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"disqusTitle": "Tarantino's Turned-On, Tuned-In Tinseltown: 'Once Upon A Time In ... Hollywood'",
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"content": "\u003cp>\u003cem>Once Upon a Time in ... Hollywood, \u003c/em>Quentin Tarantino's florid, sun-bleached, la-la land fantasia, would be a groovy trip of a movie in any era. But only now, with virtually the entire industry consumed by Disney's circle-of-life pop-cultural recycling algorithm—a vast, unsympathetic intelligence more larcenous and self-referential than 1,000 Tarantinos working in round-the-clock shifts—does it look like an essential one. \u003cem>Pulp Fiction, \u003c/em>Tarantino's sophomore feature, hit with such seismic force 25 years ago that pleading its \u003cem>unimportance\u003c/em> became a stubborn pre-Reddit subreddit of film criticism even as imitations proliferated. Now, QT is one of only a fistful of filmmakers who can still get studios to commit substantial resources ($90 million this time) to original screenplays. And lest his new film's conspicuous meditations on aging—and on the disappearing border between the big and small screens—elude you, he's just about done.\u003c/p>\n\u003cp>Tarantino's ninth and, he says, penultimate picture is a languid Rosencrantz and Guildenstern-ing of the 1969 murders of Sharon Tate, Jay Sebring and three others by members of the Manson cult, told mostly from the point of view of Tate's fictitious next-door neighbor. That would be fading TV star Rick Dalton (a career-best Leonardo DiCaprio), whose alcoholism contributed to the cancellation of his network western \u003cem>Bounty Law \u003c/em>some years back. (Of course we get clips from the show; of course they're hilarious.) Since then, he's been reduced to sporadic villain-of-the-week gigs.\u003c/p>\n\u003cp>Cliff Booth (Brad Pitt, sharing a title card and a pay grade with Leo) was Rick's stunt double, but now he's just his driver, cheerleader, errand boy and professional best pal. While DiCaprio makes Rick a bundle of human-scale neuroses, unmanned by the realization of his obsolescence, Pitt paints Cliff as a more laconic figure—a bronzed, ageless, sentient pair of sunglasses who can stand up to Bruce Lee (Mike Moh) in a fight, declines sex with an underage hitchhiker (Margaret Qualley) on purely legal grounds, oh and also he just \u003cem>maybe\u003c/em> murdered his wife.\u003c/p>\n\u003cp>That last bit is one of a few threads Tarantino leaves wantonly unsnipped. For yea, he shall fear no thinkpiece—not even the ones that have already appeared bemoaning the fact that Margot Robbie's Sharon Tate is present here more a set element than a character. Her most revealing act is to introduce herself to the staff of the Bruin Theater in Westwood when she decides to take in a matinee of the Dean Martin spy farce \u003cem>The Wrecking Crew\u003c/em>, in which she has a supporting role. Robbie-as-Tate's face lights up every time the audience laughs at her pratfalls or applauds after her fight scene for which Lee trained her. Lee was indeed the credited \"Karate Advisor\" on \u003cem>The Wrecking Crew,\u003c/em> but sorting out how much of the showbiz mise-en-scene here is fact and how much is, how you say, \u003cem>legend\u003c/em> is a big part of what makes this one even more seductive to New Hollywood-era cinephiles than, well, every other Tarantino joint.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ELeMaP8EPAA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The bulk of the 160-minute picture takes place six months before the tragedy, a period during which Rick watches Tate and her famous husband Roman Polanski (hot off \u003cem>Rosemary's Baby\u003c/em>) with envy. He's preparing for yet another bad-guy TV part, while pondering an invitation to go make Spaghetti Westerns with Sergio, um, Carbucci. (\u003cem>Lancer, \u003c/em>the TV show he's guest-starring on, was real; the Italian movies he's mulling—one of them called \u003cem>Kill Me Quick, Ringo, Said the Gringo\u003c/em>—are not. Pity.)\u003c/p>\n\u003cp>The biggest chunk of the narrative unfolds as Rick fights his way through a grueling day on the set, buoyed by a lunchtime conversation with his 8-year-old co-star (an astonishing Julia Butters), while Cliff gives that hitchhiker a ride back to George Spahn's movie ranch in the Santa Susana Mountains. Tarantino shoots the show-within-the-show like it's one of his films, with long takes and elaborate camera moves. TV can do this \u003cem>now;\u003c/em> in 1969, it was decades off. Meanwhile, Cliff's walk across a chalky patch of canyon to check up on his old pal George (Bruce Dern, in a one-scene part that would've been Burt Reynolds', had he lived) while surrounded by feral flower children becomes the most suspenseful scene in a movie this year.\u003c/p>\n\u003cp>It's a hilarious and enveloping fable replete with all the Tarantino hallmarks—stellar performances, instantly memorable dialogue, an expertly culled playlist of songs that (mostly) haven't been neutered by overexposure, long intervals of tension punctuated by brief but sickening violence. But there's something new to the mix this time. Not maturity, heaven forfend. It's more like tranquility, as the 56-year-old auteur reflects upon the passing of his era. There's an axle-grinding shift that occurs deep into the picture, but for 135 minutes or so it's the most relaxed and elegant filmmaking of Tarantino's career.\u003c/p>\n\u003cp>Also the most personal. \u003cem>Once Upon a Time\u003c/em> is set in February and August of 1969, when Tarantino was six and seven years old. This time, his characters talk about '60s movies and music and TV shows because it's the '60s and because they work in showbiz, not because they're alienated, out-of-time obsessives in the present day. With the help of regular cinematographer Robert Richardson (who shot Oliver Stone's best movies, and all of Tarantino's since \u003cem>Kill Bill\u003c/em>) and production designer Barbara Ling (who did, uh, Joel Schumacher's two disavowed \u003cem>Batman\u003c/em> films), he has ushered us all into the neon-lit Los Angeles of his memory, back when the 101 was full of Cadillacs and Buicks and they all spent more time moving than idling.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the gimmicky way Tarantino peoples his appealing imaginary characters among the Tates and the Polanskis and the Bruce Lees and the Steve McQueens, \u003cem>Once Upon a Time\u003c/em> owes a little something to \u003cem>Forrest Gump, \u003c/em>the cloying, boomer-revering megahit that stole what should have been \u003cem>Pulp Fiction's\u003c/em> best picture Oscar (and QT's directing Oscar) way back when. You might say Tarantino's oeuvre is a box of chocolates: Some of them are more bitter and unpleasant than others, but they're all still chocolate. \u003cem>Once Upon a Time in ... Hollywood\u003c/em> might be the tastiest one in the box. Top three, anyway. Let's revisit the subject in another 25 years.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tarantino%27s+Turned-On%2C+Tuned-In+Tinseltown%3A+%27Once+Upon+A+Time+In+...