.24-AM.png 638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-20-at-11.49.24-AM-160x104.png 160w\" sizes=\"(max-width: 638px) 100vw, 638px\">\u003cfigcaption class=\"wp-caption-text\">“Who the hell is Georgette Spelvin?” \u003ccite>(http://mepearl.com/ask-pearl/)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, we only know what Georgette Spelvin wants us to know: that she is a very funny lady with a big heart when it comes to injured and in-need wildlife. The lesson she most often imparts in her videos is that “if you see an opossum or squirrel outside, leave it there,” and if you see one that’s injured or in danger, contact your nearest wildlife rescue.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We may never get Georgette’s full life story. But as long as she has a bongo-playing possum by her side and a scurry of squirrels on her shoulder, what more do we \u003cem>really\u003c/em> need to know?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Does Netflix—and for that matter, Amazon, Apple, Hulu, Vimeo and YouTube—have a duty to fact-check the documentaries they broadcast? It’s a question worth asking as a \u003ca href=\"https://www.theguardian.com/society/2019/feb/04/root-cause-documentary-netflix-dentists\" target=\"_blank\" rel=\"noopener\">controversy\u003c/a> surfaces over one such 2018 film, \u003ca href=\"https://rootcausemovie.com\" target=\"_blank\" rel=\"noopener\">\u003cem>Root Cause\u003c/em>\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>In the documentary, Australian filmmaker \u003ca href=\"http://www.playtv.com.au/about-playtv/\" target=\"_blank\" rel=\"noopener\">Frazer Bailey\u003c/a> links \u003cspan style=\"font-weight: 400\">a\u003c/span>\u003cspan style=\"font-weight: 400\"> root canal procedure he received as a young man to later health problems like fatigue and depression. After exploring a host of New Age approaches to medicine, he talks to several dentists who agree that bacterial infections in the mouth caused by root canals lead to diseases elsewhere in the body: mental disease, heart disease, even arthritis. “The mouth is the toxic waste dump that’s impacting on the rest of the body,” says \u003ca href=\"http://www.icnr.com/about.html\" target=\"_blank\" rel=\"noopener\">Dr. Gerald H. Smith, DDS, DNM\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Three major dentistry associations \u003c/span>\u003cspan style=\"font-weight: 400\">disagree: the \u003ca href=\"https://www.ada.org/en\" target=\"_blank\" rel=\"noopener\">American Dental Association\u003c/a>, \u003ca href=\"https://www.aae.org\" target=\"_blank\" rel=\"noopener\">American Association of Endodontists\u003c/a> and \u003ca href=\"http://www.iadr.org/AADR\" target=\"_blank\" rel=\"noopener\">American Association of Dental Research\u003c/a>. They\u003c/span>\u003cspan style=\"font-weight: 400\"> sent Netflix a private letter requesting that it drop the film. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A spokeswoman for the AAE declined to share the letter, but she did write:\u003c/span>\u003c/p>\n\u003cblockquote>\u003cp>\u003cspan style=\"font-weight: 400\">The people in this movie are spreading misinformation and confusion about root canal treatment that is misleading and harmful to the consumer public. Their premise is based on junk science and faulty testing conducted more than 100 years ago that was debunked in the 1950s, continuously since then, and is even more discredited today by physicians, dentists and academics. Mainstream medical and dental communities overwhelmingly agree that root canal treatment is safe, effective and eliminates pain.\u003cbr>\n\u003c/span>\u003c/p>\u003c/blockquote>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s the trailer:\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=4tLhstodpFI]\u003c/p>\n\u003cp>Netflix declined to comment for this story.\u003c/p>\n\u003cp>\u003ca href=\"https://www.blockandtackle.biz/home\" target=\"_blank\" rel=\"noopener\">Alex Ben Block\u003c/a> writes about the business of entertainment for a variety of outlets. He says most of the documentaries he watches on Netflix are “benign.” On the other hand, he says, programmers of content are “looking for provocative topics.”\u003c/p>\n\u003cp>Like a number of its competitors, Netflix began as a distribution platform, but increasingly hosts original films and shows that it finances, produces, or both. One of its most recent partnerships is an upcoming series on health and well-being from \u003ca href=\"https://goop.com\" target=\"_blank\" rel=\"noopener\">Goop\u003c/a>. Gwyneth Paltrow’s media empire has come under fire for promoting dubious health products, most notoriously the \u003ca href=\"https://www.washingtonpost.com/health/2018/09/05/gwyneth-paltrows-goop-touted-benefits-putting-jade-egg-your-vagina-now-it-must-pay/\" target=\"_blank\" rel=\"noopener\">jade egg\u003c/a>, an egg-shaped jade or quartz stone Goop promised could help with hormone levels and bladder control if inserted into one’s vagina.\u003c/p>\n\u003cp>Whether any health tips as far-fetched as the jade egg make it into Paltrow’s Netflix series remains to be seen. But Block says it should be a concern. “Any time you’re a powerful service seen by so many people, you really have a major social responsibility to present things that are accurate,” he says—even more so than content procured from the outside, as was the case with \u003cem>Root Cause\u003c/em>.\u003c/p>\n\u003cp>Then again, Block adds, “the viewer has some responsibility, too, to not just believe whatever they see.”\u003c/p>\n\u003cfigure id=\"attachment_13850317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-800x370.jpg\" alt=\"When I asked my dentist, Rebecca Armel, DDS, in San Francisco, about 'Root Cause,' she wrote, 'Dentists as a whole think this idea is cuckoo. However, I have heard this theory before and I can understand some of the logic. Unfortunately, I don't think there is science to back it up.'\" width=\"800\" height=\"370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-800x370.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-768x355.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-1020x472.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-1200x555.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut.jpg 1626w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When I asked my dentist, Rebecca Armel, DDS, in San Francisco, about ‘Root Cause,’ she wrote, ‘Dentists as a whole think this idea is cuckoo. However, I have heard this theory before and I can understand some of the logic. Unfortunately, I don’t think there is science to back it up.’ \u003ccite>(Courtesy of 'Root Cause')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The quality and the veritability of everything [on the Internet] is all over the spectrum,” says \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://journalism.missouri.edu/staff/stacey-woelfel/\" target=\"_blank\" rel=\"noopener\">Stacey Woelfel\u003c/a>, who directs the documentary center at the \u003ca href=\"https://journalism.missouri.edu/programs/undergraduate/junior-senior/areas-study__trashed/documentary-journalism/\" target=\"_blank\" rel=\"noopener\">Missouri School of Journalism.