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"content": "\u003cp>Hollywood’s writers’ strike was declared over after nearly five months Tuesday night when board members from their union approved a \u003ca href=\"https://www.kqed.org/news/11962299/writers-studios-reach-tentative-deal\">contract agreement with studios\u003c/a>, bringing the industry at least partly back from a historic halt in production.\u003c/p>\n\u003cp>The governing boards of the eastern and western branches of the Writers Guild of America and their joint negotiating committee all voted to accept the deal, two days after the tentative agreement was reached with a coalition of Hollywood’s biggest studios, streaming services and production companies. After the vote, they declared that the strike would be over and writers would be free to start on scripts at 12:01 a.m. Wednesday.\u003c/p>\n\u003cp>TV’s late-night hosts planned to return to their evening sketches and monologues by next week, reinstating the flow of topical humor silenced for five months by \u003ca href=\"https://apnews.com/article/writers-strike-deal-hollywood-vote-actors-d3119d670a4fd3449773bf8f4026fb2b\">the newly-ended Hollywood writers’ strike\u003c/a>.\u003c/p>\n\u003cp>Bill Maher led the charge back to work by announcing early Wednesday that his HBO show \u003cem>Real Time with Bill Maher\u003c/em> would be back on the air Friday. By mid-morning, the hosts of NBC’s \u003cem>The Tonight Show Starring Jimmy Fallon\u003c/em> and \u003cem>Late Night with Seth Meyers\u003c/em>, ABC’s \u003cem>Jimmy Kimmel Live\u003c/em>, and \u003cem>The Late Show With Stephen Colbert\u003c/em> on CBS had announced they’d also return, all by Monday. \u003cem>Last Week Tonight\u003c/em> with John Oliver was slated to return to the air on Sunday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fallon, Meyers, Kimmel, Colbert and Oliver had spent the latter part of the strike teaming up for a popular podcast called \u003ca href=\"https://apnews.com/article/latenight-hosts-podcast-strike-force-five-f57d2b60642ded98799c4b57c627e5d6\">Strike Force Five\u003c/a> — named after their personal text chain and with all proceeds benefiting their out-of-work writers. On Instagram on Wednesday, \u003ca href=\"https://www.instagram.com/p/CxsxO2QrU-6/\">they announced “their mission complete.”\u003c/a>\u003c/p>\n\u003cp>The writers still have to vote to ratify the contract themselves in early October, but lifting the strike will allow them to work during that process, the guild told members in an email.\u003c/p>\n\u003cp>After Tuesday’s board votes, the contracts were released for the first time to the writers, who had not yet been given any details on the deal, which their leaders called “exceptional.”\u003c/p>\n\u003cp>The three-year agreement includes significant wins in the main areas writers had fought for — compensation, length of employment, size of staffs and \u003ca href=\"https://apnews.com/article/artificial-intelligence-hollywood-strikes-explained-writers-actors-e872bd63ab52c3ea9f7d6e825240a202\">control of artificial intelligence\u003c/a> — matching or nearly equaling what they had sought at the outset of the strike.\u003c/p>\n\u003cp>The union had sought minimum increases in pay and future residual earnings from shows of between 5% and 6%, depending on the position of the writer. The studios had wanted between 2% and 4%. The compromise deal was a raise of between 3.5% and 5%.\u003c/p>\n\u003cfigure id=\"attachment_11962300\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11962300\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/09/GettyImages-1696594985-scaled.jpg\" alt=\"writer's strike\" width=\"2560\" height=\"1994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/09/GettyImages-1696594985-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/09/GettyImages-1696594985-800x623.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/09/GettyImages-1696594985-1020x794.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/09/GettyImages-1696594985-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/09/GettyImages-1696594985-1536x1196.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/09/GettyImages-1696594985-2048x1595.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/09/GettyImages-1696594985-1920x1495.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The governing boards of the eastern and western branches of the Writers Guild of America and their joint negotiating committee all voted to accept the deal, 2 days after the tentative agreement was reached with a coalition of Hollywood’s biggest studios, streaming services and production companies. \u003ccite>(Albert L. Ortega/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The guild also negotiated new residual payments based on the popularity of streaming shows, where writers will get bonuses for being a part of the most popular shows on Netflix, Max and other services, a proposal studios initially rejected. Many writers on picket lines had complained that they weren’t properly paid for helping create heavily watched properties.\u003c/p>\n\u003cp>The writers also got the requirement they sought that shows intended to run at least 13 episodes will have at least six writers on staff, with the numbers shifting based on the number of episodes. They did not get their desire for guaranteed staffs of six on shows that had not yet been ordered to series, settling instead for a guaranteed three.\u003c/p>\n\u003cp>Writers also got a guarantee that staff on shows in initial development will be employed for at least 10 weeks and that staff on shows that go to air will be employed for three weeks per episode.\u003c/p>\n\u003cp>On artificial intelligence, the writers got the regulation and control of the emerging technology they had sought. Under the contract, raw, AI-generated storylines will not be regarded as “literary material” — a term in their contracts for scripts and other story forms a screenwriter produces. This means they won’t be competing with computers for screen credits. Nor will AI-generated stories be considered “source” material, their contractual language for the novels, video games or other works that writers may adapt into scripts.\u003c/p>\n\u003cp>Writers have the right under the deal to use AI in their process if the company they are working for agrees and other conditions are met. But companies cannot require a writer to use AI.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Marissa Cuevas, actor, ‘Kung Fu’ and ‘The Big Bang Theory’\"]‘For a hot second, I really thought that this was going to go on until next year. Knowing that at least one of us has gotten a good deal gives a lot of hope that we will also get a good deal.’[/pullquote]Still-striking members of the Screen Actors Guild-American Federation of Television and Radio Artists returned to the picket lines earlier Tuesday for the first time since the writers struck their tentative deal, and they were animated by a new spirit of optimism.\u003c/p>\n\u003cp>“For a hot second, I really thought that this was going to go on until next year,” said Marissa Cuevas, an actor who has appeared on the TV series \u003cem>Kung Fu\u003c/em> and \u003cem>The Big Bang Theory\u003c/em>. “Knowing that at least one of us has gotten a good deal gives a lot of hope that we will also get a good deal.”\u003c/p>\n\u003cp>Writers’ picket lines had been suspended, but they were encouraged to walk in solidarity with actors, and many were on the lines Tuesday, including \u003cem>Mad Men\u003c/em> creator Matthew Weiner, who picketed alongside friend and \u003cem>ER\u003c/em> actor Noah Wyle as he has throughout the strikes.\u003c/p>\n\u003cp>“We would never have had the leverage we had if SAG had not gone out,” Weiner said. “They were very brave to do it.”\u003c/p>\n\u003cp>The Alliance of Motion Picture and Television Producers, which represents the studios in negotiations, chose to deal with the longer-striking writers first, and leaders of SAG-AFTRA said they had received no overtures on resuming talks. That’s likely to change soon.\u003c/p>\n\u003cp>\u003ca href=\"https://apnews.com/hub/hollywood-strikes/\">Actors\u003c/a> also voted to authorize their leadership to potentially expand their walkout to include the lucrative video game market, a step that could put new pressure on Hollywood studios to make a deal with the performers who provide voices and stunts for games.\u003c/p>\n\u003cp>SAG-AFTRA announced the move late Monday, saying that 98% of its members voted to go on strike against video game companies if ongoing negotiations are not successful.\u003c/p>\n\u003cp>Acting in video games can include a variety of roles, from voice performances to motion capture work as well as stunts.\u003c/p>\n\u003cp>[aside postID=news_11961243 hero='https://ww2.kqed.org/app/uploads/sites/10/2023/09/GettyImages-1645167120-1020x681.jpg']Some of the same issues are at play in the video game negotiations as in the film and TV strike, including wages, safety measures and protections on the use of artificial intelligence. The companies involved include gaming giants Activision, Electronic Arts, Epic Games, Take 2 Productions as well as Disney and Warner Bros.’ video game divisions.\u003c/p>\n\u003cp>“It’s time for the video game companies to stop playing games and get serious about reaching an agreement on this contract,” SAG-AFTRA President Fran Drescher said in a statement.\u003c/p>\n\u003cp>Audrey Cooling, a spokesperson for video game producers, said they are “continuing to negotiate in good faith” and have reached tentative agreements on more than half of the proposals on the table.\u003c/p>\n\u003cp>\u003cem>Associated Press video journalists Leslie Ambriz and Krysta Fauria in Los Angeles contributed to this report.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hollywood’s writers’ strike was declared over after nearly five months Tuesday night when board members from their union approved a \u003ca href=\"https://www.kqed.org/news/11962299/writers-studios-reach-tentative-deal\">contract agreement with studios\u003c/a>, bringing the industry at least partly back from a historic halt in production.\u003c/p>\n\u003cp>The governing boards of the eastern and western branches of the Writers Guild of America and their joint negotiating committee all voted to accept the deal, two days after the tentative agreement was reached with a coalition of Hollywood’s biggest studios, streaming services and production companies. After the vote, they declared that the strike would be over and writers would be free to start on scripts at 12:01 a.m. Wednesday.\u003c/p>\n\u003cp>TV’s late-night hosts planned to return to their evening sketches and monologues by next week, reinstating the flow of topical humor silenced for five months by \u003ca href=\"https://apnews.com/article/writers-strike-deal-hollywood-vote-actors-d3119d670a4fd3449773bf8f4026fb2b\">the newly-ended Hollywood writers’ strike\u003c/a>.\u003c/p>\n\u003cp>Bill Maher led the charge back to work by announcing early Wednesday that his HBO show \u003cem>Real Time with Bill Maher\u003c/em> would be back on the air Friday. By mid-morning, the hosts of NBC’s \u003cem>The Tonight Show Starring Jimmy Fallon\u003c/em> and \u003cem>Late Night with Seth Meyers\u003c/em>, ABC’s \u003cem>Jimmy Kimmel Live\u003c/em>, and \u003cem>The Late Show With Stephen Colbert\u003c/em> on CBS had announced they’d also return, all by Monday. \u003cem>Last Week Tonight\u003c/em> with John Oliver was slated to return to the air on Sunday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fallon, Meyers, Kimmel, Colbert and Oliver had spent the latter part of the strike teaming up for a popular podcast called \u003ca href=\"https://apnews.com/article/latenight-hosts-podcast-strike-force-five-f57d2b60642ded98799c4b57c627e5d6\">Strike Force Five\u003c/a> — named after their personal text chain and with all proceeds benefiting their out-of-work writers. On Instagram on Wednesday, \u003ca href=\"https://www.instagram.com/p/CxsxO2QrU-6/\">they announced “their mission complete.”