+Hollywood%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The bulk of the 160-minute picture takes place six months before the tragedy, a period during which Rick watches Tate and her famous husband Roman Polanski (hot off \u003cem>Rosemary's Baby\u003c/em>) with envy. He's preparing for yet another bad-guy TV part, while pondering an invitation to go make Spaghetti Westerns with Sergio, um, Carbucci. (\u003cem>Lancer, \u003c/em>the TV show he's guest-starring on, was real; the Italian movies he's mulling—one of them called \u003cem>Kill Me Quick, Ringo, Said the Gringo\u003c/em>—are not. Pity.)\u003c/p>\n\u003cp>The biggest chunk of the narrative unfolds as Rick fights his way through a grueling day on the set, buoyed by a lunchtime conversation with his 8-year-old co-star (an astonishing Julia Butters), while Cliff gives that hitchhiker a ride back to George Spahn's movie ranch in the Santa Susana Mountains. Tarantino shoots the show-within-the-show like it's one of his films, with long takes and elaborate camera moves. TV can do this \u003cem>now;\u003c/em> in 1969, it was decades off. Meanwhile, Cliff's walk across a chalky patch of canyon to check up on his old pal George (Bruce Dern, in a one-scene part that would've been Burt Reynolds', had he lived) while surrounded by feral flower children becomes the most suspenseful scene in a movie this year.\u003c/p>\n\u003cp>It's a hilarious and enveloping fable replete with all the Tarantino hallmarks—stellar performances, instantly memorable dialogue, an expertly culled playlist of songs that (mostly) haven't been neutered by overexposure, long intervals of tension punctuated by brief but sickening violence. But there's something new to the mix this time. Not maturity, heaven forfend. It's more like tranquility, as the 56-year-old auteur reflects upon the passing of his era. There's an axle-grinding shift that occurs deep into the picture, but for 135 minutes or so it's the most relaxed and elegant filmmaking of Tarantino's career.\u003c/p>\n\u003cp>Also the most personal. \u003cem>Once Upon a Time\u003c/em> is set in February and August of 1969, when Tarantino was six and seven years old. This time, his characters talk about '60s movies and music and TV shows because it's the '60s and because they work in showbiz, not because they're alienated, out-of-time obsessives in the present day. With the help of regular cinematographer Robert Richardson (who shot Oliver Stone's best movies, and all of Tarantino's since \u003cem>Kill Bill\u003c/em>) and production designer Barbara Ling (who did, uh, Joel Schumacher's two disavowed \u003cem>Batman\u003c/em> films), he has ushered us all into the neon-lit Los Angeles of his memory, back when the 101 was full of Cadillacs and Buicks and they all spent more time moving than idling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the gimmicky way Tarantino peoples his appealing imaginary characters among the Tates and the Polanskis and the Bruce Lees and the Steve McQueens, \u003cem>Once Upon a Time\u003c/em> owes a little something to \u003cem>Forrest Gump, \u003c/em>the cloying, boomer-revering megahit that stole what should have been \u003cem>Pulp Fiction's\u003c/em> best picture Oscar (and QT's directing Oscar) way back when. You might say Tarantino's oeuvre is a box of chocolates: Some of them are more bitter and unpleasant than others, but they're all still chocolate. \u003cem>Once Upon a Time in ... Hollywood\u003c/em> might be the tastiest one in the box. Top three, anyway. Let's revisit the subject in another 25 years.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tarantino%27s+Turned-On%2C+Tuned-In+Tinseltown%3A+%27Once+Upon+A+Time+In+...+Hollywood%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Now that director Kasi Lemmons has finally turned Harriet Tubman's life into a movie, it's astounding to think that nobody has put this particular biography on the big screen before. And, boy, do we need it—the civil rights hero, feminist icon and \u003ca href=\"https://www.cnn.com/2019/06/24/politics/treasury-ig-schumer-harriet-tubman-bill/index.html\" target=\"_blank\" rel=\"noopener\">rightful face of the $20 bill\u003c/a> lived her life without limits to a degree that can sometimes get lost in conventional history books.\u003c/p>\n\u003cp>It's common knowledge that Tubman escaped slavery and used the Underground Railroad network to free her family and other slaves on multiple, extremely dangerous missions, but \u003cem>Harriet\u003c/em> promises to highlight lesser-known aspects of her life, including the fact that she was the first woman to lead an armed raid in the Civil War. (That little expedition led more than 700 slaves to freedom.)\u003c/p>\n\u003cp>Casting a British actress as one of America's most famous freedom fighters may have initially seemed like an odd choice, but Cynthia Erivo (\u003ca href=\"https://www.imdb.com/title/tt4218572/?ref_=nm_ov_bio_lk2\" target=\"_blank\" rel=\"noopener\">\u003cem>Widows\u003c/em>\u003c/a>, \u003ca href=\"https://www.imdb.com/title/tt6628394/?ref_=nm_ov_bio_lk1\" target=\"_blank\" rel=\"noopener\">\u003cem>Bad Times at the El Royale\u003c/em>\u003c/a>) looks to be perfect in the part, as does Janelle Monáe playing Marie, a free woman who trains Tubman in weaponry and how to out-smart the enemy.\u003c/p>\n\u003cp>\u003cem>Harriet\u003c/em> will finally hit the big screen on November 1. You'll wish that release date was a lot sooner after you watch this:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=osP9iJjvlAE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now that director Kasi Lemmons has finally turned Harriet Tubman's life into a movie, it's astounding to think that nobody has put this particular biography on the big screen before. And, boy, do we need it—the civil rights hero, feminist icon and \u003ca href=\"https://www.cnn.com/2019/06/24/politics/treasury-ig-schumer-harriet-tubman-bill/index.html\" target=\"_blank\" rel=\"noopener\">rightful face of the $20 bill\u003c/a> lived her life without limits to a degree that can sometimes get lost in conventional history books.\u003c/p>\n\u003cp>It's common knowledge that Tubman escaped slavery and used the Underground Railroad network to free her family and other slaves on multiple, extremely dangerous missions, but \u003cem>Harriet\u003c/em> promises to highlight lesser-known aspects of her life, including the fact that she was the first woman to lead an armed raid in the Civil War. (That little expedition led more than 700 slaves to freedom.)\u003c/p>\n\u003cp>Casting a British actress as one of America's most famous freedom fighters may have initially seemed like an odd choice, but Cynthia Erivo (\u003ca href=\"https://www.imdb.com/title/tt4218572/?ref_=nm_ov_bio_lk2\" target=\"_blank\" rel=\"noopener\">\u003cem>Widows\u003c/em>\u003c/a>, \u003ca href=\"https://www.imdb.com/title/tt6628394/?ref_=nm_ov_bio_lk1\" target=\"_blank\" rel=\"noopener\">\u003cem>Bad Times at the El Royale\u003c/em>\u003c/a>) looks to be perfect in the part, as does Janelle Monáe playing Marie, a free woman who trains Tubman in weaponry and how to out-smart the enemy.\u003c/p>\n\u003cp>\u003cem>Harriet\u003c/em> will finally hit the big screen on November 1. You'll wish that release date was a lot sooner after you watch this:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/osP9iJjvlAE'\n title='//www.youtube.com/embed/osP9iJjvlAE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "The Timeless Feminism of Sarah Connor in 'Terminator 2'",