\u003c/a>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Woelfel says many documentaries are more personal and engaging than factual. He suggests we consider this question through the lens of politics: do we want Netflix and other streaming platforms censoring, say, the lefty firebrand \u003ca href=\"https://michaelmoore.com\" target=\"_blank\" rel=\"noopener\">Michael Moore\u003c/a>? Or his counterpoint on the right, \u003ca href=\"https://www.dineshdsouza.com\" target=\"_blank\" rel=\"noopener\">Dinesh D’Souza\u003c/a>? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Woelfel would much rather we do our own homework. “There’s no way for a consumer to decide without doing a little bit of research herself.” \u003c/span>\u003c/p>\n\u003cp>That means researching with credible sources. Pro tip: don’t go looking for medical advice on YouTube or Facebook.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Does Netflix—and for that matter, Amazon, Apple, Hulu, Vimeo and YouTube—have a duty to fact-check the documentaries they broadcast? It’s a question worth asking as a \u003ca href=\"https://www.theguardian.com/society/2019/feb/04/root-cause-documentary-netflix-dentists\" target=\"_blank\" rel=\"noopener\">controversy\u003c/a> surfaces over one such 2018 film, \u003ca href=\"https://rootcausemovie.com\" target=\"_blank\" rel=\"noopener\">\u003cem>Root Cause\u003c/em>\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>In the documentary, Australian filmmaker \u003ca href=\"http://www.playtv.com.au/about-playtv/\" target=\"_blank\" rel=\"noopener\">Frazer Bailey\u003c/a> links \u003cspan style=\"font-weight: 400\">a\u003c/span>\u003cspan style=\"font-weight: 400\"> root canal procedure he received as a young man to later health problems like fatigue and depression. After exploring a host of New Age approaches to medicine, he talks to several dentists who agree that bacterial infections in the mouth caused by root canals lead to diseases elsewhere in the body: mental disease, heart disease, even arthritis. “The mouth is the toxic waste dump that’s impacting on the rest of the body,” says \u003ca href=\"http://www.icnr.com/about.html\" target=\"_blank\" rel=\"noopener\">Dr. Gerald H. Smith, DDS, DNM\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Three major dentistry associations \u003c/span>\u003cspan style=\"font-weight: 400\">disagree: the \u003ca href=\"https://www.ada.org/en\" target=\"_blank\" rel=\"noopener\">American Dental Association\u003c/a>, \u003ca href=\"https://www.aae.org\" target=\"_blank\" rel=\"noopener\">American Association of Endodontists\u003c/a> and \u003ca href=\"http://www.iadr.org/AADR\" target=\"_blank\" rel=\"noopener\">American Association of Dental Research\u003c/a>. They\u003c/span>\u003cspan style=\"font-weight: 400\"> sent Netflix a private letter requesting that it drop the film. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A spokeswoman for the AAE declined to share the letter, but she did write:\u003c/span>\u003c/p>\n\u003cblockquote>\u003cp>\u003cspan style=\"font-weight: 400\">The people in this movie are spreading misinformation and confusion about root canal treatment that is misleading and harmful to the consumer public. Their premise is based on junk science and faulty testing conducted more than 100 years ago that was debunked in the 1950s, continuously since then, and is even more discredited today by physicians, dentists and academics. Mainstream medical and dental communities overwhelmingly agree that root canal treatment is safe, effective and eliminates pain.\u003cbr>\n\u003c/span>\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s the trailer:\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/4tLhstodpFI'\n title='//www.youtube.com/embed/4tLhstodpFI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Netflix declined to comment for this story.\u003c/p>\n\u003cp>\u003ca href=\"https://www.blockandtackle.biz/home\" target=\"_blank\" rel=\"noopener\">Alex Ben Block\u003c/a> writes about the business of entertainment for a variety of outlets. He says most of the documentaries he watches on Netflix are “benign.” On the other hand, he says, programmers of content are “looking for provocative topics.”\u003c/p>\n\u003cp>Like a number of its competitors, Netflix began as a distribution platform, but increasingly hosts original films and shows that it finances, produces, or both. One of its most recent partnerships is an upcoming series on health and well-being from \u003ca href=\"https://goop.com\" target=\"_blank\" rel=\"noopener\">Goop\u003c/a>. Gwyneth Paltrow’s media empire has come under fire for promoting dubious health products, most notoriously the \u003ca href=\"https://www.washingtonpost.com/health/2018/09/05/gwyneth-paltrows-goop-touted-benefits-putting-jade-egg-your-vagina-now-it-must-pay/\" target=\"_blank\" rel=\"noopener\">jade egg\u003c/a>, an egg-shaped jade or quartz stone Goop promised could help with hormone levels and bladder control if inserted into one’s vagina.\u003c/p>\n\u003cp>Whether any health tips as far-fetched as the jade egg make it into Paltrow’s Netflix series remains to be seen. But Block says it should be a concern. “Any time you’re a powerful service seen by so many people, you really have a major social responsibility to present things that are accurate,” he says—even more so than content procured from the outside, as was the case with \u003cem>Root Cause\u003c/em>.\u003c/p>\n\u003cp>Then again, Block adds, “the viewer has some responsibility, too, to not just believe whatever they see.”\u003c/p>\n\u003cfigure id=\"attachment_13850317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-800x370.jpg\" alt=\"When I asked my dentist, Rebecca Armel, DDS, in San Francisco, about 'Root Cause,' she wrote, 'Dentists as a whole think this idea is cuckoo. However, I have heard this theory before and I can understand some of the logic. Unfortunately, I don't think there is science to back it up.'\" width=\"800\" height=\"370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-800x370.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-768x355.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-1020x472.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-1200x555.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut.jpg 1626w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When I asked my dentist, Rebecca Armel, DDS, in San Francisco, about ‘Root Cause,’ she wrote, ‘Dentists as a whole think this idea is cuckoo. However, I have heard this theory before and I can understand some of the logic. Unfortunately, I don’t think there is science to back it up.’ \u003ccite>(Courtesy of 'Root Cause')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The quality and the veritability of everything [on the Internet] is all over the spectrum,” says \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://journalism.missouri.edu/staff/stacey-woelfel/\" target=\"_blank\" rel=\"noopener\">Stacey Woelfel\u003c/a>, who directs the documentary center at the \u003ca href=\"https://journalism.missouri.edu/programs/undergraduate/junior-senior/areas-study__trashed/documentary-journalism/\" target=\"_blank\" rel=\"noopener\">Missouri School of Journalism.\u003c/a>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Woelfel says many documentaries are more personal and engaging than factual. He suggests we consider this question through the lens of politics: do we want Netflix and other streaming platforms censoring, say, the lefty firebrand \u003ca href=\"https://michaelmoore.com\" target=\"_blank\" rel=\"noopener\">Michael Moore\u003c/a>? Or his counterpoint on the right, \u003ca href=\"https://www.dineshdsouza.com\" target=\"_blank\" rel=\"noopener\">Dinesh D’Souza\u003c/a>? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Woelfel would much rather we do our own homework. “There’s no way for a consumer to decide without doing a little bit of research herself.” \u003c/span>\u003c/p>\n\u003cp>That means researching with credible sources. Pro tip: don’t go looking for medical advice on YouTube or Facebook.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you can’t find something you want to watch online these days, there is something seriously wrong with you. Giants like Netflix, Amazon and Hulu are spending gazillions buying the rights to popular film and TV series—and gazillions more funding original content.\u003c/p>\n\u003cp>But with all this focus on the new, new, new, what happens to all the old, “classic” stuff? A lot of it falls off the menu. It may be there as available option, but you have to know what you’re looking for. Let me give you an example.\u003c/p>\n\u003cp>Toshiro Mifune was one of the most famous Japanese actors of all time, and not just in Japan. In this 2015 documentary about the actor, narrator Keanu Reeves tells us that without Mifune’s commanding macho swagger, world-weary eyes and gonzo sense of humor, “There would have been no \u003cem>Magnificent Seven\u003c/em>, Clint Eastwood wouldn’t have a \u003cem>Fistful of Dollars\u003c/em>, and Darth Vader wouldn’t be a samurai.”[youtube https://www.youtube.com/watch?v=hQ1dkl1ul-s]No wonder Berkeley-based documentary filmmaker \u003ca href=\"https://www.imdb.com/name/nm0645574/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Okazaki\u003c/a> wanted to profile Mifune. His movies helped lead the young Okazaki into filmmaking in the first place. “The films are so great. I mean, you do have to slow your brain down a little bit, and I think it’s hard to watch films with subtitles, but God, the films are so rich,” Okazaki says with a sparkle in his eyes.\u003c/p>\n\u003cp>The Japanese-American director grew up in the 1970s, when art house movies were still a thing, and that’s how he was first exposed to all sorts of films that were considered old or classic even then. Today? “Now, you are dependent on these streaming services and hardly anything’s there,” Okazaki says.\u003c/p>\n\u003cp>Okazaki says he was “saddened to note how few young people in Japan had seen any of [Mifune’s] films with [the great Japanese director] Akira Kurosawa. Likewise, American kids don’t know who John Ford or John Wayne are. And forget about Satyajit Ray, Eric Rohmer, Jean Renoir or Yasujiro Ozu.”\u003c/p>\n\u003ch2>It Can’t Be That Bad—Can It?\u003c/h2>\n\u003cp>Check this out. Let’s say I just streamed Okazai’s \u003cem>\u003ca href=\"https://www.netflix.com/watch/80148921?trackId=13752289&tctx=0%2C0%2Ccea993fe7379e9455329dac3156e1bc8ca5b00ec%3A75e278ffa7bdc0b62cf12edd643bb6b81b444646%2C%2C\" target=\"_blank\" rel=\"noopener noreferrer\">Mifune: The Last Samurai\u003c/a>\u003c/em> on Netflix, and now I want to watch some of Mifune’s original feature films. Mifune made more than 170, but I’d be happy with a handful of his greatest hits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I type “Toshiro Mifune” in the search box for streaming: nothing. In the search box for DVD: I get films inspired by him, sure, but not starring him (see screenshot above). By film title: \u003cem>Seven Samurai\u003c/em>. Yes! \u003cem>Rashomon\u003c/em>, \u003cem>Yojimbo\u003c/em>, \u003cem>Throne of Blood\u003c/em>. Yes! But only on DVD.\u003c/p>\n\u003cp>As anybody with a \u003ca href=\"https://www.wnycstudios.org/story/punks/\" target=\"_blank\" rel=\"noopener noreferrer\">yen for a rare title\u003c/a> learns, it’s \u003ca href=\"http://collider.com/why-you-should-keep-buying-blu-rays-and-dvds/\" target=\"_blank\" rel=\"noopener noreferrer\">not a given\u003c/a> that the film you want was released on DVD, or VHS, or even film stock. Also, most distribution deals are for a limited time only. We’ve all gotten used to those articles with headlines like, “The Best Movies and TV Shows to Stream on Netflix\u003ca href=\"https://slate.com/culture/2018/03/the-best-movies-tv-shows-expiring-from-netflix-in-april.html\" target=\"_blank\" rel=\"noopener noreferrer\"> Before They Expire\u003c/a>.”\u003c/p>\n\u003cp>Netflix gives you the option to “save” the movie down at the bottom of your queue. But you know what that button means.\u003c/p>\n\u003ch2>Availability: Unknown\u003c/h2>\n\u003cp>Seriously, try searching for the very first movie you rented on Netflix. The older you are, the more likely it is you can’t stream it today. Now, you can \u003ca href=\"https://help.netflix.com/en/titlerequest\" target=\"_blank\" rel=\"noopener noreferrer\">request a title\u003c/a> and hope the company responds, but you have to know what you’re looking for.\u003c/p>\n\u003cp>What if I’m eight years old, or 18, and I don’t know about Mifune or anybody else famous in the 20th century?\u003cspan class=\"Apple-converted-space\"> \u003c/span>Netflix isn’t going to serve up the ancient past, not to me or any of its other 125 million subscribers worldwide. You can stream a wider selection of titles on Netflix rivals like Apple and Amazon Prime, but you have to search. The platforms won’t suggest what’s old in a bid to help you educate yourself.\u003c/p>\n\u003cp>“I just don’t think it’s much of a business for a Netflix or a Hulu,” says Rick Prelinger, Professor of Film and Digital Media at \u003ca href=\"http://film.ucsc.edu/faculty/rick_prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">UC Santa Cruz\u003c/a> and a board member of the \u003ca href=\"https://archive.org\" target=\"_blank\" rel=\"noopener noreferrer\">Internet Archive\u003c/a>, a free-to-the-public digital library based in San Francisco.\u003c/p>\n\u003cp>He points out something else: a surprising amount of famous footage we think of as part of our collective history is locked away from the public, journalists and documentary filmmakers. “The body of moving images that has been created is owned by so many different companies and so many different people and it’s fragmented,” Prelinger says. That makes it hard for archivists and librarians, he adds, but what makes them different is they’re not serving shareholders. They’re serving the public.\u003c/p>\n\u003cp>Imagine if it wasn’t \u003ca href=\"https://archive.org/details/prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">Prelinger Archives\u003c/a> that owned the famous \u003ca href=\"https://archive.org/details/TripDownMarketStreetrBeforeTheFire\" target=\"_blank\" rel=\"noopener noreferrer\">footage of Market Street\u003c/a> days before the great earthquake and fire of 1906 in San Francisco, and that owner wasn’t willing to share the footage without being paid a lot of money?\u003c/p>\n\u003cp>You wouldn’t see thoughtful news stories like this one:[youtube https://www.youtube.com/watch?v=tYHGj19RrF0]Many copyright owners charge cheaper “rental rates,” if you will, for nonprofits wanting to use historically valuable footage. Other copyright owners don’t care who you are or what noble cause you serve.\u003c/p>\n\u003cp>That makes building and maintaining a comprehensive collection of feature films and documentaries an expensive proposition.\u003c/p>\n\u003cp>“Nobody’s going to take a risk on archives,” Prelinger says. No privately funded company, he means.