\u003c/a>\u003c/p>\n\u003cp>The writers still have to vote to ratify the contract themselves in early October, but lifting the strike will allow them to work during that process, the guild told members in an email.\u003c/p>\n\u003cp>After Tuesday’s board votes, the contracts were released for the first time to the writers, who had not yet been given any details on the deal, which their leaders called “exceptional.”\u003c/p>\n\u003cp>The three-year agreement includes significant wins in the main areas writers had fought for — compensation, length of employment, size of staffs and \u003ca href=\"https://apnews.com/article/artificial-intelligence-hollywood-strikes-explained-writers-actors-e872bd63ab52c3ea9f7d6e825240a202\">control of artificial intelligence\u003c/a> — matching or nearly equaling what they had sought at the outset of the strike.\u003c/p>\n\u003cp>The union had sought minimum increases in pay and future residual earnings from shows of between 5% and 6%, depending on the position of the writer. The studios had wanted between 2% and 4%. The compromise deal was a raise of between 3.5% and 5%.\u003c/p>\n\u003cfigure id=\"attachment_11962300\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11962300\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/09/GettyImages-1696594985-scaled.jpg\" alt=\"writer's strike\" width=\"2560\" height=\"1994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/09/GettyImages-1696594985-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/09/GettyImages-1696594985-800x623.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/09/GettyImages-1696594985-1020x794.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/09/GettyImages-1696594985-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/09/GettyImages-1696594985-1536x1196.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/09/GettyImages-1696594985-2048x1595.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/09/GettyImages-1696594985-1920x1495.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The governing boards of the eastern and western branches of the Writers Guild of America and their joint negotiating committee all voted to accept the deal, 2 days after the tentative agreement was reached with a coalition of Hollywood’s biggest studios, streaming services and production companies. \u003ccite>(Albert L. Ortega/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The guild also negotiated new residual payments based on the popularity of streaming shows, where writers will get bonuses for being a part of the most popular shows on Netflix, Max and other services, a proposal studios initially rejected. Many writers on picket lines had complained that they weren’t properly paid for helping create heavily watched properties.\u003c/p>\n\u003cp>The writers also got the requirement they sought that shows intended to run at least 13 episodes will have at least six writers on staff, with the numbers shifting based on the number of episodes. They did not get their desire for guaranteed staffs of six on shows that had not yet been ordered to series, settling instead for a guaranteed three.\u003c/p>\n\u003cp>Writers also got a guarantee that staff on shows in initial development will be employed for at least 10 weeks and that staff on shows that go to air will be employed for three weeks per episode.\u003c/p>\n\u003cp>On artificial intelligence, the writers got the regulation and control of the emerging technology they had sought. Under the contract, raw, AI-generated storylines will not be regarded as “literary material” — a term in their contracts for scripts and other story forms a screenwriter produces. This means they won’t be competing with computers for screen credits. Nor will AI-generated stories be considered “source” material, their contractual language for the novels, video games or other works that writers may adapt into scripts.\u003c/p>\n\u003cp>Writers have the right under the deal to use AI in their process if the company they are working for agrees and other conditions are met. But companies cannot require a writer to use AI.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still-striking members of the Screen Actors Guild-American Federation of Television and Radio Artists returned to the picket lines earlier Tuesday for the first time since the writers struck their tentative deal, and they were animated by a new spirit of optimism.\u003c/p>\n\u003cp>“For a hot second, I really thought that this was going to go on until next year,” said Marissa Cuevas, an actor who has appeared on the TV series \u003cem>Kung Fu\u003c/em> and \u003cem>The Big Bang Theory\u003c/em>. “Knowing that at least one of us has gotten a good deal gives a lot of hope that we will also get a good deal.”\u003c/p>\n\u003cp>Writers’ picket lines had been suspended, but they were encouraged to walk in solidarity with actors, and many were on the lines Tuesday, including \u003cem>Mad Men\u003c/em> creator Matthew Weiner, who picketed alongside friend and \u003cem>ER\u003c/em> actor Noah Wyle as he has throughout the strikes.\u003c/p>\n\u003cp>“We would never have had the leverage we had if SAG had not gone out,” Weiner said. “They were very brave to do it.”\u003c/p>\n\u003cp>The Alliance of Motion Picture and Television Producers, which represents the studios in negotiations, chose to deal with the longer-striking writers first, and leaders of SAG-AFTRA said they had received no overtures on resuming talks. That’s likely to change soon.\u003c/p>\n\u003cp>\u003ca href=\"https://apnews.com/hub/hollywood-strikes/\">Actors\u003c/a> also voted to authorize their leadership to potentially expand their walkout to include the lucrative video game market, a step that could put new pressure on Hollywood studios to make a deal with the performers who provide voices and stunts for games.\u003c/p>\n\u003cp>SAG-AFTRA announced the move late Monday, saying that 98% of its members voted to go on strike against video game companies if ongoing negotiations are not successful.\u003c/p>\n\u003cp>Acting in video games can include a variety of roles, from voice performances to motion capture work as well as stunts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Some of the same issues are at play in the video game negotiations as in the film and TV strike, including wages, safety measures and protections on the use of artificial intelligence. The companies involved include gaming giants Activision, Electronic Arts, Epic Games, Take 2 Productions as well as Disney and Warner Bros.’ video game divisions.\u003c/p>\n\u003cp>“It’s time for the video game companies to stop playing games and get serious about reaching an agreement on this contract,” SAG-AFTRA President Fran Drescher said in a statement.\u003c/p>\n\u003cp>Audrey Cooling, a spokesperson for video game producers, said they are “continuing to negotiate in good faith” and have reached tentative agreements on more than half of the proposals on the table.\u003c/p>\n\u003cp>\u003cem>Associated Press video journalists Leslie Ambriz and Krysta Fauria in Los Angeles contributed to this report.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Making engaging movies or TV shows is all about creating a convincing fantasy. Take the show \u003ca href=\"https://www.imdb.com/title/tt0804503/\">\u003cem>Mad Men\u003c/em>\u003c/a> for example: The mid-century furniture, soundtrack and clothes all work together to create a mood.\u003c/p>\n\u003cp>Perhaps less obvious, but no less important, is the food seen on screen — tomato aspic, salmon mousse or cocktail party weenies in grape jelly that take us right back to the 1960s.\u003c/p>\n\u003cp>Behind every dish on screen, there’s a person or a team of people researching it, cooking it and keeping it fresh on set take after take. It may seem simple, but food styling requires a unique combination of organizational skills, culinary expertise and creativity.\u003c/p>\n\u003cp>While much of the \u003ca href=\"https://www.washingtonpost.com/lifestyle/2023/08/27/hollywood-writers-strike-issues-studios/\">media attention is focused on the Hollywood writers and actors strike\u003c/a>, thousands of \u003ca href=\"https://www.kcrw.com/news/shows/press-play-with-madeleine-brand/hollywood-indictment-crypto-space/wga-sag-aftra-economic-costs\">other movie industry workers are impacted\u003c/a> by the work stoppage. People like food stylist Melissa McSorley, whose work is often invisible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>Behind the scenes with Hollywood’s food stylist\u003c/h2>\n\u003cp>On an early morning in March, well before the strikes began, McSorley pulled into the parking lot of a distinctly unglamorous part of Santa Clarita — an industrial-park-turned-soundstage.\u003c/p>\n\u003cp>She unloaded her SUV, packed as tightly as a perfectly played Tetris game, pulling out electric burners and what looked like a contractor’s tool bag. Instead of hammers and drills, it held hundreds of kitchen utensils, from tongs and torches to measuring cups and cutting boards.\u003c/p>\n\u003cp>McSorley moves around a lot, working on different sets most days, so she carries all her tools with her. On this particular set, she was assigned a designated space for her work kitchen — a treat — because the show, Hulu’s \u003ca href=\"https://www.imdb.com/title/tt7820906/?ref_=fn_al_tt_1\">\u003cem>Good Trouble\u003c/em>\u003c/a>, features a character who is opening a restaurant. Food is central to the show’s plot.[aside postID=news_11954383 hero='https://ww2.kqed.org/app/uploads/sites/10/2023/06/20230626-SAUCY-CHICK-05-KQED-1020x816.jpg']Before they started filming, the space was an empty shell with ceiling insulation exposed, McSorley said. But crews built a half-dozen huge plywood boxes that each hold a completely realistic room, like an office or a den.\u003c/p>\n\u003cp>“So many people touched all of this before you could even think about putting food into this set,” McSorley said, with awe.\u003cem> \u003c/em>\u003c/p>\n\u003cp>She made sure everything on the commercial kitchen set was perfect before filming began the next day when actors were expected to flip burgers and stir polenta. The set was incredibly realistic, from rubber mats covering the floor to food containers labeled with blue painter’s tape. Except, it wasn’t a real kitchen.\u003c/p>\n\u003cp>“One thing about a set, it doesn’t have practical lighting,” McSorley said. “Any light switches you see don’t really work.”\u003c/p>\n\u003cp>She had to use the flashlight on her phone to complete her inspection.\u003c/p>\n\u003ch2>An unlikely career\u003c/h2>\n\u003cp>Food styling is not the job McSorley thought she’d have.\u003c/p>\n\u003cp>She grew up in Burbank, home to many studios, but her family wasn’t involved in entertainment at all.\u003c/p>\n\u003cp>“My mom had office jobs,” McSorley said. “In fact, when I was little, she was a telephone operator. I don’t even think that exists anymore.”\u003c/p>\n\u003cp>Her stepfather owned a printing company in North Hollywood. But the entertainment industry was all around. As a girl, she remembers driving past fans lining up to watch \u003cem>The Tonight Show\u003c/em> being taped.\u003c/p>\n\u003cp>“There was [an actors’] strike that happened when I was in high school, and it affected a lot of the families that I grew up with,” she said.\u003c/p>\n\u003cp>That’s when she told her family that she would never work in entertainment.