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"content": "\u003cp>When \u003cem>Terminator 2: Judgment Day\u003c/em> was first released in 1991, I went to see it four times: two days in a row the weekend it came out, and two weekends in a row after that. The reason I kept coming back? Sarah Connor. Beautiful, unhinged, muscle-flexing, pull-up-doing, one-handed-shotgun-loading Sarah Connor.\u003c/p>\n\u003cp>In 1984's \u003cem>The Terminator\u003c/em>, Sarah was the very definition of ordinary: a young waitress with a roommate and man troubles. She did a terrible job of hiding from the cyborg sent back from the future to kill her, and did a fair amount of wide-eyed whimpering as she attempted to outrun it. She got squeamish at the sight of blood, was almost entirely reliant on her time-traveling guardian, Reese, and was the very epitome of a damsel in distress. That is until the very end, when she destroyed what was left of the Terminator and hit the road.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k64P4l2Wmeg\u003c/p>\n\u003cp>Though \u003cem>The Terminator\u003c/em> made it clear that one day Sarah Connor would become the fighter responsible for turning her son into a great leader, there was no way to prepare for what the character would become. Never in the history of cinema had there been a movie heroine as brittle, dark and unflinchingly focused as Sarah Connor in \u003cem>T2.\u003c/em> As \u003cem>\u003ca href=\"https://ew.com/article/1991/07/12/bench-pressing-linda-hamilton/\" target=\"_blank\" rel=\"noopener noreferrer\">Entertainment Weekly\u003c/a> \u003c/em>\u003ca href=\"https://ew.com/article/1991/07/12/bench-pressing-linda-hamilton/\">noted\u003c/a> at the time: Linda \"Hamilton’s Sarah Connor makes Thelma and Louise look like Ethel and Lucy.\" The closest we've come to her since is \u003cem>Kill Bill\u003c/em>'s The Bride, and even she was somehow softer.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=evJ-XVrI4Js&t=6s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In \u003cem>The Terminator\u003c/em>, Sarah Connor is targeted specifically because of the child she will bear. But in \u003cem>T2\u003c/em>, facing down the imminent apocalypse without Reese on hand to help, she is essentially forced to become him. She is the stern and dedicated soldier now. It's almost as if she's had a Lady Macbeth \"unsex me\" moment, transforming herself into a human machine in order to fight the actual machines she knows are coming.\u003c/p>\n\u003cp>Though motherhood is a major aspect of Sarah Connor's life, that fact is directly addressed only once in the movie, when she tells Skynet's Miles Dyson: \"Men like you built the hydrogen bomb. You think you're so creative. You don't know what it's like to really create something; to create a life; to feel it growing inside you. All you know how to create is death and destruction.\" Despite this, Sarah refuses to be defined by motherhood. In fact, just as Lady Macbeth figuratively turned her \"mother’s milk into poisonous acid,\" Sarah Connor has abandoned the role almost completely.\u003c/p>\n\u003cp>In \u003cem>T2\u003c/em>, her son John is 10 years old and already a delinquent on a dirt bike. He is living with neglectful foster parents because an attempt to blow up Skynet's headquarters has landed Sarah in a mental health facility. Inside the hospital, her release back to her son is hindered by her inability to keep her rage in check. After her escape, she remains cold—when John leans in for a hug, she merely pats him down looking for injuries. When this rejection prompts him to cry, she ignores it entirely, even after Arnold Schwarzenegger's machine acknowledges John's tears. She ignores the boy frequently when he talks to her. While John orders his Terminator guardian not to kill anyone, Sarah couldn't care less who dies.\u003c/p>\n\u003cp>Another key to the movie's characterization of Sarah is James Cameron's absolute refusal to present her through the filter of the male gaze. The director is not averse to scanning Schwarzenegger's body from toe to head in several scenes, but it doesn't happen to Hamilton once. Instead, Sarah remains dressed for combat and make-up-free throughout. Cameron putting a woman at the center of his blockbuster movie without once objectifying her was—and is—a rare choice for Hollywood, and the movie is all the better for it.\u003c/p>\n\u003cp>In an\u003ca href=\"http://www.terminatorfiles.com/media/articles/hamilton_006.htm\" target=\"_blank\" rel=\"noopener noreferrer\"> interview with \u003cem>Prevue \u003c/em>\u003c/a>magazine at the time, Hamilton characterized \u003cem>T2 \u003c/em>as \"a violent film about peace.\" It's also a masculine movie about women, and a tech-focused movie that's ultimately about humanity. It is this backdrop of dichotomies that allows Sarah Connor to expand so far beyond what women are usually permitted to be and do in action movies.\u003c/p>\n\u003cp>The imminent arrival of \u003cem>Terminator:\u003c/em> \u003cem>Dark Fate \u003c/em>promises to push things even further. Hamilton returns, starring alongside two other women (try and name another action movie with three female leads, one of whom is a sexagenarian). \u003cem>And\u003c/em> James Cameron is back at the helm. (Not only has the director not been involved with the last three \u003cem>Terminator\u003c/em> movies\u003cem>, \u003c/em>but the prospect of Cameron and Hamilton ever working together again after their \u003ca href=\"https://www.telegraph.co.uk/culture/film/film-news/7345843/Linda-Hamilton-life-with-James-Cameron-was-terrible-on-every-level.html\" target=\"_blank\" rel=\"noopener noreferrer\">disastrous marriage\u003c/a> seemed, at best, remote.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jCyEX6u-Yhs\u003c/p>\n\u003cp>In the end, Sarah Connor is a tribute to the strength and adaptability of women; a symbol of what women can and will do if their survival—and the survival of their children—is threatened. She is a female soldier in a medium that rarely represents them. And her return at a time when women's rights feel very much under assault does not feel accidental.\u003c/p>\n\u003cp>\"I know it's a foolish thing to say,\" Hamilton told \u003cem>Prevue \u003c/em>back in 1991, \"But after \u003cem>T2\u003c/em>, I don't think anything can hurt me.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She's not alone. Sarah Connor has been giving women a sense of indestructibility ever since.\u003c/p>\n\n",