\u003c/p>\n\u003cp>Prelinger says entertainment companies naturally want us looking at what they’re \u003ca href=\"https://variety.com/2018/digital/news/netflix-original-spending-85-percent-1202809623/\" target=\"_blank\" rel=\"noopener noreferrer\">spending money on now\u003c/a>. If you want a comprehensive set of foreign, classic, or independently produced films, you have to subscribe to a streaming service like \u003ca href=\"https://www.fandor.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fandor\u003c/a>, \u003ca href=\"https://mubi.com\" target=\"_blank\" rel=\"noopener noreferrer\">MUBI\u003c/a> or \u003ca href=\"https://www.filmstruck.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FilmStruck\u003c/a>.\u003c/p>\n\u003cp>That suits \u003ca href=\"http://mybutch.blogspot.com\" target=\"_blank\" rel=\"noopener noreferrer\">Jenni Olson\u003c/a> just fine. “People want to spend $10 a month and get everything,” says the co-founder of PlanetOut, a public media and entertainment company that focused exclusively on the lesbian, gay, bisexual and transgender demographic. Today, Olson writes about queer films, and also creates, collects and curates them.\u003c/p>\n\u003cp>“Silicon Valley has created outsized, irrational consumer expectations,” Olson says. “We used to have almost zero access,” especially to more obscure film titles. “We just have to accept the reality of the world we live in, and put our money where our mouth is.”\u003c/p>\n\u003cfigure id=\"attachment_13836650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836650\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg\" alt=\"For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn't see a dime.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1020x582.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1200x685.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-960x548.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut.jpg 1832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn’t see a dime. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or you could watch dubious bootleg copies uploaded to YouTube or torrent sites, as many of us—cough—do.\u003cspan class=\"Apple-converted-space\"> Not that the prospect troubles every filmmaker. “YouTube is fantastic, and I happily refuse to complain that my film is on there,” says Sam Green about his Academy Award-nominated documentary \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0343168/\" target=\"_blank\" rel=\"noopener noreferrer\">The Weather Underground\u003c/a>\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">Green adds, “If you just look at the new, you get such a limited and skewed view of what the world is. To me, YouTube is one of the great cultural and educational institutions we have. It’s a way for things in [copyright] limbo to be available.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">For now.\u003c/span>\u003c/p>\n\u003cp>I’ll leave you with this thought from Prelinger: “We shouldn’t rely too much on either the entertainment business or the for-profit tech sector to preserve our history for us.\u003cspan class=\"Apple-converted-space\"> \u003c/span>Yes, there’s a lot of product available if you really really look hard, but we’re avoiding the question: do we as audiences, and do we as citizens, deserve access to our moving image heritage?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Well, do we?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you can’t find something you want to watch online these days, there is something seriously wrong with you. Giants like Netflix, Amazon and Hulu are spending gazillions buying the rights to popular film and TV series—and gazillions more funding original content.\u003c/p>\n\u003cp>But with all this focus on the new, new, new, what happens to all the old, “classic” stuff? A lot of it falls off the menu. It may be there as available option, but you have to know what you’re looking for. Let me give you an example.\u003c/p>\n\u003cp>Toshiro Mifune was one of the most famous Japanese actors of all time, and not just in Japan. In this 2015 documentary about the actor, narrator Keanu Reeves tells us that without Mifune’s commanding macho swagger, world-weary eyes and gonzo sense of humor, “There would have been no \u003cem>Magnificent Seven\u003c/em>, Clint Eastwood wouldn’t have a \u003cem>Fistful of Dollars\u003c/em>, and Darth Vader wouldn’t be a samurai.”\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/hQ1dkl1ul-s'\n title='//www.youtube.com/embed/hQ1dkl1ul-s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>No wonder Berkeley-based documentary filmmaker \u003ca href=\"https://www.imdb.com/name/nm0645574/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Okazaki\u003c/a> wanted to profile Mifune. His movies helped lead the young Okazaki into filmmaking in the first place. “The films are so great. I mean, you do have to slow your brain down a little bit, and I think it’s hard to watch films with subtitles, but God, the films are so rich,” Okazaki says with a sparkle in his eyes.\u003c/p>\n\u003cp>The Japanese-American director grew up in the 1970s, when art house movies were still a thing, and that’s how he was first exposed to all sorts of films that were considered old or classic even then. Today? “Now, you are dependent on these streaming services and hardly anything’s there,” Okazaki says.\u003c/p>\n\u003cp>Okazaki says he was “saddened to note how few young people in Japan had seen any of [Mifune’s] films with [the great Japanese director] Akira Kurosawa. Likewise, American kids don’t know who John Ford or John Wayne are. And forget about Satyajit Ray, Eric Rohmer, Jean Renoir or Yasujiro Ozu.”\u003c/p>\n\u003ch2>It Can’t Be That Bad—Can It?\u003c/h2>\n\u003cp>Check this out. Let’s say I just streamed Okazai’s \u003cem>\u003ca href=\"https://www.netflix.com/watch/80148921?trackId=13752289&tctx=0%2C0%2Ccea993fe7379e9455329dac3156e1bc8ca5b00ec%3A75e278ffa7bdc0b62cf12edd643bb6b81b444646%2C%2C\" target=\"_blank\" rel=\"noopener noreferrer\">Mifune: The Last Samurai\u003c/a>\u003c/em> on Netflix, and now I want to watch some of Mifune’s original feature films. Mifune made more than 170, but I’d be happy with a handful of his greatest hits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I type “Toshiro Mifune” in the search box for streaming: nothing. In the search box for DVD: I get films inspired by him, sure, but not starring him (see screenshot above). By film title: \u003cem>Seven Samurai\u003c/em>. Yes! \u003cem>Rashomon\u003c/em>, \u003cem>Yojimbo\u003c/em>, \u003cem>Throne of Blood\u003c/em>. Yes! But only on DVD.\u003c/p>\n\u003cp>As anybody with a \u003ca href=\"https://www.wnycstudios.org/story/punks/\" target=\"_blank\" rel=\"noopener noreferrer\">yen for a rare title\u003c/a> learns, it’s \u003ca href=\"http://collider.com/why-you-should-keep-buying-blu-rays-and-dvds/\" target=\"_blank\" rel=\"noopener noreferrer\">not a given\u003c/a> that the film you want was released on DVD, or VHS, or even film stock. Also, most distribution deals are for a limited time only. We’ve all gotten used to those articles with headlines like, “The Best Movies and TV Shows to Stream on Netflix\u003ca href=\"https://slate.com/culture/2018/03/the-best-movies-tv-shows-expiring-from-netflix-in-april.html\" target=\"_blank\" rel=\"noopener noreferrer\"> Before They Expire\u003c/a>.”