\u003c/p>\n\u003cp>“I never wanted to work in an industry where people were so expendable,” she said. “Nobody cared how many lives these strikes could disrupt. And so, I was never, ever, ever going to be in this industry.”\u003c/p>\n\u003cp>Melissa was a kid with a creative streak, growing up in a structured home.\u003c/p>\n\u003cp>“When I was in high school, I actually wanted to go to school for photography, and my parents said that I could do that as a hobby any time I wanted,” she said.[pullquote size=\"medium\" align=\"right\" citation=\"Melissa McSorley, Hollywood food stylist\"]‘I decided I was just going to do it part-time for a little while before I decided what I really wanted to do. It turned out that I loved it. And here I am, almost 20 years later.’[/pullquote]They expected her to pursue a degree that would lead to a stable career.\u003c/p>\n\u003cp>“Culinary arts falls under the term ‘arts,’ and it would not have been acceptable to my parents,” she said.\u003c/p>\n\u003cp>So she studied biology and psychology. She learned the basics of cooking as a kid by whipping up casseroles for her hungry siblings when her mom was working.\u003c/p>\n\u003cp>After college, she started taking cooking courses in her spare time. She cycled through several different careers, working at an electrical engineering company, drawing blood and producing commercials at an advertising agency.\u003c/p>\n\u003cp>But she yearned for more creative work. While working at the ad agency, she encountered her first “food stylist.”\u003c/p>\n\u003cp>“I decided I was just going to do it part-time for a little while before I decided what I really wanted to do,” McSorley said. “It turned out that I loved it. And here I am, almost 20 years later.”\u003c/p>\n\u003ch2>Not home cooking\u003c/h2>\n\u003cp>In her work kitchen on the set of \u003cem>Good Trouble\u003c/em>, McSorley demonstrated how cooking for the screen is a lot different than cooking at home. For example, in one scene an actor makes a pizza. To pull that off, she needed to prep at least 18 pizzas so the crew could shoot the actor in all stages of pizza-making.\u003c/p>\n\u003cp>“So you’ll see her grab a dough ball, that’s been proofed and looks amazing,” McSorley said.[pullquote size=\"medium\" align=\"right\" citation=\"Melissa McSorley, Hollywood food stylist\"]‘Then, you might see her start to sauce it. Then, you might see it finished, but uncooked. At the very, very end of the scene, she’ll pull out that perfect pizza.’[/pullquote]McSorley will then swap out that dough for another that’s been perfectly shaped.\u003c/p>\n\u003cp>“Then, you might see her start to sauce it. Then, you might see it finished, but uncooked,” she said. “At the very, very end of the scene, she’ll pull out that perfect pizza.”\u003c/p>\n\u003cp>And to make sure that shot is just right, McSorley will have three or four perfect pizzas prepped — just in case.\u003c/p>\n\u003cp>Her job depends on making sure that food looks as delicious as possible, and that it looks identical, take after take.\u003c/p>\n\u003ch2>A bizarre set of skills\u003c/h2>\n\u003cp>What’s clear is that a Hollywood food stylist needs an eclectic array of skills that go way beyond cooking.\u003c/p>\n\u003cp>First, they have to be organized. Even the simplest scene has many moving parts. One pivotal scene in the \u003ca href=\"https://www.imdb.com/title/tt2279339/\">2015 film \u003cem>Love the Coopers\u003c/em>\u003c/a>, for example, took place around a Christmas dinner table.\u003c/p>\n\u003cfigure id=\"attachment_11959571\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11959571\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED.jpg\" alt=\"A woman with light-brown hair and black glasses holds a clipboard in one hand, a pen in the other, as she stands in front of a large refrigerator filled with food.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Food stylist Melissa McSorley checks the set refrigerator for ingredients needed for the next day’s shooting on the set of the Hulu series ‘Good Trouble.’ \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McSorley said the scene took nine days to shoot and in that time they went through more than 50 turkeys. There were full, perfect turkeys, turkeys staged just for carving, turkeys that fell on the floor, turkeys that the dog came too close to, and even turkeys in the oven. McSorley had to find them, buy them, store them and cook them.\u003c/p>\n\u003cp>“There were a lot of turkeys,” she said, shaking her head.\u003c/p>\n\u003cp>Second, a food stylist needs to be a nutritionist — and a problem-solver. In that same scene in \u003cem>Love the Coopers\u003c/em>, stars like Diane Keaton, John Goodman, Marisa Tomei and Alan Arkin all sat together.[aside postID=news_11958720 hero='https://ww2.kqed.org/app/uploads/sites/10/2023/06/RS66538_230623-wahpepahs-kitchen-05-ks-KQED-1020x679.jpg']“When you went around the table, there was a vegetarian who loves cheese; a vegan that also doesn’t do sugar or sugar substitutes; [and] other people who ate no carbs,” McSorley said. “You have to make sure that you’ve made something that everybody can eat.”\u003c/p>\n\u003cp>Third, food stylists are often technical advisors, making sure kitchens on set seem real to viewers. They’ll organize a fictional restaurant’s fridge according to safety regulations, with raw meat on the bottom level, not sitting on top of produce, for instance.\u003c/p>\n\u003ch2>Amplifying scenes with food\u003c/h2>\n\u003cp>“The highlights of my career are the times when I’ve been able to do something that is, like, so amplified,” McSorley said.\u003c/p>\n\u003cp>Like the time she dug into research for a period-perfect meal in \u003cem>Mad Men\u003c/em> or \u003cem>Perry Mason\u003c/em> or making food for imaginary worlds.\u003c/p>\n\u003cp>On \u003ca href=\"https://www.imdb.com/title/tt0844441/?ref_=fn_al_tt_1\">the vampire drama \u003cem>True Blood\u003c/em>\u003c/a>, McSorley’s first task was to concoct a substance worthy of the show’s title — a drink that actors could gulp down, that also looked and functioned like blood, not juice.\u003c/p>\n\u003cp>“It had to leave a trail when it went down the glass,” she said, “And so, that was a lot of fun, using a little bit of wheatgrass to give it the opaqueness that it needed, and then to add a little bit of methyl cellulose to get the viscosity that it needed.”\u003c/p>\n\u003cp>She added pomegranate-cherry juice to get the right color and to lend it a decent taste.\u003c/p>\n\u003cp>“It was like a little chemistry experiment in the kitchen,” she said.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>McSorley also created the food seen in science-fiction shows like \u003ca href=\"https://www.imdb.com/title/tt8806524/?ref_=nv_sr_srsg_0_tt_2_nm_6_q_picard\">\u003cem>Star Trek:\u003c/em> \u003cem>Picard\u003c/em>\u003c/a> or \u003ca href=\"https://www.imdb.com/title/tt13668894/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_boba%2520fett\">\u003cem>The Book of\u003c/em> \u003cem>Boba Fett\u003c/em>\u003c/a>. And that’s not as simple as it might seem.[pullquote size=\"medium\" align=\"right\" citation=\"Melissa McSorley, Hollywood food stylist\"]‘I was able to work with the prop master to come up with a \u003cem>nuna\u003c/em> skeleton and skin that I could work with. Then, I filled it with turkey meat so that it looked like the meat was just coming off in layers.’[/pullquote]“The food couldn’t look like anything that we’ve seen here,” McSorley said. “Was it a planet that actually had an environment: air, water to it? Was it a dry planet that maybe everything would have been from root vegetables? And then, you just figure out what exists in the edible world that you can make look like that.”\u003c/p>\n\u003cp>For one scene in \u003cem>Boba Fett\u003c/em>, McSorley helped fill a 30-foot-long table for a feast. One element was a roasted \u003cem>nuna\u003c/em>, a swamp turkey from the planet Naboo.\u003c/p>\n\u003cp>“And it was really awesome because I was able to work with the prop master to come up with a \u003cem>nuna\u003c/em> skeleton and skin that I could work with,” she said. “Then, I filled it with turkey meat so that it looked like the meat was just coming off in layers. And you really get the idea that these came from another planet.”\u003c/p>\n\u003cp>In the hands of a stylist like McSorley, food becomes a character on screen. It can help set the mood with party food, home cooking or upscale bites.\u003c/p>\n\u003cp>It can mirror the personality of a character — like a meticulous assassin who also bakes with precision. One glance at a plate and the viewer should get a sense of the person in the scene with it.\u003c/p>\n\u003cp>It takes a lot of labor to make the shimmering fantasy that Hollywood sells to the world. There are a lot of behind-the-scenes industry people like Melissa whose work is largely invisible — and they’re all feeling the impact of recent labor disputes.\u003c/p>\n\u003cp>“I guess I wish people knew that the job existed, that the food didn’t just miraculously appear on the plate,” she said.\u003c/p>\n\u003cp>\u003cem>Lisa Morehouse’s series \u003c/em>\u003ca href=\"https://californiafoodways.com/\">\u003cem>California Foodways\u003c/em>\u003c/a>\u003cem> is supported by California Humanities, a nonprofit partner of the National Endowment for the Humanities.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Making engaging movies or TV shows is all about creating a convincing fantasy. Take the show \u003ca href=\"https://www.imdb.com/title/tt0804503/\">\u003cem>Mad Men\u003c/em>\u003c/a> for example: The mid-century furniture, soundtrack and clothes all work together to create a mood.\u003c/p>\n\u003cp>Perhaps less obvious, but no less important, is the food seen on screen — tomato aspic, salmon mousse or cocktail party weenies in grape jelly that take us right back to the 1960s.\u003c/p>\n\u003cp>Behind every dish on screen, there’s a person or a team of people researching it, cooking it and keeping it fresh on set take after take. It may seem simple, but food styling requires a unique combination of organizational skills, culinary expertise and creativity.\u003c/p>\n\u003cp>While much of the \u003ca href=\"https://www.washingtonpost.com/lifestyle/2023/08/27/hollywood-writers-strike-issues-studios/\">media attention is focused on the Hollywood writers and actors strike\u003c/a>, thousands of \u003ca href=\"https://www.kcrw.com/news/shows/press-play-with-madeleine-brand/hollywood-indictment-crypto-space/wga-sag-aftra-economic-costs\">other movie industry workers are impacted\u003c/a> by the work stoppage. People like food stylist Melissa McSorley, whose work is often invisible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Behind the scenes with Hollywood’s food stylist\u003c/h2>\n\u003cp>On an early morning in March, well before the strikes began, McSorley pulled into the parking lot of a distinctly unglamorous part of Santa Clarita — an industrial-park-turned-soundstage.\u003c/p>\n\u003cp>She unloaded her SUV, packed as tightly as a perfectly played Tetris game, pulling out electric burners and what looked like a contractor’s tool bag. Instead of hammers and drills, it held hundreds of kitchen utensils, from tongs and torches to measuring cups and cutting boards.\u003c/p>\n\u003cp>McSorley moves around a lot, working on different sets most days, so she carries all her tools with her. On this particular set, she was assigned a designated space for her work kitchen — a treat — because the show, Hulu’s \u003ca href=\"https://www.imdb.com/title/tt7820906/?ref_=fn_al_tt_1\">\u003cem>Good Trouble\u003c/em>\u003c/a>, features a character who is opening a restaurant. Food is central to the show’s plot.