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"excerpt": "Arnold Schwarzenegger appeared at San Diego Comic Con this week to promote the return of Sarah Connor in 'Terminator: Dark Fate.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003cem>Terminator 2: Judgment Day\u003c/em> was first released in 1991, I went to see it four times: two days in a row the weekend it came out, and two weekends in a row after that. The reason I kept coming back? Sarah Connor. Beautiful, unhinged, muscle-flexing, pull-up-doing, one-handed-shotgun-loading Sarah Connor.\u003c/p>\n\u003cp>In 1984's \u003cem>The Terminator\u003c/em>, Sarah was the very definition of ordinary: a young waitress with a roommate and man troubles. She did a terrible job of hiding from the cyborg sent back from the future to kill her, and did a fair amount of wide-eyed whimpering as she attempted to outrun it. She got squeamish at the sight of blood, was almost entirely reliant on her time-traveling guardian, Reese, and was the very epitome of a damsel in distress. That is until the very end, when she destroyed what was left of the Terminator and hit the road.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/k64P4l2Wmeg'\n title='//www.youtube.com/embed/k64P4l2Wmeg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though \u003cem>The Terminator\u003c/em> made it clear that one day Sarah Connor would become the fighter responsible for turning her son into a great leader, there was no way to prepare for what the character would become. Never in the history of cinema had there been a movie heroine as brittle, dark and unflinchingly focused as Sarah Connor in \u003cem>T2.\u003c/em> As \u003cem>\u003ca href=\"https://ew.com/article/1991/07/12/bench-pressing-linda-hamilton/\" target=\"_blank\" rel=\"noopener noreferrer\">Entertainment Weekly\u003c/a> \u003c/em>\u003ca href=\"https://ew.com/article/1991/07/12/bench-pressing-linda-hamilton/\">noted\u003c/a> at the time: Linda \"Hamilton’s Sarah Connor makes Thelma and Louise look like Ethel and Lucy.\" The closest we've come to her since is \u003cem>Kill Bill\u003c/em>'s The Bride, and even she was somehow softer.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/evJ-XVrI4Js'\n title='//www.youtube.com/embed/evJ-XVrI4Js'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In \u003cem>The Terminator\u003c/em>, Sarah Connor is targeted specifically because of the child she will bear. But in \u003cem>T2\u003c/em>, facing down the imminent apocalypse without Reese on hand to help, she is essentially forced to become him. She is the stern and dedicated soldier now. It's almost as if she's had a Lady Macbeth \"unsex me\" moment, transforming herself into a human machine in order to fight the actual machines she knows are coming.\u003c/p>\n\u003cp>Though motherhood is a major aspect of Sarah Connor's life, that fact is directly addressed only once in the movie, when she tells Skynet's Miles Dyson: \"Men like you built the hydrogen bomb. You think you're so creative. You don't know what it's like to really create something; to create a life; to feel it growing inside you. All you know how to create is death and destruction.\" Despite this, Sarah refuses to be defined by motherhood. In fact, just as Lady Macbeth figuratively turned her \"mother’s milk into poisonous acid,\" Sarah Connor has abandoned the role almost completely.\u003c/p>\n\u003cp>In \u003cem>T2\u003c/em>, her son John is 10 years old and already a delinquent on a dirt bike. He is living with neglectful foster parents because an attempt to blow up Skynet's headquarters has landed Sarah in a mental health facility. Inside the hospital, her release back to her son is hindered by her inability to keep her rage in check. After her escape, she remains cold—when John leans in for a hug, she merely pats him down looking for injuries. When this rejection prompts him to cry, she ignores it entirely, even after Arnold Schwarzenegger's machine acknowledges John's tears. She ignores the boy frequently when he talks to her. While John orders his Terminator guardian not to kill anyone, Sarah couldn't care less who dies.\u003c/p>\n\u003cp>Another key to the movie's characterization of Sarah is James Cameron's absolute refusal to present her through the filter of the male gaze. The director is not averse to scanning Schwarzenegger's body from toe to head in several scenes, but it doesn't happen to Hamilton once. Instead, Sarah remains dressed for combat and make-up-free throughout. Cameron putting a woman at the center of his blockbuster movie without once objectifying her was—and is—a rare choice for Hollywood, and the movie is all the better for it.\u003c/p>\n\u003cp>In an\u003ca href=\"http://www.terminatorfiles.com/media/articles/hamilton_006.htm\" target=\"_blank\" rel=\"noopener noreferrer\"> interview with \u003cem>Prevue \u003c/em>\u003c/a>magazine at the time, Hamilton characterized \u003cem>T2 \u003c/em>as \"a violent film about peace.\" It's also a masculine movie about women, and a tech-focused movie that's ultimately about humanity. It is this backdrop of dichotomies that allows Sarah Connor to expand so far beyond what women are usually permitted to be and do in action movies.\u003c/p>\n\u003cp>The imminent arrival of \u003cem>Terminator:\u003c/em> \u003cem>Dark Fate \u003c/em>promises to push things even further. Hamilton returns, starring alongside two other women (try and name another action movie with three female leads, one of whom is a sexagenarian). \u003cem>And\u003c/em> James Cameron is back at the helm. (Not only has the director not been involved with the last three \u003cem>Terminator\u003c/em> movies\u003cem>, \u003c/em>but the prospect of Cameron and Hamilton ever working together again after their \u003ca href=\"https://www.telegraph.co.uk/culture/film/film-news/7345843/Linda-Hamilton-life-with-James-Cameron-was-terrible-on-every-level.html\" target=\"_blank\" rel=\"noopener noreferrer\">disastrous marriage\u003c/a> seemed, at best, remote.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jCyEX6u-Yhs'\n title='//www.youtube.com/embed/jCyEX6u-Yhs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the end, Sarah Connor is a tribute to the strength and adaptability of women; a symbol of what women can and will do if their survival—and the survival of their children—is threatened. She is a female soldier in a medium that rarely represents them. And her return at a time when women's rights feel very much under assault does not feel accidental.\u003c/p>\n\u003cp>\"I know it's a foolish thing to say,\" Hamilton told \u003cem>Prevue \u003c/em>back in 1991, \"But after \u003cem>T2\u003c/em>, I don't think anything can hurt me.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She's not alone. Sarah Connor has been giving women a sense of indestructibility ever since.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "New 'Lion King' Remake is More Creative Dead End Than Circle of Life",
"title": "New 'Lion King' Remake is More Creative Dead End Than Circle of Life",