\u003c/p>\n\u003cp>Netflix gives you the option to “save” the movie down at the bottom of your queue. But you know what that button means.\u003c/p>\n\u003ch2>Availability: Unknown\u003c/h2>\n\u003cp>Seriously, try searching for the very first movie you rented on Netflix. The older you are, the more likely it is you can’t stream it today. Now, you can \u003ca href=\"https://help.netflix.com/en/titlerequest\" target=\"_blank\" rel=\"noopener noreferrer\">request a title\u003c/a> and hope the company responds, but you have to know what you’re looking for.\u003c/p>\n\u003cp>What if I’m eight years old, or 18, and I don’t know about Mifune or anybody else famous in the 20th century?\u003cspan class=\"Apple-converted-space\"> \u003c/span>Netflix isn’t going to serve up the ancient past, not to me or any of its other 125 million subscribers worldwide. You can stream a wider selection of titles on Netflix rivals like Apple and Amazon Prime, but you have to search. The platforms won’t suggest what’s old in a bid to help you educate yourself.\u003c/p>\n\u003cp>“I just don’t think it’s much of a business for a Netflix or a Hulu,” says Rick Prelinger, Professor of Film and Digital Media at \u003ca href=\"http://film.ucsc.edu/faculty/rick_prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">UC Santa Cruz\u003c/a> and a board member of the \u003ca href=\"https://archive.org\" target=\"_blank\" rel=\"noopener noreferrer\">Internet Archive\u003c/a>, a free-to-the-public digital library based in San Francisco.\u003c/p>\n\u003cp>He points out something else: a surprising amount of famous footage we think of as part of our collective history is locked away from the public, journalists and documentary filmmakers. “The body of moving images that has been created is owned by so many different companies and so many different people and it’s fragmented,” Prelinger says. That makes it hard for archivists and librarians, he adds, but what makes them different is they’re not serving shareholders. They’re serving the public.\u003c/p>\n\u003cp>Imagine if it wasn’t \u003ca href=\"https://archive.org/details/prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">Prelinger Archives\u003c/a> that owned the famous \u003ca href=\"https://archive.org/details/TripDownMarketStreetrBeforeTheFire\" target=\"_blank\" rel=\"noopener noreferrer\">footage of Market Street\u003c/a> days before the great earthquake and fire of 1906 in San Francisco, and that owner wasn’t willing to share the footage without being paid a lot of money?\u003c/p>\n\u003cp>You wouldn’t see thoughtful news stories like this one:\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/tYHGj19RrF0'\n title='//www.youtube.com/embed/tYHGj19RrF0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>Many copyright owners charge cheaper “rental rates,” if you will, for nonprofits wanting to use historically valuable footage. Other copyright owners don’t care who you are or what noble cause you serve.\u003c/p>\n\u003cp>That makes building and maintaining a comprehensive collection of feature films and documentaries an expensive proposition.\u003c/p>\n\u003cp>“Nobody’s going to take a risk on archives,” Prelinger says. No privately funded company, he means.\u003c/p>\n\u003cp>Prelinger says entertainment companies naturally want us looking at what they’re \u003ca href=\"https://variety.com/2018/digital/news/netflix-original-spending-85-percent-1202809623/\" target=\"_blank\" rel=\"noopener noreferrer\">spending money on now\u003c/a>. If you want a comprehensive set of foreign, classic, or independently produced films, you have to subscribe to a streaming service like \u003ca href=\"https://www.fandor.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fandor\u003c/a>, \u003ca href=\"https://mubi.com\" target=\"_blank\" rel=\"noopener noreferrer\">MUBI\u003c/a> or \u003ca href=\"https://www.filmstruck.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FilmStruck\u003c/a>.\u003c/p>\n\u003cp>That suits \u003ca href=\"http://mybutch.blogspot.com\" target=\"_blank\" rel=\"noopener noreferrer\">Jenni Olson\u003c/a> just fine. “People want to spend $10 a month and get everything,” says the co-founder of PlanetOut, a public media and entertainment company that focused exclusively on the lesbian, gay, bisexual and transgender demographic. Today, Olson writes about queer films, and also creates, collects and curates them.\u003c/p>\n\u003cp>“Silicon Valley has created outsized, irrational consumer expectations,” Olson says. “We used to have almost zero access,” especially to more obscure film titles. “We just have to accept the reality of the world we live in, and put our money where our mouth is.”\u003c/p>\n\u003cfigure id=\"attachment_13836650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836650\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg\" alt=\"For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn't see a dime.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1020x582.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1200x685.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-960x548.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut.jpg 1832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn’t see a dime. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or you could watch dubious bootleg copies uploaded to YouTube or torrent sites, as many of us—cough—do.\u003cspan class=\"Apple-converted-space\"> Not that the prospect troubles every filmmaker. “YouTube is fantastic, and I happily refuse to complain that my film is on there,” says Sam Green about his Academy Award-nominated documentary \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0343168/\" target=\"_blank\" rel=\"noopener noreferrer\">The Weather Underground\u003c/a>\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">Green adds, “If you just look at the new, you get such a limited and skewed view of what the world is. To me, YouTube is one of the great cultural and educational institutions we have. It’s a way for things in [copyright] limbo to be available.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">For now.\u003c/span>\u003c/p>\n\u003cp>I’ll leave you with this thought from Prelinger: “We shouldn’t rely too much on either the entertainment business or the for-profit tech sector to preserve our history for us.\u003cspan class=\"Apple-converted-space\"> \u003c/span>Yes, there’s a lot of product available if you really really look hard, but we’re avoiding the question: do we as audiences, and do we as citizens, deserve access to our moving image heritage?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Well, do we?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "no-more-turning-your-phone-sideways-instagram-bets-on-vertical-video-app-igtv",
"title": "No More Turning Your Phone Sideways: Instagram Bets on Vertical Video App IGTV",
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"headTitle": "No More Turning Your Phone Sideways: Instagram Bets on Vertical Video App IGTV | KQED",