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Before they started filming, the space was an empty shell with ceiling insulation exposed, McSorley said. But crews built a half-dozen huge plywood boxes that each hold a completely realistic room, like an office or a den.\u003c/p>\n\u003cp>“So many people touched all of this before you could even think about putting food into this set,” McSorley said, with awe.\u003cem> \u003c/em>\u003c/p>\n\u003cp>She made sure everything on the commercial kitchen set was perfect before filming began the next day when actors were expected to flip burgers and stir polenta. The set was incredibly realistic, from rubber mats covering the floor to food containers labeled with blue painter’s tape. Except, it wasn’t a real kitchen.\u003c/p>\n\u003cp>“One thing about a set, it doesn’t have practical lighting,” McSorley said. “Any light switches you see don’t really work.”\u003c/p>\n\u003cp>She had to use the flashlight on her phone to complete her inspection.\u003c/p>\n\u003ch2>An unlikely career\u003c/h2>\n\u003cp>Food styling is not the job McSorley thought she’d have.\u003c/p>\n\u003cp>She grew up in Burbank, home to many studios, but her family wasn’t involved in entertainment at all.\u003c/p>\n\u003cp>“My mom had office jobs,” McSorley said. “In fact, when I was little, she was a telephone operator. I don’t even think that exists anymore.”\u003c/p>\n\u003cp>Her stepfather owned a printing company in North Hollywood. But the entertainment industry was all around. As a girl, she remembers driving past fans lining up to watch \u003cem>The Tonight Show\u003c/em> being taped.\u003c/p>\n\u003cp>“There was [an actors’] strike that happened when I was in high school, and it affected a lot of the families that I grew up with,” she said.\u003c/p>\n\u003cp>That’s when she told her family that she would never work in entertainment.\u003c/p>\n\u003cp>“I never wanted to work in an industry where people were so expendable,” she said. “Nobody cared how many lives these strikes could disrupt. And so, I was never, ever, ever going to be in this industry.”\u003c/p>\n\u003cp>Melissa was a kid with a creative streak, growing up in a structured home.\u003c/p>\n\u003cp>“When I was in high school, I actually wanted to go to school for photography, and my parents said that I could do that as a hobby any time I wanted,” she said.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>They expected her to pursue a degree that would lead to a stable career.\u003c/p>\n\u003cp>“Culinary arts falls under the term ‘arts,’ and it would not have been acceptable to my parents,” she said.\u003c/p>\n\u003cp>So she studied biology and psychology. She learned the basics of cooking as a kid by whipping up casseroles for her hungry siblings when her mom was working.\u003c/p>\n\u003cp>After college, she started taking cooking courses in her spare time. She cycled through several different careers, working at an electrical engineering company, drawing blood and producing commercials at an advertising agency.\u003c/p>\n\u003cp>But she yearned for more creative work. While working at the ad agency, she encountered her first “food stylist.”\u003c/p>\n\u003cp>“I decided I was just going to do it part-time for a little while before I decided what I really wanted to do,” McSorley said. “It turned out that I loved it. And here I am, almost 20 years later.”\u003c/p>\n\u003ch2>Not home cooking\u003c/h2>\n\u003cp>In her work kitchen on the set of \u003cem>Good Trouble\u003c/em>, McSorley demonstrated how cooking for the screen is a lot different than cooking at home. For example, in one scene an actor makes a pizza. To pull that off, she needed to prep at least 18 pizzas so the crew could shoot the actor in all stages of pizza-making.\u003c/p>\n\u003cp>“So you’ll see her grab a dough ball, that’s been proofed and looks amazing,” McSorley said.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>McSorley will then swap out that dough for another that’s been perfectly shaped.\u003c/p>\n\u003cp>“Then, you might see her start to sauce it. Then, you might see it finished, but uncooked,” she said. “At the very, very end of the scene, she’ll pull out that perfect pizza.”\u003c/p>\n\u003cp>And to make sure that shot is just right, McSorley will have three or four perfect pizzas prepped — just in case.\u003c/p>\n\u003cp>Her job depends on making sure that food looks as delicious as possible, and that it looks identical, take after take.\u003c/p>\n\u003ch2>A bizarre set of skills\u003c/h2>\n\u003cp>What’s clear is that a Hollywood food stylist needs an eclectic array of skills that go way beyond cooking.\u003c/p>\n\u003cp>First, they have to be organized. Even the simplest scene has many moving parts. One pivotal scene in the \u003ca href=\"https://www.imdb.com/title/tt2279339/\">2015 film \u003cem>Love the Coopers\u003c/em>\u003c/a>, for example, took place around a Christmas dinner table.\u003c/p>\n\u003cfigure id=\"attachment_11959571\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11959571\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED.jpg\" alt=\"A woman with light-brown hair and black glasses holds a clipboard in one hand, a pen in the other, as she stands in front of a large refrigerator filled with food.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Food stylist Melissa McSorley checks the set refrigerator for ingredients needed for the next day’s shooting on the set of the Hulu series ‘Good Trouble.’ \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McSorley said the scene took nine days to shoot and in that time they went through more than 50 turkeys. There were full, perfect turkeys, turkeys staged just for carving, turkeys that fell on the floor, turkeys that the dog came too close to, and even turkeys in the oven. McSorley had to find them, buy them, store them and cook them.\u003c/p>\n\u003cp>“There were a lot of turkeys,” she said, shaking her head.\u003c/p>\n\u003cp>Second, a food stylist needs to be a nutritionist — and a problem-solver. In that same scene in \u003cem>Love the Coopers\u003c/em>, stars like Diane Keaton, John Goodman, Marisa Tomei and Alan Arkin all sat together.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“When you went around the table, there was a vegetarian who loves cheese; a vegan that also doesn’t do sugar or sugar substitutes; [and] other people who ate no carbs,” McSorley said. “You have to make sure that you’ve made something that everybody can eat.”\u003c/p>\n\u003cp>Third, food stylists are often technical advisors, making sure kitchens on set seem real to viewers. They’ll organize a fictional restaurant’s fridge according to safety regulations, with raw meat on the bottom level, not sitting on top of produce, for instance.\u003c/p>\n\u003ch2>Amplifying scenes with food\u003c/h2>\n\u003cp>“The highlights of my career are the times when I’ve been able to do something that is, like, so amplified,” McSorley said.\u003c/p>\n\u003cp>Like the time she dug into research for a period-perfect meal in \u003cem>Mad Men\u003c/em> or \u003cem>Perry Mason\u003c/em> or making food for imaginary worlds.\u003c/p>\n\u003cp>On \u003ca href=\"https://www.imdb.com/title/tt0844441/?ref_=fn_al_tt_1\">the vampire drama \u003cem>True Blood\u003c/em>\u003c/a>, McSorley’s first task was to concoct a substance worthy of the show’s title — a drink that actors could gulp down, that also looked and functioned like blood, not juice.\u003c/p>\n\u003cp>“It had to leave a trail when it went down the glass,” she said, “And so, that was a lot of fun, using a little bit of wheatgrass to give it the opaqueness that it needed, and then to add a little bit of methyl cellulose to get the viscosity that it needed.”\u003c/p>\n\u003cp>She added pomegranate-cherry juice to get the right color and to lend it a decent taste.\u003c/p>\n\u003cp>“It was like a little chemistry experiment in the kitchen,” she said.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>McSorley also created the food seen in science-fiction shows like \u003ca href=\"https://www.imdb.com/title/tt8806524/?ref_=nv_sr_srsg_0_tt_2_nm_6_q_picard\">\u003cem>Star Trek:\u003c/em> \u003cem>Picard\u003c/em>\u003c/a> or \u003ca href=\"https://www.imdb.com/title/tt13668894/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_boba%2520fett\">\u003cem>The Book of\u003c/em> \u003cem>Boba Fett\u003c/em>\u003c/a>. And that’s not as simple as it might seem.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Daly City gets a nod with a supporting actor nomination going to their own Sam Rockwell for his role in “Three Billboards Outside Ebbing, Missouri.”\u003c/p>\n\u003cp>Never rule Emeryville’s Pixar out. They pulled in a nomination for Best Animated Film with their last feature “Coco.” The movie earned another nomination with the song “Remember Me,” which just happened to be performed by San Francisco native Benjamin Bratt.\u003c/p>\n\u003cp>When it comes to TV, Stanford’s alum Issa Rae ’07 is nominated for Best Actress in a Comedy or Musical for her show “Insecure.” Fellow alum Sterling K. Brown ‘98, from “This is Us,” is nominated for Best Actor in a Drama. He will be up against another San Francisco native – Liev Schreiber for his role as Ray Donovan in the show of the same name.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And think how much other talent from the Bay Area has made an impact on the films of 2017. Not bad.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I don’t think I’m going out on a limb here by saying it’s been a wacky presidential primary season. And while reasonable minds can disagree on immigration policy, we can all agree that \u003ca href=\"https://www.youtube.com/watch?v=Yi33KkhKRWs\">lots of ugly things\u003c/a> are being said about immigrants.\u003c/p>\n\u003cp>For some insight, I turned to an unlikely source: \u003ca href=\"http://www.fox.com/watch/594219587792/7765855488\">“Bordertown.”\u003c/a> It’s an animated sitcom on Fox, set in the fictional bordertown of Mexifornia. It’s basically a comedy about immigration.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/249017415″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>In the \u003ca href=\"http://www.fox.com/watch/598904899611/7765855488\">second episode\u003c/a>, Mexifornia residents congregate at a town hall meeting to discuss what to do with a $10 million windfall to the city budget.\u003c/p>\n\u003cp>“I think it should go toward building a border wall,” suggests Bud Buckwald, a border patrol agent and one of the show’s main characters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sound familiar?\u003c/p>\n\u003cp>http://www.fox.com/watch/598904899611/7765855488\u003c/p>\n\u003cp>“We wrote the show two years ago, before Donald Trump,” says \u003ca href=\"http://laloalcaraz.com/\">Lalo Alcaraz\u003c/a>, a writer and consultant on “Bordertown.”\u003c/p>\n\u003cp>America has been going through a huge demographic shift, and this election season is bringing the huge rifts it’s created into stark relief. Alcaraz, a longtime political cartoonist in Los Angeles, says animated comedy could be the best way for us to address these controversial topics head-on.\u003c/p>\n\u003cp>This wouldn’t be the first time Americans turned to comedy during times of social upheaval. “Bordertown” creator \u003ca href=\"http://www.imdb.com/name/nm0378262/\" target=\"_blank\" rel=\"noopener\">Mark Hentemann\u003c/a> modeled his animated sitcom on \u003ca href=\"http://www.imdb.com/title/tt0066626/\">“All in the Family.”\u003c/a> The legendary sitcom was set in the 1970s, in the midst of the Civil Rights Movement.\u003c/p>\n\u003cfigure id=\"attachment_10883078\" class=\"wp-caption alignright\" style=\"max-width: 436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10883078\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-800x940.jpg\" alt='Lalo Alcaraz, writer, cartoonist and consultant on \"Bordertown.