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"content": "\u003cp>The best scene in Disney's incredibly photo-realistic remake of \u003cem>The Lion King \u003c/em>features a computer-generated beetle rolling a ball of computer-generated dung across a computer-generated African landscape. It might sound mundane, but this particular ball of dung is carrying a tuft of fur from the runaway lion Simba, and its eventual discovery will renew hope that the rightful king of the savanna is alive and well. It's a funny, touching reminder that in the circle of life, every little creature and every lump of waste has an important role to play.\u003c/p>\n\u003cp>The best thing about this scene is that it's completely wordless, and it convinced me that this \u003cem>Lion King \u003c/em>would have been far better as a silent movie, one that treated its newfangled visual style as more than just a digital facelift. But that wouldn't have suited Disney's game plan: to produce an essentially risk-free remake of the 1994 animated film that remains one of its all-time greatest hits.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7TavVZMewpY\u003c/p>\n\u003cp>The \u003cem>Hamlet\u003c/em>-inspired plot is nearly identical to the original. So are Elton John's memorable songs and Tim Rice's less memorable lyrics, this time sung by a solid voice cast that includes \u003ca href=\"https://www.npr.org/2016/11/01/500225189/donald-glover-challenges-stereotypes-about-rappers-in-atlanta\" target=\"_blank\" rel=\"noopener\">Donald Glover\u003c/a>, \u003ca href=\"https://www.npr.org/2018/03/07/591457135/john-oliver-finds-humor-in-the-news-no-one-wants-to-hear-about\">John Oliver \u003c/a>and \u003ca href=\"https://www.npr.org/artists/19230778/beyonce\">Beyoncé\u003c/a>. (The soundtrack also includes a new Beyoncé song, called \"Spirit.\") The crucial difference is that, instead of the original's gorgeous hand-drawn visuals, the new movie looks and feels like live-action, an illusion achieved through a sophisticated mix of digital imagery and virtual-reality techniques.\u003c/p>\n\u003cp>The result plays like a Hollywood blockbuster disguised as a \u003cem>National Geographic\u003c/em> documentary, or perhaps the world's most expensive safari-themed karaoke video. The movie feels both overwhelmed by its technical virtuosity and shackled by its fidelity to the source material. It begins with a nearly shot-for-shot re-creation of the first film's famous opening sequence: The sun rises over the landscape; the lush, soaring melody of \"Circle of Life\" rings out; and some very persuasive-looking elephants, zebras, giraffes and other critters gather to celebrate the birth of Simba, an adorable little cub destined to succeed his father, Mufasa, as king of the Pride Lands.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As shot by the cinematographer Caleb Deschanel, it's a majestic, if redundant, sequence, a sign that we've seen this all before. Then the familiar plot kicks in, the characters start talking and singing, and your sense of wonderment may turn to confusion. The animals' lips may match their dialogue, but there's next to nothing going on behind the eyes: Who knew photo-realistic lions were this bad at emoting? You can't fault the actors: \u003ca href=\"https://www.npr.org/2019/07/18/742981841/james-earl-jones-returns-as-mufasa-in-lion-king-remake\" target=\"_blank\" rel=\"noopener\">James Earl Jones\u003c/a>, who voiced Mufasa in the earlier film, reprises that role here with his signature gravity. And \u003ca href=\"https://www.npr.org/2019/02/28/699060631/chiwetel-ejiofors-directing-debut-takes-him-to-malawi-to-capture-the-wind\" target=\"_blank\" rel=\"noopener\">Chiwetel Ejiofor \u003c/a>strikes the right note of menace as Mufasa's brother Scar, who plots to kill both father and son by luring the unsuspecting Simba down into a gorge, placing him directly in the path of a wildebeest stampede.\u003c/p>\n\u003cp>Within minutes, Mufasa is dead and a heartbroken Simba is on the run, leaving Scar and his vicious hyena allies to take over the savanna. At this point, the movie shifts abruptly into zany comedy mode, as Simba befriends the amiably loud-mouthed duo of Timon the meerkat and Pumbaa the warthog. They're voiced by \u003ca href=\"https://www.npr.org/2016/12/12/505245220/billy-eichner-makes-a-career-out-of-love-hating-celebrity-culture\" target=\"_blank\" rel=\"noopener\">Billy Eichner \u003c/a>and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=93092905\" target=\"_blank\" rel=\"noopener\">Seth Rogen\u003c/a>, and their energetic banter and their performance of that classic slacker anthem \"Hakuna Matata\"—it means \"no worries\"—give the story an undeniable lift.\u003c/p>\n\u003cp>Laughing at this movie is a lot easier than taking it seriously. Soon the grown-up Simba, now voiced by Donald Glover, is reunited with his childhood friend Nala, played by Beyoncé. But when they launch into \"Can You Feel the Love Tonight,\" not even the actors' lovely voices can bring these lions' dead-eyed come-hither expressions to life.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=civgUOommC8\u003c/p>\n\u003cp>I've never been the biggest fan of the original \u003cem>Lion King,\u003c/em> which beneath its brightly entertaining surface has always struck me as too emotionally calculated by half. But it feels like a triumph of form and content next to this movie, because its story about a fictional animal kingdom feels so vividly and gloriously cartoonish in every detail. The new \u003cem>Lion King \u003c/em>is so realistic-looking that, paradoxically, you can't believe a moment of it. And although it was directed by Jon Favreau, who previously shepherded a wild menagerie in his recent remake of \u003ca href=\"https://www.npr.org/2016/04/14/473808396/an-updated-jungle-book-deftly-juggles-wonders-and-threats\" target=\"_blank\" rel=\"noopener\">\u003cem>The Jungle Book\u003c/em>\u003c/a>, it has none of the imagination that made that movie more than just a high-tech retread.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Disney is in the midst of an ongoing campaign to update its beloved animated classics for a new generation, from the recent \u003ca href=\"https://www.npr.org/2019/03/28/706884510/dumbo-elephants-never-forget-but-audiences-will\" target=\"_blank\" rel=\"noopener\">\u003cem>Dumbo \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2019/05/23/725858212/aladdin-a-cgi-world-neither-whole-nor-new\" target=\"_blank\" rel=\"noopener\">\u003cem>Aladdin \u003c/em>\u003c/a>to upcoming versions of \u003cem>Mulan \u003c/em>and \u003ca href=\"https://www.npr.org/2019/07/09/739950750/disney-cable-channel-defends-casting-black-actress-as-new-little-mermaid\" target=\"_blank\" rel=\"noopener\">\u003cem>The Little Mermaid\u003c/em>\u003c/a>\u003cem>.\u003c/em> Some of these remakes have been more inspired than others, but few have felt quite as futile as \u003cem>The Lion King\u003c/em>. This isn't the circle of life; it's more like a creative dead end.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+%27Lion+King%27+Remake+Is+More+Creative+Dead+End+Than+Circle+Of+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Disney's 'Lion King' is so realistic-looking that, paradoxically, you can't believe a moment of it. The computer-generated blockbuster feels like the world's most expensive safari-themed karaoke video.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The best scene in Disney's incredibly photo-realistic remake of \u003cem>The Lion King \u003c/em>features a computer-generated beetle rolling a ball of computer-generated dung across a computer-generated African landscape. It might sound mundane, but this particular ball of dung is carrying a tuft of fur from the runaway lion Simba, and its eventual discovery will renew hope that the rightful king of the savanna is alive and well. It's a funny, touching reminder that in the circle of life, every little creature and every lump of waste has an important role to play.\u003c/p>\n\u003cp>The best thing about this scene is that it's completely wordless, and it convinced me that this \u003cem>Lion King \u003c/em>would have been far better as a silent movie, one that treated its newfangled visual style as more than just a digital facelift. But that wouldn't have suited Disney's game plan: to produce an essentially risk-free remake of the 1994 animated film that remains one of its all-time greatest hits.