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"content": "\u003cp>“Think about it. Today, we still watch videos formatted for a TV on a vertical screen,” Instagram CEO Kevin Systrom said this morning, \u003ca href=\"https://instagram-press.com/blog/2018/06/20/welcome-to-igtv/\" target=\"_blank\" rel=\"noopener\">unveiling IGTV\u003c/a> five years to the day after launching video on Instagram.\u003c/p>\n\u003cp>IGTV is a new, separate app for creating and watching long-form, vertical video—although you’ll also be able to watch from within the Instagram app.\u003c/p>\n\u003cp>Was this a thing you didn’t realize you need? Yes, at least, according to Systrom. “We either have to rotate our phone awkwardly,” she said, “or watch a tiny version, and that doesn’t make much sense, does it?”\u003c/p>\n\u003cp>Call it a legacy issue, so broadly acknowledged you can watch video of rapper Childish Gambino walking up to a fan in the front row recording his show to turn the phone sideways.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=WP97zvva98s]\u003c/p>\n\u003cp>Systrom also takes issue with having to search a directory to find what we want to watch … on say, YouTube. In fact, IGTV looks very much like an attempt at direct competition to YouTube, not unlike the way Instagram Stories directly copied one of the most popular features of Snapchat.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>IGTV videos won’t be limited to one minute, but rather, ten—unless you’re a wildly popular creator, in which case, you get a full hour. That’s just at launch. Eventually, the plan is to scale up capacity so that everyone has access to unlimited video.\u003c/p>\n\u003cp>As with all social media, anyone can be a creator, but some are better at it than others. Instagram has made sure to pre-populate IGTV’s offerings with power users on Instagram like \u003ca href=\"https://www.instagram.com/brycexavier/\">Bryce Xavier \u003c/a>(287,000 followers) and \u003ca href=\"https://www.instagram.com/lelepons/\">Lele Pons\u003c/a> (25.1 million followers). Instagram itself now boasts one billion monthly active users.\u003c/p>\n\u003cp>“I’ve been creating comedy skits, dance videos, music with my friends for years. I’ve perfected the one-minute sketch on Instagram, but get ready to see what I have in store for you with IGTV,” Pons said. (For one thing, she’s starting her own cooking show.)\u003c/p>\n\u003cfigure id=\"attachment_13835605\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835605\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-800x539.jpg\" alt=\"Instagram CEO Kevin Systrom unveiling IGTV in San Francisco.\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-1200x809.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut.jpg 1496w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Instagram CEO Kevin Systrom unveiling IGTV in San Francisco. \u003ccite>(Photo: Courtesy of Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So naturally, with longer video, you’re wondering what/where/when the advertising will show up. Systrom says there are no ads in IGTV because “right now, we’re focused on building engagement,” but “that [ads] is obviously a very reasonable way to end up,” adding that creators want to make a living. By that, Systrom does not mean Instagram directly paying creators. Translation: influencers will make their own brand deals.\u003c/p>\n\u003cp>Nothing stops advertisers from creating their own content, and indeed, within hours of the announcement, at least one advertiser sent out a press release announcing its IGTV channel: Benefit Cosmetics, the San Francisco-based beauty brand.\u003c/p>\n\u003cp>National Geographic has also already announced its plans to engage on IGTV, which raises the question: Is IGTV open to news producers?\u003c/p>\n\u003cp>“Anyone is welcome to become a creator,” said Instagram product manager Ashley Yuki. (There appears to be no kind of partnership or sponsorship with news organizations, which Instagram parent Facebook has experimented with in the past.)\u003c/p>\n\u003cp>Is IGTV the YouTube killer in what is clearly a proxy war between Facebook (which owns Instagram) and Google (which owns YouTube)? Don’t order flowers just yet. With more than 1.9 billion monthly users, YouTube reaches viewers on mobile as well as larger screens.\u003c/p>\n\u003cfigure id=\"attachment_13835614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835614\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-800x677.jpg\" alt=\"Imagine an app that loads @jiffpom straightaway when you launch. There's no need to scroll through options, or tap on the search bar. That's IGTV: more like TV than "legacy" social media.\" width=\"800\" height=\"677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-800x677.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-768x650.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-1020x864.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-1200x1016.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-1180x999.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-960x813.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-240x203.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-375x318.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-520x440.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut.jpg 1396w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Imagine an app that loads @jiffpom straightaway when you launch. There’s no need to scroll through options, or tap on the search bar. That’s IGTV: more like TV than “legacy” social media. \u003ccite>(Photo: Courtesy of Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>But who’s to say viewers will stay stuck on horizontal when they could be watching and creating video that’s vertical and filling the screen—as if that’s just the new natural order of the universe?\u003c/p>\n\n",
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"excerpt": "First, Instagram Stories took over—and today, Instagram took aim at YouTube with an app of longer, vertical video capabilities.",
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"title": "No More Turning Your Phone Sideways: Instagram Bets on Vertical Video App IGTV | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Think about it. Today, we still watch videos formatted for a TV on a vertical screen,” Instagram CEO Kevin Systrom said this morning, \u003ca href=\"https://instagram-press.com/blog/2018/06/20/welcome-to-igtv/\" target=\"_blank\" rel=\"noopener\">unveiling IGTV\u003c/a> five years to the day after launching video on Instagram.\u003c/p>\n\u003cp>IGTV is a new, separate app for creating and watching long-form, vertical video—although you’ll also be able to watch from within the Instagram app.\u003c/p>\n\u003cp>Was this a thing you didn’t realize you need? Yes, at least, according to Systrom. “We either have to rotate our phone awkwardly,” she said, “or watch a tiny version, and that doesn’t make much sense, does it?”\u003c/p>\n\u003cp>Call it a legacy issue, so broadly acknowledged you can watch video of rapper Childish Gambino walking up to a fan in the front row recording his show to turn the phone sideways.\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/WP97zvva98s'\n title='//www.youtube.com/embed/WP97zvva98s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Systrom also takes issue with having to search a directory to find what we want to watch … on say, YouTube. In fact, IGTV looks very much like an attempt at direct competition to YouTube, not unlike the way Instagram Stories directly copied one of the most popular features of Snapchat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>IGTV videos won’t be limited to one minute, but rather, ten—unless you’re a wildly popular creator, in which case, you get a full hour. That’s just at launch. Eventually, the plan is to scale up capacity so that everyone has access to unlimited video.