\"' width=\"436\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-800x940.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-400x470.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-1180x1387.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-960x1128.jpg 960w\" sizes=\"(max-width: 436px) 100vw, 436px\">\u003cfigcaption class=\"wp-caption-text\">Lalo Alcaraz, writer, cartoonist and consultant on “Bordertown.” \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Back in the ‘All In the Family’ days in the ’70s, Archie Bunker was complaining about Black Power, feminism, the emerging gay rights movement,” Alcaraz says. “This is an updated version, and set in a place where we can talk about those things.”\u003c/p>\n\u003cp>While “All In the Family” was based in Queens and focused on urban issues, “Bordertown” is set on the outskirts of America. But the issues it raises are at the center of our political debate.\u003c/p>\n\u003cp>The show is based on two families, the Buckwalds and Gonzalezes. They are next-door neighbors. The Buckwalds are headed by Bud, who is a border patrol agent. And Ernesto, a gardener, is the patriarch of his clan.\u003c/p>\n\u003cp>“Bud Buckwald, who’s kind of a bigoted Archie Bunker-ish white guy,” Alcaraz says. “He feels out of sorts. He feels like his world has changed and can’t cope with the new reality that is the U.S.”\u003c/p>\n\u003cp>In one episode, Bud Buckwald bemoans what he sees, as his status declines in an increasingly diverse America.\u003c/p>\n\u003cp>“You know I was always told if I worked for the man long enough, eventually I’d become the man,” Buckwald says. “Well, I’ve been working at that station for 20 years but I ain’t the man. Steve is. Even Ernesto is the boss of his grass thingy. It’s like the Mexican has become the man and I’ve become the Mexican.”\u003c/p>\n\u003cp>And Bud’s Mexican immigrant neighbor, Ernesto?\u003c/p>\n\u003cfigure id=\"attachment_10883241\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/BordertownDriving-800x510.jpg\" alt=\"Bud (L) is enraged when he finds out that his daughter is engaged to J.C., Ernesto’s nephew.\" width=\"800\" height=\"510\" class=\"size-medium wp-image-10883241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving-1180x752.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving-960x612.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bud (L) is enraged when he finds out that his daughter is engaged to J.C., Ernesto’s nephew. \u003ccite>(Courtesy Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Ernesto Gonzalez has been in the U.S. for 25 years or so and is doing a little bit better than Bud, and Bud cannot deal with that,” Alcaraz says.\u003c/p>\n\u003cp>But like all the characters in “Bordertown,” and really, in much of America, Ernesto’s views on immigration are not easily understood.\u003c/p>\n\u003cp>In the episode about the border wall, Ernesto’s nephew urges him to speak out against it. Ernesto obliges and starts by telling the crowd, “I came to the U.S. where everybody’s voice can be heard and counted.”\u003c/p>\n\u003cp>Alcaraz says you think Ernesto is going to give an inspiring speech about how great America is, but it quickly devolves.\u003c/p>\n\u003cp>Ernesto hails America’s democratic process. It might not be perfect, he says, but it’s better than the government he left behind. And then he ends his speech by saying, “So in conclusion, Gonzalez landscaping, we love you lawn time!”\u003c/p>\n\u003cp>Alcaraz says the scene is a riff on how immigrants may have a political point of view, but at the end of the day they’re very practical people.\u003c/p>\n\u003cp>http://www.fox.com/watch/592630339703/7765855488\u003c/p>\n\u003cp>“In animation and cartoons, I firmly believe you can say so much more that you can’t in live action or boring old essays,” Alcaraz says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The jury is still out as to whether audiences agree, and there’s no word yet if “Bordertown” will get a second season. But a Trump presidency might make a second season too irresistible to pass up.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I don’t think I’m going out on a limb here by saying it’s been a wacky presidential primary season. And while reasonable minds can disagree on immigration policy, we can all agree that \u003ca href=\"https://www.youtube.com/watch?v=Yi33KkhKRWs\">lots of ugly things\u003c/a> are being said about immigrants.\u003c/p>\n\u003cp>For some insight, I turned to an unlikely source: \u003ca href=\"http://www.fox.com/watch/594219587792/7765855488\">“Bordertown.”\u003c/a> It’s an animated sitcom on Fox, set in the fictional bordertown of Mexifornia. It’s basically a comedy about immigration.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/249017415″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/249017415″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In the \u003ca href=\"http://www.fox.com/watch/598904899611/7765855488\">second episode\u003c/a>, Mexifornia residents congregate at a town hall meeting to discuss what to do with a $10 million windfall to the city budget.\u003c/p>\n\u003cp>“I think it should go toward building a border wall,” suggests Bud Buckwald, a border patrol agent and one of the show’s main characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sound familiar?\u003c/p>\n\u003cp>http://www.fox.com/watch/598904899611/7765855488\u003c/p>\n\u003cp>“We wrote the show two years ago, before Donald Trump,” says \u003ca href=\"http://laloalcaraz.com/\">Lalo Alcaraz\u003c/a>, a writer and consultant on “Bordertown.”\u003c/p>\n\u003cp>America has been going through a huge demographic shift, and this election season is bringing the huge rifts it’s created into stark relief. Alcaraz, a longtime political cartoonist in Los Angeles, says animated comedy could be the best way for us to address these controversial topics head-on.\u003c/p>\n\u003cp>This wouldn’t be the first time Americans turned to comedy during times of social upheaval. “Bordertown” creator \u003ca href=\"http://www.imdb.com/name/nm0378262/\" target=\"_blank\" rel=\"noopener\">Mark Hentemann\u003c/a> modeled his animated sitcom on \u003ca href=\"http://www.imdb.com/title/tt0066626/\">“All in the Family.”\u003c/a> The legendary sitcom was set in the 1970s, in the midst of the Civil Rights Movement.\u003c/p>\n\u003cfigure id=\"attachment_10883078\" class=\"wp-caption alignright\" style=\"max-width: 436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10883078\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-800x940.jpg\" alt='Lalo Alcaraz, writer, cartoonist and consultant on \"Bordertown.\"' width=\"436\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-800x940.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-400x470.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-1180x1387.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-960x1128.jpg 960w\" sizes=\"(max-width: 436px) 100vw, 436px\">\u003cfigcaption class=\"wp-caption-text\">Lalo Alcaraz, writer, cartoonist and consultant on “Bordertown.” \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Back in the ‘All In the Family’ days in the ’70s, Archie Bunker was complaining about Black Power, feminism, the emerging gay rights movement,” Alcaraz says. “This is an updated version, and set in a place where we can talk about those things.”\u003c/p>\n\u003cp>While “All In the Family” was based in Queens and focused on urban issues, “Bordertown” is set on the outskirts of America. But the issues it raises are at the center of our political debate.\u003c/p>\n\u003cp>The show is based on two families, the Buckwalds and Gonzalezes. They are next-door neighbors. The Buckwalds are headed by Bud, who is a border patrol agent. And Ernesto, a gardener, is the patriarch of his clan.\u003c/p>\n\u003cp>“Bud Buckwald, who’s kind of a bigoted Archie Bunker-ish white guy,” Alcaraz says. “He feels out of sorts. He feels like his world has changed and can’t cope with the new reality that is the U.S.”\u003c/p>\n\u003cp>In one episode, Bud Buckwald bemoans what he sees, as his status declines in an increasingly diverse America.\u003c/p>\n\u003cp>“You know I was always told if I worked for the man long enough, eventually I’d become the man,” Buckwald says. “Well, I’ve been working at that station for 20 years but I ain’t the man. Steve is. Even Ernesto is the boss of his grass thingy. It’s like the Mexican has become the man and I’ve become the Mexican.”\u003c/p>\n\u003cp>And Bud’s Mexican immigrant neighbor, Ernesto?\u003c/p>\n\u003cfigure id=\"attachment_10883241\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/BordertownDriving-800x510.jpg\" alt=\"Bud (L) is enraged when he finds out that his daughter is engaged to J.C., Ernesto’s nephew.\" width=\"800\" height=\"510\" class=\"size-medium wp-image-10883241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving-1180x752.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving-960x612.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bud (L) is enraged when he finds out that his daughter is engaged to J.C., Ernesto’s nephew. \u003ccite>(Courtesy Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Ernesto Gonzalez has been in the U.S. for 25 years or so and is doing a little bit better than Bud, and Bud cannot deal with that,” Alcaraz says.\u003c/p>\n\u003cp>But like all the characters in “Bordertown,” and really, in much of America, Ernesto’s views on immigration are not easily understood.\u003c/p>\n\u003cp>In the episode about the border wall, Ernesto’s nephew urges him to speak out against it. Ernesto obliges and starts by telling the crowd, “I came to the U.S. where everybody’s voice can be heard and counted.”\u003c/p>\n\u003cp>Alcaraz says you think Ernesto is going to give an inspiring speech about how great America is, but it quickly devolves.\u003c/p>\n\u003cp>Ernesto hails America’s democratic process. It might not be perfect, he says, but it’s better than the government he left behind. And then he ends his speech by saying, “So in conclusion, Gonzalez landscaping, we love you lawn time!”\u003c/p>\n\u003cp>Alcaraz says the scene is a riff on how immigrants may have a political point of view, but at the end of the day they’re very practical people.\u003c/p>\n\u003cp>http://www.fox.com/watch/592630339703/7765855488\u003c/p>\n\u003cp>“In animation and cartoons, I firmly believe you can say so much more that you can’t in live action or boring old essays,” Alcaraz says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The jury is still out as to whether audiences agree, and there’s no word yet if “Bordertown” will get a second season. But a Trump presidency might make a second season too irresistible to pass up.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "USC Study: Hollywood Has a Major Diversity Problem",