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7TavVZMewpY'\n title='//www.youtube.com/embed/7TavVZMewpY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003cem>Hamlet\u003c/em>-inspired plot is nearly identical to the original. So are Elton John's memorable songs and Tim Rice's less memorable lyrics, this time sung by a solid voice cast that includes \u003ca href=\"https://www.npr.org/2016/11/01/500225189/donald-glover-challenges-stereotypes-about-rappers-in-atlanta\" target=\"_blank\" rel=\"noopener\">Donald Glover\u003c/a>, \u003ca href=\"https://www.npr.org/2018/03/07/591457135/john-oliver-finds-humor-in-the-news-no-one-wants-to-hear-about\">John Oliver \u003c/a>and \u003ca href=\"https://www.npr.org/artists/19230778/beyonce\">Beyoncé\u003c/a>. (The soundtrack also includes a new Beyoncé song, called \"Spirit.\") The crucial difference is that, instead of the original's gorgeous hand-drawn visuals, the new movie looks and feels like live-action, an illusion achieved through a sophisticated mix of digital imagery and virtual-reality techniques.\u003c/p>\n\u003cp>The result plays like a Hollywood blockbuster disguised as a \u003cem>National Geographic\u003c/em> documentary, or perhaps the world's most expensive safari-themed karaoke video. The movie feels both overwhelmed by its technical virtuosity and shackled by its fidelity to the source material. It begins with a nearly shot-for-shot re-creation of the first film's famous opening sequence: The sun rises over the landscape; the lush, soaring melody of \"Circle of Life\" rings out; and some very persuasive-looking elephants, zebras, giraffes and other critters gather to celebrate the birth of Simba, an adorable little cub destined to succeed his father, Mufasa, as king of the Pride Lands.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As shot by the cinematographer Caleb Deschanel, it's a majestic, if redundant, sequence, a sign that we've seen this all before. Then the familiar plot kicks in, the characters start talking and singing, and your sense of wonderment may turn to confusion. The animals' lips may match their dialogue, but there's next to nothing going on behind the eyes: Who knew photo-realistic lions were this bad at emoting? You can't fault the actors: \u003ca href=\"https://www.npr.org/2019/07/18/742981841/james-earl-jones-returns-as-mufasa-in-lion-king-remake\" target=\"_blank\" rel=\"noopener\">James Earl Jones\u003c/a>, who voiced Mufasa in the earlier film, reprises that role here with his signature gravity. And \u003ca href=\"https://www.npr.org/2019/02/28/699060631/chiwetel-ejiofors-directing-debut-takes-him-to-malawi-to-capture-the-wind\" target=\"_blank\" rel=\"noopener\">Chiwetel Ejiofor \u003c/a>strikes the right note of menace as Mufasa's brother Scar, who plots to kill both father and son by luring the unsuspecting Simba down into a gorge, placing him directly in the path of a wildebeest stampede.\u003c/p>\n\u003cp>Within minutes, Mufasa is dead and a heartbroken Simba is on the run, leaving Scar and his vicious hyena allies to take over the savanna. At this point, the movie shifts abruptly into zany comedy mode, as Simba befriends the amiably loud-mouthed duo of Timon the meerkat and Pumbaa the warthog. They're voiced by \u003ca href=\"https://www.npr.org/2016/12/12/505245220/billy-eichner-makes-a-career-out-of-love-hating-celebrity-culture\" target=\"_blank\" rel=\"noopener\">Billy Eichner \u003c/a>and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=93092905\" target=\"_blank\" rel=\"noopener\">Seth Rogen\u003c/a>, and their energetic banter and their performance of that classic slacker anthem \"Hakuna Matata\"—it means \"no worries\"—give the story an undeniable lift.\u003c/p>\n\u003cp>Laughing at this movie is a lot easier than taking it seriously. Soon the grown-up Simba, now voiced by Donald Glover, is reunited with his childhood friend Nala, played by Beyoncé. But when they launch into \"Can You Feel the Love Tonight,\" not even the actors' lovely voices can bring these lions' dead-eyed come-hither expressions to life.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/civgUOommC8'\n title='//www.youtube.com/embed/civgUOommC8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I've never been the biggest fan of the original \u003cem>Lion King,\u003c/em> which beneath its brightly entertaining surface has always struck me as too emotionally calculated by half. But it feels like a triumph of form and content next to this movie, because its story about a fictional animal kingdom feels so vividly and gloriously cartoonish in every detail. The new \u003cem>Lion King \u003c/em>is so realistic-looking that, paradoxically, you can't believe a moment of it. And although it was directed by Jon Favreau, who previously shepherded a wild menagerie in his recent remake of \u003ca href=\"https://www.npr.org/2016/04/14/473808396/an-updated-jungle-book-deftly-juggles-wonders-and-threats\" target=\"_blank\" rel=\"noopener\">\u003cem>The Jungle Book\u003c/em>\u003c/a>, it has none of the imagination that made that movie more than just a high-tech retread.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Disney is in the midst of an ongoing campaign to update its beloved animated classics for a new generation, from the recent \u003ca href=\"https://www.npr.org/2019/03/28/706884510/dumbo-elephants-never-forget-but-audiences-will\" target=\"_blank\" rel=\"noopener\">\u003cem>Dumbo \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2019/05/23/725858212/aladdin-a-cgi-world-neither-whole-nor-new\" target=\"_blank\" rel=\"noopener\">\u003cem>Aladdin \u003c/em>\u003c/a>to upcoming versions of \u003cem>Mulan \u003c/em>and \u003ca href=\"https://www.npr.org/2019/07/09/739950750/disney-cable-channel-defends-casting-black-actress-as-new-little-mermaid\" target=\"_blank\" rel=\"noopener\">\u003cem>The Little Mermaid\u003c/em>\u003c/a>\u003cem>.\u003c/em> Some of these remakes have been more inspired than others, but few have felt quite as futile as \u003cem>The Lion King\u003c/em>. This isn't the circle of life; it's more like a creative dead end.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+%27Lion+King%27+Remake+Is+More+Creative+Dead+End+Than+Circle+Of+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Watch Taylor Swift and Jennifer Hudson Being Annoyingly Earnest About 'Cats'",