\u003c/p>\n\u003cp>As with all social media, anyone can be a creator, but some are better at it than others. Instagram has made sure to pre-populate IGTV’s offerings with power users on Instagram like \u003ca href=\"https://www.instagram.com/brycexavier/\">Bryce Xavier \u003c/a>(287,000 followers) and \u003ca href=\"https://www.instagram.com/lelepons/\">Lele Pons\u003c/a> (25.1 million followers). Instagram itself now boasts one billion monthly active users.\u003c/p>\n\u003cp>“I’ve been creating comedy skits, dance videos, music with my friends for years. I’ve perfected the one-minute sketch on Instagram, but get ready to see what I have in store for you with IGTV,” Pons said. (For one thing, she’s starting her own cooking show.)\u003c/p>\n\u003cfigure id=\"attachment_13835605\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835605\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-800x539.jpg\" alt=\"Instagram CEO Kevin Systrom unveiling IGTV in San Francisco.\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-1200x809.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut.jpg 1496w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Instagram CEO Kevin Systrom unveiling IGTV in San Francisco. \u003ccite>(Photo: Courtesy of Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So naturally, with longer video, you’re wondering what/where/when the advertising will show up. Systrom says there are no ads in IGTV because “right now, we’re focused on building engagement,” but “that [ads] is obviously a very reasonable way to end up,” adding that creators want to make a living. By that, Systrom does not mean Instagram directly paying creators. Translation: influencers will make their own brand deals.\u003c/p>\n\u003cp>Nothing stops advertisers from creating their own content, and indeed, within hours of the announcement, at least one advertiser sent out a press release announcing its IGTV channel: Benefit Cosmetics, the San Francisco-based beauty brand.\u003c/p>\n\u003cp>National Geographic has also already announced its plans to engage on IGTV, which raises the question: Is IGTV open to news producers?\u003c/p>\n\u003cp>“Anyone is welcome to become a creator,” said Instagram product manager Ashley Yuki. (There appears to be no kind of partnership or sponsorship with news organizations, which Instagram parent Facebook has experimented with in the past.)\u003c/p>\n\u003cp>Is IGTV the YouTube killer in what is clearly a proxy war between Facebook (which owns Instagram) and Google (which owns YouTube)? Don’t order flowers just yet. With more than 1.9 billion monthly users, YouTube reaches viewers on mobile as well as larger screens.\u003c/p>\n\u003cfigure id=\"attachment_13835614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835614\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-800x677.jpg\" alt=\"Imagine an app that loads @jiffpom straightaway when you launch. There's no need to scroll through options, or tap on the search bar. That's IGTV: more like TV than "legacy" social media.\" width=\"800\" height=\"677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-800x677.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-768x650.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-1020x864.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-1200x1016.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-1180x999.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-960x813.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-240x203.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-375x318.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-520x440.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut.jpg 1396w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Imagine an app that loads @jiffpom straightaway when you launch. There’s no need to scroll through options, or tap on the search bar. That’s IGTV: more like TV than “legacy” social media. \u003ccite>(Photo: Courtesy of Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>But who’s to say viewers will stay stuck on horizontal when they could be watching and creating video that’s vertical and filling the screen—as if that’s just the new natural order of the universe?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A local drone pilot says Apple security has prevented him from filming the construction of the company’s new Apple Park headquarters.\u003c/p>\n\u003cp>Since August 2015, \u003ca href=\"https://twitter.com/DuncanSinfield\" target=\"_blank\" rel=\"noopener\">Duncan Sinfield\u003c/a> has been filming at Apple Park with his drone and posting monthly videos on YouTube. His videos have hundreds of thousands of plays and viewers have praised his work \u003ca href=\"http://www.thedrive.com/aerial/14108/duncan-sinfields-drone-footage-of-apple-park-is-gorgeous\" target=\"_blank\" rel=\"noopener\">for its high quality\u003c/a>.\u003c/p>\n\u003cp>When he posted his most recent YouTube video on Monday, he wrote in the introduction that Apple’s security has been preventing him from filming.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/2018/04/.mp3\" Image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Apple-HQ-Sinfield.jpg\" Title=\"Apple Cracks Down on Drones Filming Construction of Apple Park\" program=\"Arts\"]\u003c/p>\n\u003cp>“Security at Apple Park generally responds in two white Priuses to my precise take-off locations in 10 minutes or less,” Sinfield wrote. “It’s only a matter of time until the campus becomes shut off to drones completely.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A 26-year-old assignment editor for KTVU, Sinfield told KQED Arts that he began filming the Apple Park construction project as practice for his drone, a DJI Inspire 2. Sinfield lives in nearby Redwood City and said that, from a filmmaking perspective, there’s nothing like the Apple Park project anywhere else in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13829862\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829862\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-800x800.jpg\" alt=\"Duncan Sinfield\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Duncan Sinfield \u003ccite>(Courtesy pf the subject)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sinfield said he shoots the project on a monthly basis and previously filmed for up to 50 minutes at a time. But in recent weeks, he said campus security has shown up to shut down his shoots within ten minutes of launching his drone.\u003c/p>\n\u003cp>“While this is speculation, my instincts tell me that Apple is tracking all drones in the vicinity of the campus with sophisticated radio frequency technology from companies such as DeDrone (sic) (a San Francisco-based aerospace security company),” Sinfield wrote on YouTube.\u003c/p>\n\u003cp>\u003ca href=\"https://techcrunch.com/2016/05/17/dedrone-raises-10-million-to-detect-aerial-intruders/\" target=\"_blank\" rel=\"noopener\">Dedrone Inc.\u003c/a> is the creator of the DroneTracker system, which uses sensors to detect unwanted drones. Representatives for Dedrone \u003ca href=\"https://www.marketwatch.com/story/apple-cracks-down-on-drone-pilot-who-shoots-epic-apple-campus-videos-2018-04-16\" target=\"_blank\" rel=\"noopener\">told MarketWatch\u003c/a> that they were unable to say if Apple was a client, but confirmed Dedrone customers include the Golden State Warriors and the PGA Tour.