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"content": "\u003cp>A newly released study suggests diversity in TV and film is so bad that the hashtag #OscarsSoWhite should probably be changed to #HollywoodSoWhite.\u003c/p>\n\u003cp>That’s because of an “epidemic of invisibility” cited by researchers at the University of Southern California, who analyzed more than 21,000 characters and behind-the-scenes workers on more than 400 films and TV shows released from September 2014 through August 2015. They tabulated representations of gender, race, ethnicity and sexual status.\u003c/p>\n\u003cp>“We’re seeing that there’s not just a diversity problem in Hollywood; there’s actually an inclusion crisis,” Stacy L. Smith, one of the study’s authors and founding director of the Media, Diversity and Social Change Initiative at USC’s Annenberg School for Communication and Journalism, said in an interview.\u003c/p>\n\u003cp>The study, \u003ca href=\"http://annenberg.usc.edu/pages/~/media/MDSCI/CARDReport%20FINAL%2022216.ashx\">titled “Inclusion or Invisibility? Comprehensive Annenberg Report on Diversity in Entertainment,”\u003c/a> found just one-third of speaking characters were female (33.5 percent), despite the fact that women represent just over half the population in America. Just 28.3 percent of characters with dialogue were from nonwhite racial/ethnic groups, though such groups are nearly 40 percent of the U.S. population.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I think we’re seeing, across the landscape, an erasure of certain groups… This is really [an] epidemic of invisibility.’\u003ccite>USC study author Stacy L. Smith\u003c/cite>\u003c/aside>\n\u003cp>With less than a week before an Oscars ceremony that has already been criticized for an all-white slate of acting nominees, the study shows the film industry does worse than television.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just 3.4 percent of film directors were female, and only 7 percent of films had a cast whose balance of race and ethnicity reflected the country’s diversity. In broadcast TV, 17 percent of directors were female and 19 percent of programs were ethnically balanced.\u003c/p>\n\u003cp>Broadcast TV also saw a number of TV shows featuring characters of color debut during the study’s tabulation period, including \u003cem>Black-ish\u003c/em> and \u003cem>Fresh Off the Boat\u003c/em> on ABC, \u003cem>Jane the Virgin\u003c/em> on The CW, and \u003cem>Empire\u003c/em> on Fox.\u003c/p>\n\u003cp>Still, when researchers looked at all TV shows — including broadcast, cable and streaming services — they also found underrepresentation, noting that women of color over 40 were deemed “largely invisible” and just 22 percent of TV series creators were female.\u003c/p>\n\u003cp>Overall, the study found half the films and TV shows they analyzed had no Asian-speaking characters and more than one-fifth of them had no black characters with dialogue. Just 2 percent of speaking characters were identified as lesbian, gay, bisexual or transsexual, and more than half the LGBT characters in all the films they examined came from two movies.\u003c/p>\n\u003cp>“The film industry still functions as a straight, white, boy’s club,” the study states. In the interview, Smith says, “I think we’re seeing, across the landscape, an erasure of certain groups; women, people of color, the LGBT community … this is really [an] epidemic of invisibility that points to a lack of inclusivity across [film and TV].”\u003c/p>\n\u003cp>[contextly_sidebar id=”H0tNBlaRREak7fdaT3Do83mArhct2tNW”]\u003c/p>\n\u003cp>When looking at how women are depicted, the study found female characters were four times more likely to be shown in sexy attire, three times more likely to show some nudity and nearly four times as likely to be referred to as physically attractive.\u003c/p>\n\u003cp>But their results also indicated films and TV shows with women or people of color in the important jobs behind the scenes — director, producer or writer — tended to have better diversity numbers.\u003c/p>\n\u003cp>Across TV and film, the underrepresentation of nonwhite characters falls mostly on Hispanics. Among more than 10,000 characters whose race or ethnicity could be identified, proportions of white, black and Asian characters came close to U.S. population figures. But Hispanics were just 5.8 percent of characters, despite being about 17 percent of the U.S. population, according to Census Bureau data.\u003c/p>\n\u003cp>Researchers examined 109 films and 305 TV series across broadcast, cable and digital platforms. They also looked at more than 1,500 executives and graded 10 media companies for their onscreen and behind-the-scenes representation of women and people of color.\u003c/p>\n\u003cp>None of the six film distributors evaluated — 21st Century Fox, NBC Universal, Sony, the Walt Disney Company, Time Warner or Viacom — received a passing grade for inclusion. But among the TV companies they examined, Disney and the CW performed best, at 70 percent.\u003c/p>\n\u003cp>The study’s authors also suggest solutions for the lack of diversity, including creating target goals for inclusion that would be public and drawing up lists of potential hires for writing and directing jobs that would be 50 percent female and 38 percent people of color.\u003c/p>\n\u003cp>“It’s about who is greenlighting those decisions and who is giving the OK for certain stories to be told,” Smith says. “When a very narrow slice of the population is in control of power and has the ability to greenlight a project, then we are going to see products and stories that reflect that narrow worldview.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A newly released study suggests diversity in TV and film is so bad that the hashtag #OscarsSoWhite should probably be changed to #HollywoodSoWhite.\u003c/p>\n\u003cp>That’s because of an “epidemic of invisibility” cited by researchers at the University of Southern California, who analyzed more than 21,000 characters and behind-the-scenes workers on more than 400 films and TV shows released from September 2014 through August 2015. They tabulated representations of gender, race, ethnicity and sexual status.\u003c/p>\n\u003cp>“We’re seeing that there’s not just a diversity problem in Hollywood; there’s actually an inclusion crisis,” Stacy L. Smith, one of the study’s authors and founding director of the Media, Diversity and Social Change Initiative at USC’s Annenberg School for Communication and Journalism, said in an interview.\u003c/p>\n\u003cp>The study, \u003ca href=\"http://annenberg.usc.edu/pages/~/media/MDSCI/CARDReport%20FINAL%2022216.ashx\">titled “Inclusion or Invisibility? Comprehensive Annenberg Report on Diversity in Entertainment,”\u003c/a> found just one-third of speaking characters were female (33.5 percent), despite the fact that women represent just over half the population in America. Just 28.3 percent of characters with dialogue were from nonwhite racial/ethnic groups, though such groups are nearly 40 percent of the U.S. population.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I think we’re seeing, across the landscape, an erasure of certain groups… This is really [an] epidemic of invisibility.’\u003ccite>USC study author Stacy L. Smith\u003c/cite>\u003c/aside>\n\u003cp>With less than a week before an Oscars ceremony that has already been criticized for an all-white slate of acting nominees, the study shows the film industry does worse than television.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just 3.4 percent of film directors were female, and only 7 percent of films had a cast whose balance of race and ethnicity reflected the country’s diversity. In broadcast TV, 17 percent of directors were female and 19 percent of programs were ethnically balanced.\u003c/p>\n\u003cp>Broadcast TV also saw a number of TV shows featuring characters of color debut during the study’s tabulation period, including \u003cem>Black-ish\u003c/em> and \u003cem>Fresh Off the Boat\u003c/em> on ABC, \u003cem>Jane the Virgin\u003c/em> on The CW, and \u003cem>Empire\u003c/em> on Fox.\u003c/p>\n\u003cp>Still, when researchers looked at all TV shows — including broadcast, cable and streaming services — they also found underrepresentation, noting that women of color over 40 were deemed “largely invisible” and just 22 percent of TV series creators were female.\u003c/p>\n\u003cp>Overall, the study found half the films and TV shows they analyzed had no Asian-speaking characters and more than one-fifth of them had no black characters with dialogue. Just 2 percent of speaking characters were identified as lesbian, gay, bisexual or transsexual, and more than half the LGBT characters in all the films they examined came from two movies.\u003c/p>\n\u003cp>“The film industry still functions as a straight, white, boy’s club,” the study states. In the interview, Smith says, “I think we’re seeing, across the landscape, an erasure of certain groups; women, people of color, the LGBT community … this is really [an] epidemic of invisibility that points to a lack of inclusivity across [film and TV].”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>When looking at how women are depicted, the study found female characters were four times more likely to be shown in sexy attire, three times more likely to show some nudity and nearly four times as likely to be referred to as physically attractive.\u003c/p>\n\u003cp>But their results also indicated films and TV shows with women or people of color in the important jobs behind the scenes — director, producer or writer — tended to have better diversity numbers.\u003c/p>\n\u003cp>Across TV and film, the underrepresentation of nonwhite characters falls mostly on Hispanics. Among more than 10,000 characters whose race or ethnicity could be identified, proportions of white, black and Asian characters came close to U.S. population figures. But Hispanics were just 5.8 percent of characters, despite being about 17 percent of the U.S. population, according to Census Bureau data.\u003c/p>\n\u003cp>Researchers examined 109 films and 305 TV series across broadcast, cable and digital platforms. They also looked at more than 1,500 executives and graded 10 media companies for their onscreen and behind-the-scenes representation of women and people of color.\u003c/p>\n\u003cp>None of the six film distributors evaluated — 21st Century Fox, NBC Universal, Sony, the Walt Disney Company, Time Warner or Viacom — received a passing grade for inclusion. But among the TV companies they examined, Disney and the CW performed best, at 70 percent.\u003c/p>\n\u003cp>The study’s authors also suggest solutions for the lack of diversity, including creating target goals for inclusion that would be public and drawing up lists of potential hires for writing and directing jobs that would be 50 percent female and 38 percent people of color.\u003c/p>\n\u003cp>“It’s about who is greenlighting those decisions and who is giving the OK for certain stories to be told,” Smith says. “When a very narrow slice of the population is in control of power and has the ability to greenlight a project, then we are going to see products and stories that reflect that narrow worldview.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"single-video\">\u003ciframe loading=\"lazy\" src=\"//www.youtube.com/embed/35ia6rbnX_M\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cem>\u003cem>On the most recent episode of \u003ca title=\"KQED Newsroom\" href=\"http://www.kqed.org/tv/programs/newsroom/\" target=\"_blank\" rel=\"noopener\">KQED Newsroom\u003c/a>, PBS’ Steve Goldbloom and KQED News Contributor Aarti Shahani discussed the new HBO series, “Silicon Valley,” and why the tech hub is such a great target. Watch the segment above.\u003c/em>\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>Now that you’re in the mood for good satire, we’ve pulled together some of the tech mockery in honor of the new show’s premiere last night. From SNL takedowns of tech-journalists and iPhone fanboys, to Bravo’s ill-fated “Start-Ups: Silicon Valley” reality show that is truly stranger than fiction.\u003c/p>\n\u003cp>What’s your favorite Silicon Valley spoof? Let us know in the comments.\u003c/p>\n\u003cp>\u003cstrong>Silicon Valley\u003c/strong> (HBO, 2014)\u003cbr>\nIn case you missed the show last night, here’s a brief look at Mike Judge’s new series.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe loading=\"lazy\" src=\"//www.youtube.com/embed/69V__a49xtw\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>Betas\u003c/strong> (Amazon, 2013)\u003cbr>\nOne of Amazon’s first forays into original programming, Betas follows a group of friends as they try to get their new app up and running. Sounds familiar.