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"content": "\u003cp>What do you think of when you think of the Andrew Lloyd Webber musical, \u003ca href=\"https://www.andrewlloydwebber.com/show/cats/\">\u003cem>Cats\u003c/em>\u003c/a>? Large wigs and fur coats of questionable origin? The overwrought balladry of \"\u003ca href=\"https://www.youtube.com/watch?v=4-L6rEm0rnY\" target=\"_blank\" rel=\"noopener\">Memory\u003c/a>\"? Jazz hands with claws?\u003c/p>\n\u003cp>For fans of Taylor Swift, Jennifer Hudson and Jason Derulo, right now \u003cem>Cats\u003c/em> means one thing only: the brand \u003ca href=\"https://www.imdb.com/title/tt5697572/fullcredits/?ref_=tt_ov_st_sm\" target=\"_blank\" rel=\"noopener\">new movie adaptation\u003c/a> due out later this year, also starring Idris Elba, Rebel Wilson, Dame Judi Dench and (yes, really) James Corden.\u003c/p>\n\u003cp>Sounds pretty cool, right? Well, it \u003cem>kind of\u003c/em> did until we saw the serious-to-the-point-of-obnoxious behind-the-scenes clip below. \"Everyone's working really long hours, rehearsing everyday and it's... fun,\" Taylor Swift says in an entirely un-fun way. \"It's just so much fun to play in,\" Rebel Wilson says, sounding the most somber she has ever sounded. Then, after a meditative moment dedicated to the wonders of \"digital fur,\" James Corden utters the immortal words: \"These are people but they're cats and this is kind of blowing my mind.\"\u003c/p>\n\u003cp>Before you watch this three and half minutes of pretentious pondering, we'll remind you that all of these people are talking about a musical in which they play actual cats named things like Rum Tum Tugger, Jennyanydots and Growltiger. These interviews are so close to parody, if Christopher Guest popped up halfway through, it wouldn't be all that surprising.\u003c/p>\n\u003cp>https://twitter.com/catsmovie/status/1151506845489479683\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Update:\u003c/strong> The first trailer has arrived. Make of it what you will...\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/universaluk/status/1151960883343581188\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What do you think of when you think of the Andrew Lloyd Webber musical, \u003ca href=\"https://www.andrewlloydwebber.com/show/cats/\">\u003cem>Cats\u003c/em>\u003c/a>? Large wigs and fur coats of questionable origin? The overwrought balladry of \"\u003ca href=\"https://www.youtube.com/watch?v=4-L6rEm0rnY\" target=\"_blank\" rel=\"noopener\">Memory\u003c/a>\"? Jazz hands with claws?\u003c/p>\n\u003cp>For fans of Taylor Swift, Jennifer Hudson and Jason Derulo, right now \u003cem>Cats\u003c/em> means one thing only: the brand \u003ca href=\"https://www.imdb.com/title/tt5697572/fullcredits/?ref_=tt_ov_st_sm\" target=\"_blank\" rel=\"noopener\">new movie adaptation\u003c/a> due out later this year, also starring Idris Elba, Rebel Wilson, Dame Judi Dench and (yes, really) James Corden.\u003c/p>\n\u003cp>Sounds pretty cool, right? Well, it \u003cem>kind of\u003c/em> did until we saw the serious-to-the-point-of-obnoxious behind-the-scenes clip below. \"Everyone's working really long hours, rehearsing everyday and it's... fun,\" Taylor Swift says in an entirely un-fun way. \"It's just so much fun to play in,\" Rebel Wilson says, sounding the most somber she has ever sounded. Then, after a meditative moment dedicated to the wonders of \"digital fur,\" James Corden utters the immortal words: \"These are people but they're cats and this is kind of blowing my mind.\"\u003c/p>\n\u003cp>Before you watch this three and half minutes of pretentious pondering, we'll remind you that all of these people are talking about a musical in which they play actual cats named things like Rum Tum Tugger, Jennyanydots and Growltiger. These interviews are so close to parody, if Christopher Guest popped up halfway through, it wouldn't be all that surprising.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Update:\u003c/strong> The first trailer has arrived. Make of it what you will...\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>",
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"disqusTitle": "'The Lion King' Had The Perfect Villain Song. This Time, 'Be Prepared' For Less",
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"content": "\u003cp>I have seen the new \u003cem>The Lion King\u003c/em>. \u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener\">\u003cem>Pop Culture Happy Hour\u003c/em>\u003c/a> is devoting a whole show to it this week, so I won't get into a full review here, but just know that, when it comes to one specific aspect of the new film—the one aspect about which I cared most keenly, most deeply, most intensely—the news is not \u003cem>senSAAYtional\u003c/em>. It's anything but, in fact.\u003c/p>\n\u003cp>I refer here to \"Be Prepared,\" the very best song on a soundtrack that does not suffer for good songs. It is the villain Scar's anthem—his pitch to the pack of hyenas to help him effect \"the coup of the century.\"\u003c/p>\n\u003cp>Here's\u003ca href=\"http://click.et.npr.org/?qs=35be6f6dee4907efefb09f27cac178ee78af0eabe6602b9c42477690de9361bf9d4f020545135bc6ab396586560f1c1c3471c8db0fafded9\" target=\"_blank\" rel=\"noopener\"> the original version\u003c/a>. Go ahead, click. Treat yourself. Make your day better. Then come back, I'll still be here. ...\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zPUe7O3ODHQ\u003c/p>\n\u003cp>Hi again. So that was pretty great, right? The animation so expressive, so imaginative, so dynamic, so fluid? And the vocal performance, by noted non-singer Jeremy Irons, remains just as show-stopping as ever, for one very specific reason: It's such a pure expression of the character.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Irons' Scar was theatrically sly, performatively unctuous, luxuriously fey. He reveled in his haughtiness, his condescending wit, his sneering contempt for those lesser than he. He not only embraced his status as Other, he wore it like a Bob Mackie gown. He was, in other words, not merely villainous, nor anything so mundane as simply evil. No, he was more fun than that: He was \u003cem>wicked\u003c/em>.\u003c/p>\n\u003cp>Now, there's a long cinematic tradition of talk-singing in musical comedies. Rex Harrison and Richard Harris famously barked and yipped their way through \u003cem>My Fair Lady\u003c/em> and \u003cem>Camelot\u003c/em>, respectively. It's an effective technique, and Irons could have contented himself to follow in those footsteps. Instead, he chose to impregnate every verse of \"Be Prepared\" with all the layers of characterization he was bringing to the rest of his performance. You hear it in every lyric—the sly playfulness, the sudden rage, the smug self-satisfaction, the abject delight Scar is taking in his own skullduggery. It's why Irons' \"Be Prepared\" became, and remains, indelible, even iconic.\u003c/p>\n\u003cp>Cut to 2019.\u003c/p>\n\u003cp>The first thing you gotta know is that there were rumors that the new film had cut \"Be Prepared\" to make room for new (and thus, Oscar-eligible) songs. I, for one,\u003ca href=\"http://click.et.npr.org/?qs=35be6f6dee4907ef53f9e1aaf11e3695ac30f20bb87106bc054f376f44b2db39450ef690859d92dae79861b198682cd2e0ad932d588e758b\" target=\"_blank\" rel=\"noopener\"> was prepared to storm whatever barricades necessary in protest\u003c/a>, and I was not alone. Turns out, they didn't cut it. It's still in the movie ... sort of.\u003c/p>\n\u003cp>What they \u003cem>did \u003c/em>do was \u003ca href=\"https://www.youtube.com/watch?v=kLQ6SRH90s4\" target=\"_blank\" rel=\"noopener\">cut it down\u003c/a>. \u003cem>Waaaay \u003c/em>down. From nine verses to four, from three minutes to just over one. The new orchestration is almost unrecognizable: Scar's backup hyenas no longer join in with that lusty, insistent \"Hummmm / hummmmm / Hummmmm\" you feel in your chest—they instead chant \"Be prepared / Be prepared / Be prepared\" in 4/4 march time; it's what it would sound like if the Boy Scouts imposed martial law. There's a rejiggered spoken-word intro, to more fully engage the new film's hyenas vs. lions subplot, that turns Scar from a sneering despot spitting vitriol at his subjects (\"\u003cem>Thick\u003c/em> as you are, \u003cem>pay attention\u003c/em>!