\u003c/p>\n\u003cp>It’s unclear why Apple is cracking down on Sinfield, as his videos have been described as “better than most corporate-produced pieces.” But Apple may have reason to be concerned with drones over its property after one crashed into the building’s solar panels \u003ca href=\"https://www.inverse.com/article/41430-apple-park-drone-crash-spaceship\" target=\"_blank\" rel=\"noopener\">back in February\u003c/a>. KQED Arts reached out to Apple for comment and did not receive a response.\u003c/p>\n\u003cp>Sinfield said that at one of his recent shoots, Apple security told him that if he didn’t recall his drone right away, they would call the sheriff’s department, who could charge him with being a public nuisance.\u003c/p>\n\u003cfigure id=\"attachment_13829686\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Apple-HQ-Sinfield-800x450.jpg\" alt=\"Apple Park from the air\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Apple-HQ-Sinfield-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Apple-HQ-Sinfield-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Apple-HQ-Sinfield-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Apple-HQ-Sinfield.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Apple-HQ-Sinfield-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Apple-HQ-Sinfield-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Apple-HQ-Sinfield-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Apple Park from the air \u003ccite>(Duncan Sinfield)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s hypocritical because Apple retail stores sell the identical model of drone I’m flying over their campus,” Sinfield said. “It’s hypocritical to be selling drones and saying, ‘Fly them wherever you want, just don’t do it over our headquarters.’”\u003c/p>\n\u003cp>Sinfield said he plans to continue filming the construction because of his viewership’s demands. By trying to stop drone pilots from filming Apple Park’s construction, he reasoned, Apple is just making people more interested in what’s going on there. But Sinfield also suspects that Apple wants to stop outsiders from taking images of the new headquarters so they can prepare for a big reveal.\u003c/p>\n\u003cp>“I think Apple could solve this issue if they released their own monthly-update photo, similar to what I’m doing,” Sinfield said. “But they’ve decided they don’t want to take that route.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A 26-year-old assignment editor for KTVU, Sinfield told KQED Arts that he began filming the Apple Park construction project as practice for his drone, a DJI Inspire 2. Sinfield lives in nearby Redwood City and said that, from a filmmaking perspective, there’s nothing like the Apple Park project anywhere else in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13829862\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829862\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-800x800.jpg\" alt=\"Duncan Sinfield\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Duncan-Sinfield.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Duncan Sinfield \u003ccite>(Courtesy pf the subject)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sinfield said he shoots the project on a monthly basis and previously filmed for up to 50 minutes at a time. But in recent weeks, he said campus security has shown up to shut down his shoots within ten minutes of launching his drone.\u003c/p>\n\u003cp>“While this is speculation, my instincts tell me that Apple is tracking all drones in the vicinity of the campus with sophisticated radio frequency technology from companies such as DeDrone (sic) (a San Francisco-based aerospace security company),” Sinfield wrote on YouTube.\u003c/p>\n\u003cp>\u003ca href=\"https://techcrunch.com/2016/05/17/dedrone-raises-10-million-to-detect-aerial-intruders/\" target=\"_blank\" rel=\"noopener\">Dedrone Inc.\u003c/a> is the creator of the DroneTracker system, which uses sensors to detect unwanted drones. Representatives for Dedrone \u003ca href=\"https://www.marketwatch.com/story/apple-cracks-down-on-drone-pilot-who-shoots-epic-apple-campus-videos-2018-04-16\" target=\"_blank\" rel=\"noopener\">told MarketWatch\u003c/a> that they were unable to say if Apple was a client, but confirmed Dedrone customers include the Golden State Warriors and the PGA Tour.\u003c/p>\n\u003cp>It’s unclear why Apple is cracking down on Sinfield, as his videos have been described as “better than most corporate-produced pieces.” But Apple may have reason to be concerned with drones over its property after one crashed into the building’s solar panels \u003ca href=\"https://www.inverse.com/article/41430-apple-park-drone-crash-spaceship\" target=\"_blank\" rel=\"noopener\">back in February\u003c/a>. KQED Arts reached out to Apple for comment and did not receive a response.\u003c/p>\n\u003cp>Sinfield said that at one of his recent shoots, Apple security told him that if he didn’t recall his drone right away, they would call the sheriff’s department, who could charge him with being a public nuisance.\u003c/p>\n\u003cfigure id=\"attachment_13829686\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Apple-HQ-Sinfield-800x450.jpg\" alt=\"Apple Park from the air\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Apple-HQ-Sinfield-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Apple-HQ-Sinfield-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Apple-HQ-Sinfield-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Apple-HQ-Sinfield.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Apple-HQ-Sinfield-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Apple-HQ-Sinfield-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Apple-HQ-Sinfield-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Apple Park from the air \u003ccite>(Duncan Sinfield)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s hypocritical because Apple retail stores sell the identical model of drone I’m flying over their campus,” Sinfield said. “It’s hypocritical to be selling drones and saying, ‘Fly them wherever you want, just don’t do it over our headquarters.’”\u003c/p>\n\u003cp>Sinfield said he plans to continue filming the construction because of his viewership’s demands. By trying to stop drone pilots from filming Apple Park’s construction, he reasoned, Apple is just making people more interested in what’s going on there. But Sinfield also suspects that Apple wants to stop outsiders from taking images of the new headquarters so they can prepare for a big reveal.\u003c/p>\n\u003cp>“I think Apple could solve this issue if they released their own monthly-update photo, similar to what I’m doing,” Sinfield said. “But they’ve decided they don’t want to take that route.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
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},
"mindshift": {
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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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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"planet-money": {
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
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},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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