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe loading=\"lazy\" src=\"//www.youtube.com/embed/X89Oteb3kWw\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>“Tech Talk” \u003c/strong>(Saturday Night Live, 2012)\u003cbr>\nA terrific takedown of tech journalists and iPhone complainers everywhere.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe loading=\"lazy\" src=\"https://screen.yahoo.com/kate-mckinnon-snl-skits/tech-talk-iphone-5-000000818.html?format=embed\" frameborder=\"0\" scrolling=\"no\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>@TheOnion\u003c/strong>\u003cbr>\nThe Onion. Enough said.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe loading=\"lazy\" src=\"//www.youtube.com/embed/zpNgsU9o4ik\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cfigure id=\"attachment_131743\" class=\"wp-caption aligncenter\" style=\"max-width: 606px\">\u003ca href=\"http://www.theonion.com/articles/silicon-valley-town-pinning-tourism-hopes-on-world,20258/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-131743 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/04/Screen-Shot-2014-04-04-at-4.37.15-PM.png\" alt=\"@TheOnion\" width=\"606\" height=\"176\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">@TheOnion, April 28,2011\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Everything But The News \u003c/strong>(PBS, 2014)\u003cbr>\nA public media plug for an unlikely source of media commentary: new PBS Web series starring Steve Goldbloom. If you haven’t seen it yet, you’re missing out.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe loading=\"lazy\" src=\"//www.youtube.com/embed/reakBnyHumo?list=PL1mtdjDVOoOoYi9dkJ6YEm15_qFqwo0cy\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>Triumph of the Nerds \u003c/strong>(PBS, 1996)\u003cbr>\nExcellent three-hour PBS documentary from the mid-’90s. Subtitled: “The Rise of Accidental Empires,” the film gives an early look at Steve Jobs, Bill Gates, Paul Allen and many others. Find the whole film on YouTube.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe loading=\"lazy\" src=\"//www.youtube.com/embed/1BjnLqvWUXo\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>Start-Ups: Silicon Valley \u003c/strong>(Bravo, 2012)\u003cbr>\nThere’s no better way to satirize Silicon Valley then by simply pointing a camera at tech-bros like Dwight. (We’re happy this show got canceled, too)\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe loading=\"lazy\" src=\"http://player.theplatform.com/p/PHSl-B/yT7k3t_YLXoZ/embed/select/_2B7_1pfR_Tg\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>iSteve \u003c/strong>(Funny or Die, 2013)\u003cbr>\nAn under-the-radar feature-length riff on the life of Steve Jobs, starring Justin Long, John Hodgman’s Mac counterpart in Apple’s “Get a Mac” commercials.\u003c/p>\n\u003cdiv class=\"single-video\">\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.funnyordie.com/embed/450f72ee08\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/p>\n\u003cdiv style=\"text-align: left;font-size: x-small;margin-top: 0;width: 640px\">\u003c/div>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cdiv class=\"single-video\">\u003ciframe loading=\"lazy\" src=\"//www.youtube.com/embed/35ia6rbnX_M\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cem>\u003cem>On the most recent episode of \u003ca title=\"KQED Newsroom\" href=\"http://www.kqed.org/tv/programs/newsroom/\" target=\"_blank\" rel=\"noopener\">KQED Newsroom\u003c/a>, PBS’ Steve Goldbloom and KQED News Contributor Aarti Shahani discussed the new HBO series, “Silicon Valley,” and why the tech hub is such a great target. Watch the segment above.\u003c/em>\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>Now that you’re in the mood for good satire, we’ve pulled together some of the tech mockery in honor of the new show’s premiere last night. From SNL takedowns of tech-journalists and iPhone fanboys, to Bravo’s ill-fated “Start-Ups: Silicon Valley” reality show that is truly stranger than fiction.\u003c/p>\n\u003cp>What’s your favorite Silicon Valley spoof? Let us know in the comments.\u003c/p>\n\u003cp>\u003cstrong>Silicon Valley\u003c/strong> (HBO, 2014)\u003cbr>\nIn case you missed the show last night, here’s a brief look at Mike Judge’s new series.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe loading=\"lazy\" src=\"//www.youtube.com/embed/69V__a49xtw\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>Betas\u003c/strong> (Amazon, 2013)\u003cbr>\nOne of Amazon’s first forays into original programming, Betas follows a group of friends as they try to get their new app up and running. Sounds familiar.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe loading=\"lazy\" src=\"//www.youtube.com/embed/X89Oteb3kWw\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>“Tech Talk” \u003c/strong>(Saturday Night Live, 2012)\u003cbr>\nA terrific takedown of tech journalists and iPhone complainers everywhere.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe loading=\"lazy\" src=\"https://screen.yahoo.com/kate-mckinnon-snl-skits/tech-talk-iphone-5-000000818.html?format=embed\" frameborder=\"0\" scrolling=\"no\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>@TheOnion\u003c/strong>\u003cbr>\nThe Onion. Enough said.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe loading=\"lazy\" src=\"//www.youtube.com/embed/zpNgsU9o4ik\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cfigure id=\"attachment_131743\" class=\"wp-caption aligncenter\" style=\"max-width: 606px\">\u003ca href=\"http://www.theonion.com/articles/silicon-valley-town-pinning-tourism-hopes-on-world,20258/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-131743 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/04/Screen-Shot-2014-04-04-at-4.37.15-PM.png\" alt=\"@TheOnion\" width=\"606\" height=\"176\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">@TheOnion, April 28,2011\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Everything But The News \u003c/strong>(PBS, 2014)\u003cbr>\nA public media plug for an unlikely source of media commentary: new PBS Web series starring Steve Goldbloom. If you haven’t seen it yet, you’re missing out.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe loading=\"lazy\" src=\"//www.youtube.com/embed/reakBnyHumo?list=PL1mtdjDVOoOoYi9dkJ6YEm15_qFqwo0cy\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>Triumph of the Nerds \u003c/strong>(PBS, 1996)\u003cbr>\nExcellent three-hour PBS documentary from the mid-’90s. Subtitled: “The Rise of Accidental Empires,” the film gives an early look at Steve Jobs, Bill Gates, Paul Allen and many others. Find the whole film on YouTube.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe loading=\"lazy\" src=\"//www.youtube.com/embed/1BjnLqvWUXo\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>Start-Ups: Silicon Valley \u003c/strong>(Bravo, 2012)\u003cbr>\nThere’s no better way to satirize Silicon Valley then by simply pointing a camera at tech-bros like Dwight. (We’re happy this show got canceled, too)\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe loading=\"lazy\" src=\"http://player.theplatform.com/p/PHSl-B/yT7k3t_YLXoZ/embed/select/_2B7_1pfR_Tg\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>iSteve \u003c/strong>(Funny or Die, 2013)\u003cbr>\nAn under-the-radar feature-length riff on the life of Steve Jobs, starring Justin Long, John Hodgman’s Mac counterpart in Apple’s “Get a Mac” commercials.\u003c/p>\n\u003cdiv class=\"single-video\">\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.funnyordie.com/embed/450f72ee08\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/p>\n\u003cdiv style=\"text-align: left;font-size: x-small;margin-top: 0;width: 640px\">\u003c/div>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_113312\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/2013/09/29/113310/breaking_bad_13406375616409/\" rel=\"attachment wp-att-113312\">\u003cimg class=\"size-full wp-image-113312\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/09/breaking_bad_13406375616409.jpg\" alt=\"Some of the central cast members: (L-R) Mike (Jonathan Banks), Saul Goodman (Bob Odenkirk), Jesse Pinkman (Aaron Paul), Walter White (Bryan Cranston), Marie Schrader (Betsy Brandt), Hank Schrader (Dean Norris), Skyler White (Anna Gunn) and Walter White, Jr. (RJ Mitte) (Frank Ockenfels/AMC)\" width=\"640\" height=\"361\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Some of the central cast members: (L-R) Mike (Jonathan Banks), Saul Goodman (Bob Odenkirk), Jesse Pinkman (Aaron Paul), Walter White (Bryan Cranston), Marie Schrader (Betsy Brandt), Hank Schrader (Dean Norris), Skyler White (Anna Gunn) and Walter White Jr. (RJ Mitte) (Frank Ockenfels/AMC)\u003c/figcaption>\u003c/figure>\n\u003cp>Here's a public media secret: Sometimes between episodes of Charlie Rose, \"NewsHour,\" \"Sesame Street\" and \"Masterpiece Theater,\" we sneak a look at what else is happening on television. Things like baseball, football, \"The Colbert Report\" and Fox News. It has not escaped our notice that AMC's \"\u003ca href=\"http://www.amctv.com/shows/breaking-bad\" target=\"_blank\">Breaking Bad\u003c/a>\" is wrapping up its run tonight. Along with much of the rest of the viewing audience, we have occasionally binge-watched the show to catch up so that we'd be in sync with America for tonight. (Or almost in sync. We're aware the final episode is on the air.) As we get ready to fire up the DVR, here are some of the things we'll miss as \"Breaking Bad\" completes its run: \u003cstrong>1.\u003c/strong> The weekly refresher on \u003ca href=\"http://periodic.lanl.gov/index.shtml\" target=\"_blank\">the periodic table of the elements\u003c/a>. You know -- those highlighted letters during the credits? \u003cstrong>2.\u003c/strong> Wondering whether methamphetamine could really \u003ca href=\"http://latimesblogs.latimes.com/showtracker/2009/05/breaking-bad-perfect-season-ends-with-a-falling-sky.html\" target=\"_blank\">bring down an airliner\u003c/a> \u003cstrong>3. \u003c/strong>\u003ca href=\"http://laughingsquid.com/breaking-bads-aaron-paul-blue-crystal-meth-donuts/\" target=\"_blank\">Blue crystal meth doughnuts\u003c/a>. \u003cstrong>4. \u003c/strong>\u003ca href=\"http://www.heisenberghat.com/\" target=\"_blank \">The hat\u003c/a>. \u003cstrong>5. \u003c/strong>Pondering \u003ca href=\"http://www.aip.org/history/heisenberg/p08.htm\" target=\"_blank\">Heisenberg's uncertainty principle\u003c/a> as it relates to the birth of antihero/meth chemist \u003ca href=\"http://www.savewalterwhite.com/\" target=\"_blank\">Walter White\u003c/a>. \u003cstrong>6.\u003c/strong> \u003ca href=\"http://www.itsatrip.org/albuquerque/arts/breaking-bad-in-albuquerque.aspx\" target=\"_blank\">The New Mexico locations\u003c/a>. \u003cstrong>7.\u003c/strong> The \u003ca href=\"http://www.poetryfoundation.org/article/246218\" target=\"_blank\">Walt Whitman\u003c/a> plot line. \u003cstrong>8.\u003c/strong> \u003ca href=\"http://www.nydailynews.com/autos/walter-white-pontiac-aztek-article-1.1467199\" target=\"_blank\">The ugly cars.\u003c/a> \u003cstrong>9. \u003c/strong>All those characters: Badger, Skinny Pete, Combo, Gus, Hector, Gale, Hank, Marie, Skyler, Walter Jr., Jane, Andrea, Jesse and Mike. But especially \u003ca href=\"http://www.amctv.com/shows/breaking-bad/cast/saul-goodman\" target=\"_blank\">Saul Goodman\u003c/a>, the \u003ca href=\"http://metro.co.uk/2013/09/27/breaking-bad-an-appreciation-of-saul-goodmans-sartorialism-4125752/\" target=\"_blank\">garishly dressed\u003c/a> and in his own way endlessly optimistic lawyer, his office decorated in U.S. Constitution wallpaper, who never let his clients or the audience down. \u003ca href=\"http://www.bettercallsaul.com/\" target=\"_blank\">Better call Saul\u003c/a>. \u003cstrong>10.\u003c/strong>You say you prefer spending your Sunday nights with \"Downton Abbey\"? This one's for you:\u003c/p>\n\u003cdiv style=\"overflow: hidden\">\n\u003cdiv class=\"embedly\">\u003cobject width=\"480\" height=\"360\" classid=\"d27cdb6e-ae6d-11cf-96b8-444553540000\" codebase=\"http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0\">\u003cparam name=\"src\" value=\"http://media.mtvnservices.com/mgid:cms:item:comedycentral.com:422221\">\u003cparam name=\"wmode\" value=\"window\">\u003cparam name=\"allowfullscreen\" value=\"true\">\u003cparam name=\"flashvars\" value=\"autoPlay=false\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed width=\"480\" height=\"360\" type=\"application/x-shockwave-flash\" src=\"http://media.mtvnservices.com/mgid:cms:item:comedycentral.com:422221\" wmode=\"window\" allowfullscreen=\"true\" flashvars=\"autoPlay=false\" allowscriptaccess=\"always\" bgcolor=\"#000000\">\u003c/embed>\u003c/object>\n\u003cdiv class=\"embedly-clear\">\u003c/div>\n\u003cp>\u003cspan class=\"embedly-powered\" style=\"float: right\">\u003ca title=\"Powered by Embedly\" href=\"http://embed.ly?src=anywhere\" target=\"_blank\">\u003cimg src=\"//static.embed.ly/images/logos/embedly-powered-small-light.png\" alt=\"Embedly Powered\">\u003c/a>\u003c/span>\u003c/p>\n\u003cdiv class=\"media-attribution\">\u003cspan>via \u003c/span>\u003ca class=\"media-attribution-link\" href=\"http://www.colbertnation.com/\" target=\"_blank\">Colbert Nation\u003c/a>\u003c/div>\n\u003cdiv class=\"embedly-clear\">\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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Things like baseball, football, \"The Colbert Report\" and Fox News. It has not escaped our notice that AMC's \"\u003ca href=\"http://www.amctv.com/shows/breaking-bad\" target=\"_blank\">Breaking Bad\u003c/a>\" is wrapping up its run tonight. Along with much of the rest of the viewing audience, we have occasionally binge-watched the show to catch up so that we'd be in sync with America for tonight. (Or almost in sync. We're aware the final episode is on the air.) As we get ready to fire up the DVR, here are some of the things we'll miss as \"Breaking Bad\" completes its run: \u003cstrong>1.\u003c/strong> The weekly refresher on \u003ca href=\"http://periodic.lanl.gov/index.shtml\" target=\"_blank\">the periodic table of the elements\u003c/a>. You know -- those highlighted letters during the credits? \u003cstrong>2.\u003c/strong> Wondering whether methamphetamine could really \u003ca href=\"http://latimesblogs.latimes.com/showtracker/2009/05/breaking-bad-perfect-season-ends-with-a-falling-sky.html\" target=\"_blank\">bring down an airliner\u003c/a> \u003cstrong>3. \u003c/strong>\u003ca href=\"http://laughingsquid.com/breaking-bads-aaron-paul-blue-crystal-meth-donuts/\" target=\"_blank\">Blue crystal meth doughnuts\u003c/a>. \u003cstrong>4. \u003c/strong>\u003ca href=\"http://www.heisenberghat.com/\" target=\"_blank \">The hat\u003c/a>. \u003cstrong>5. \u003c/strong>Pondering \u003ca href=\"http://www.aip.org/history/heisenberg/p08.htm\" target=\"_blank\">Heisenberg's uncertainty principle\u003c/a> as it relates to the birth of antihero/meth chemist \u003ca href=\"http://www.savewalterwhite.com/\" target=\"_blank\">Walter White\u003c/a>. \u003cstrong>6.\u003c/strong> \u003ca href=\"http://www.itsatrip.org/albuquerque/arts/breaking-bad-in-albuquerque.aspx\" target=\"_blank\">The New Mexico locations\u003c/a>. \u003cstrong>7.\u003c/strong> The \u003ca href=\"http://www.poetryfoundation.org/article/246218\" target=\"_blank\">Walt Whitman\u003c/a> plot line. \u003cstrong>8.\u003c/strong> \u003ca href=\"http://www.nydailynews.com/autos/walter-white-pontiac-aztek-article-1.1467199\" target=\"_blank\">The ugly cars.\u003c/a> \u003cstrong>9. \u003c/strong>All those characters: Badger, Skinny Pete, Combo, Gus, Hector, Gale, Hank, Marie, Skyler, Walter Jr., Jane, Andrea, Jesse and Mike. But especially \u003ca href=\"http://www.amctv.com/shows/breaking-bad/cast/saul-goodman\" target=\"_blank\">Saul Goodman\u003c/a>, the \u003ca href=\"http://metro.co.uk/2013/09/27/breaking-bad-an-appreciation-of-saul-goodmans-sartorialism-4125752/\" target=\"_blank\">garishly dressed\u003c/a> and in his own way endlessly optimistic lawyer, his office decorated in U.S. Constitution wallpaper, who never let his clients or the audience down. \u003ca href=\"http://www.bettercallsaul.com/\" target=\"_blank\">Better call Saul\u003c/a>. \u003cstrong>10.\u003c/strong>You say you prefer spending your Sunday nights with \"Downton Abbey\"? This one's for you:\u003c/p>\n\u003cdiv style=\"overflow: hidden\">\n\u003cdiv class=\"embedly\">\u003cobject width=\"480\" height=\"360\" classid=\"d27cdb6e-ae6d-11cf-96b8-444553540000\" codebase=\"http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0\">\u003cparam name=\"src\" value=\"http://media.mtvnservices.com/mgid:cms:item:comedycentral.com:422221\">\u003cparam name=\"wmode\" value=\"window\">\u003cparam name=\"allowfullscreen\" value=\"true\">\u003cparam name=\"flashvars\" value=\"autoPlay=false\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed width=\"480\" height=\"360\" type=\"application/x-shockwave-flash\" src=\"http://media.mtvnservices.com/mgid:cms:item:comedycentral.com:422221\" wmode=\"window\" allowfullscreen=\"true\" flashvars=\"autoPlay=false\" allowscriptaccess=\"always\" bgcolor=\"#000000\">\u003c/embed>\u003c/object>\n\u003cdiv class=\"embedly-clear\">\u003c/div>\n\u003cp>\u003cspan class=\"embedly-powered\" style=\"float: right\">\u003ca title=\"Powered by Embedly\" href=\"http://embed.ly?src=anywhere\" target=\"_blank\">\u003cimg src=\"//static.embed.ly/images/logos/embedly-powered-small-light.png\" alt=\"Embedly Powered\">\u003c/a>\u003c/span>\u003c/p>\n\u003cdiv class=\"media-attribution\">\u003cspan>via \u003c/span>\u003ca class=\"media-attribution-link\" href=\"http://www.colbertnation.com/\" target=\"_blank\">Colbert Nation\u003c/a>\u003c/div>\n\u003cdiv class=\"embedly-clear\">\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "report-al-jazeera-to-acquire-sf-based-current-tv",
"title": "Reports: Al Jazeera Has Acquired SF-Based Current TV",
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"content": "\u003cfigure id=\"attachment_84487\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/Libya-Missing-Journos-Al-Jazeera.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-84487\" title=\"A photographer takes a picture of portra\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/Libya-Missing-Journos-Al-Jazeera-300x200.jpg\" alt=\"\" width=\"300\" height=\"200\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Al Jazeera has been at the forefront in covering Arab spring uprisings. The portraits on the truck are those of four Al Jazeera journalists arrested in Tripoli in May, 2011 during the uprising in Libya. (Ashraf Shazly/AFP/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Update at 3:50 p.m. Wednesday:\u003c/strong> Citing a Current TV memo, Stelter reports that the deal has now been completed.\u003c/p>\n\u003cp>Al Jazeera is finalizing a deal to acquire Current TV, the San Francisco-based television production company co-founded by former Vice President Al Gore, according to newspaper reports.\u003c/p>\n\u003cp>\u003ca href=\"http://mediadecoder.blogs.nytimes.com/2013/01/02/al-jazeera-said-to-be-acquiring-current-tv/\">New York Times blogger Brian Stelter\u003c/a> writes that Al Jazeera, which is based in Doha, Qatar, wants Current TV’s U.S. distribution channels. Current TV has been struggling to get viewers.\u003c/p>\n\u003cp>We contacted Current TV and got this statement from Brooke Stevenson: “There’s nothing confirmed in regards to the sale, and there is no one available that I can refer you to, apologies!”\u003c/p>\n\u003cp>Stelter reports that Al Jazeera has been looking to expand its viewership in the United States.\u003c/p>\n\u003cblockquote>\u003cp>If the deal is completed, Current will provide the pan-Arab news giant with something it has sought for years: a pathway into American living rooms. Current is available in about 60 million of the 100 million homes in the United States with cable or satellite service.\u003c/p>\n\u003cp>Rather than simply use Current to distribute its existing English-language channel, called Al Jazeera English and based in Doha, Qatar, Al Jazeera will create a new channel based in New York, according to people with knowledge of the deal negotiations. Potentially called Al Jazeera America, roughly 60 percent of the programming will be produced in the United States while the remaining 40 percent will come from Al Jazeera English.\u003c/p>\u003c/blockquote>\n\u003cp>The \u003ca href=\"http://www.latimes.com/entertainment/envelope/cotown/la-et-ct-al-jazeera-current-20130102,0,1343879.story\">Los Angeles Times\u003c/a> has also reported the deal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_84487\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/Libya-Missing-Journos-Al-Jazeera.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-84487\" title=\"A photographer takes a picture of portra\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/01/Libya-Missing-Journos-Al-Jazeera-300x200.jpg\" alt=\"\" width=\"300\" height=\"200\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Al Jazeera has been at the forefront in covering Arab spring uprisings. The portraits on the truck are those of four Al Jazeera journalists arrested in Tripoli in May, 2011 during the uprising in Libya. (Ashraf Shazly/AFP/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Update at 3:50 p.m. Wednesday:\u003c/strong> Citing a Current TV memo, Stelter reports that the deal has now been completed.\u003c/p>\n\u003cp>Al Jazeera is finalizing a deal to acquire Current TV, the San Francisco-based television production company co-founded by former Vice President Al Gore, according to newspaper reports.\u003c/p>\n\u003cp>\u003ca href=\"http://mediadecoder.blogs.nytimes.com/2013/01/02/al-jazeera-said-to-be-acquiring-current-tv/\">New York Times blogger Brian Stelter\u003c/a> writes that Al Jazeera, which is based in Doha, Qatar, wants Current TV’s U.S. distribution channels. Current TV has been struggling to get viewers.\u003c/p>\n\u003cp>We contacted Current TV and got this statement from Brooke Stevenson: “There’s nothing confirmed in regards to the sale, and there is no one available that I can refer you to, apologies!”\u003c/p>\n\u003cp>Stelter reports that Al Jazeera has been looking to expand its viewership in the United States.\u003c/p>\n\u003cblockquote>\u003cp>If the deal is completed, Current will provide the pan-Arab news giant with something it has sought for years: a pathway into American living rooms. Current is available in about 60 million of the 100 million homes in the United States with cable or satellite service.\u003c/p>\n\u003cp>Rather than simply use Current to distribute its existing English-language channel, called Al Jazeera English and based in Doha, Qatar, Al Jazeera will create a new channel based in New York, according to people with knowledge of the deal negotiations. Potentially called Al Jazeera America, roughly 60 percent of the programming will be produced in the United States while the remaining 40 percent will come from Al Jazeera English.\u003c/p>\u003c/blockquote>\n\u003cp>The \u003ca href=\"http://www.latimes.com/entertainment/envelope/cotown/la-et-ct-al-jazeera-current-20130102,0,1343879.story\">Los Angeles Times\u003c/a> has also reported the deal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
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"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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