\") to a mere feckless politician attempting to sway a potential ally (\"My vision is clear and wide-ranging / And even encompasses you\"). This utter lack of mustache-twirling is a loss—a big one.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=4&v=kLQ6SRH90s4\u003c/p>\n\u003cp>And look, I like Chiwetel Ejiofor. He can play a great bad guy—check him out in Joss Whedon's \u003cem>Serenity \u003c/em>some time, if you haven't. But his Scar is merely, mundanely evil, and his emotional switch just flips from Off to Boiling Rage, while Irons' Scar spent every moment adjusting his dimmer. Musically, non-singer Ejiofor talk-sings his way through the song, only intermittently attempting to hold a note any longer than you'd hold a hot coal.\u003c/p>\n\u003cp>But the unkindest cut, dear reader? Is that by eliminating all but the very last verse of the original version, the new film's Scar never gets to tell the hyenas—and by extension, us—to \"prepare for senSAAYtional news.\" Sure, maybe he couldn't have put the same English on that legendary line-reading that Irons did (reader, he couldn't have) but it would have been interesting to see him at least try.\u003c/p>\n\u003cp>Did this all bum you out? I didn't mean to. The new film does have some things to recommend it, which we'll talk about on the show. But my purpose in giving you a heads up vis-a-vis Scar's anthem was simple: service journalism. Odds are you're gonna see this new \u003cem>Lion King\u003c/em>, so you should go into it clear-eyed. Manage your expectations. Adjust your parameters.\u003c/p>\n\u003cp>Be prepared.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This essay was originally published in the \u003c/em>Pop Culture Happy Hour\u003cem> newsletter, edited by Patrick Jarenwattananon. \u003c/em>\u003ca href=\"https://www.npr.org/newsletters/\">\u003cem>Subscribe to NPR newsletters here\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Lion+King%27+Had+The+Perfect+Villain+Song.+This+Time%2C+%27Be+Prepared%27+For+Less&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "We know it sounds sordid, but there's something missing in the 2019 version of Scar's bad-guy anthem—and it's the very thing that made the mustache-twirling original so iconic.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I have seen the new \u003cem>The Lion King\u003c/em>. \u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener\">\u003cem>Pop Culture Happy Hour\u003c/em>\u003c/a> is devoting a whole show to it this week, so I won't get into a full review here, but just know that, when it comes to one specific aspect of the new film—the one aspect about which I cared most keenly, most deeply, most intensely—the news is not \u003cem>senSAAYtional\u003c/em>. It's anything but, in fact.\u003c/p>\n\u003cp>I refer here to \"Be Prepared,\" the very best song on a soundtrack that does not suffer for good songs. It is the villain Scar's anthem—his pitch to the pack of hyenas to help him effect \"the coup of the century.\"\u003c/p>\n\u003cp>Here's\u003ca href=\"http://click.et.npr.org/?qs=35be6f6dee4907efefb09f27cac178ee78af0eabe6602b9c42477690de9361bf9d4f020545135bc6ab396586560f1c1c3471c8db0fafded9\" target=\"_blank\" rel=\"noopener\"> the original version\u003c/a>. Go ahead, click. Treat yourself. Make your day better. Then come back, I'll still be here. ...\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zPUe7O3ODHQ'\n title='//www.youtube.com/embed/zPUe7O3ODHQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hi again. So that was pretty great, right? The animation so expressive, so imaginative, so dynamic, so fluid? And the vocal performance, by noted non-singer Jeremy Irons, remains just as show-stopping as ever, for one very specific reason: It's such a pure expression of the character.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Irons' Scar was theatrically sly, performatively unctuous, luxuriously fey. He reveled in his haughtiness, his condescending wit, his sneering contempt for those lesser than he. He not only embraced his status as Other, he wore it like a Bob Mackie gown. He was, in other words, not merely villainous, nor anything so mundane as simply evil. No, he was more fun than that: He was \u003cem>wicked\u003c/em>.\u003c/p>\n\u003cp>Now, there's a long cinematic tradition of talk-singing in musical comedies. Rex Harrison and Richard Harris famously barked and yipped their way through \u003cem>My Fair Lady\u003c/em> and \u003cem>Camelot\u003c/em>, respectively. It's an effective technique, and Irons could have contented himself to follow in those footsteps. Instead, he chose to impregnate every verse of \"Be Prepared\" with all the layers of characterization he was bringing to the rest of his performance. You hear it in every lyric—the sly playfulness, the sudden rage, the smug self-satisfaction, the abject delight Scar is taking in his own skullduggery. It's why Irons' \"Be Prepared\" became, and remains, indelible, even iconic.\u003c/p>\n\u003cp>Cut to 2019.\u003c/p>\n\u003cp>The first thing you gotta know is that there were rumors that the new film had cut \"Be Prepared\" to make room for new (and thus, Oscar-eligible) songs. I, for one,\u003ca href=\"http://click.et.npr.org/?qs=35be6f6dee4907ef53f9e1aaf11e3695ac30f20bb87106bc054f376f44b2db39450ef690859d92dae79861b198682cd2e0ad932d588e758b\" target=\"_blank\" rel=\"noopener\"> was prepared to storm whatever barricades necessary in protest\u003c/a>, and I was not alone. Turns out, they didn't cut it. It's still in the movie ... sort of.\u003c/p>\n\u003cp>What they \u003cem>did \u003c/em>do was \u003ca href=\"https://www.youtube.com/watch?v=kLQ6SRH90s4\" target=\"_blank\" rel=\"noopener\">cut it down\u003c/a>. \u003cem>Waaaay \u003c/em>down. From nine verses to four, from three minutes to just over one. The new orchestration is almost unrecognizable: Scar's backup hyenas no longer join in with that lusty, insistent \"Hummmm / hummmmm / Hummmmm\" you feel in your chest—they instead chant \"Be prepared / Be prepared / Be prepared\" in 4/4 march time; it's what it would sound like if the Boy Scouts imposed martial law. There's a rejiggered spoken-word intro, to more fully engage the new film's hyenas vs. lions subplot, that turns Scar from a sneering despot spitting vitriol at his subjects (\"\u003cem>Thick\u003c/em> as you are, \u003cem>pay attention\u003c/em>!\") to a mere feckless politician attempting to sway a potential ally (\"My vision is clear and wide-ranging / And even encompasses you\"). This utter lack of mustache-twirling is a loss—a big one.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kLQ6SRH90s4'\n title='//www.youtube.com/embed/kLQ6SRH90s4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And look, I like Chiwetel Ejiofor. He can play a great bad guy—check him out in Joss Whedon's \u003cem>Serenity \u003c/em>some time, if you haven't. But his Scar is merely, mundanely evil, and his emotional switch just flips from Off to Boiling Rage, while Irons' Scar spent every moment adjusting his dimmer. Musically, non-singer Ejiofor talk-sings his way through the song, only intermittently attempting to hold a note any longer than you'd hold a hot coal.\u003c/p>\n\u003cp>But the unkindest cut, dear reader? Is that by eliminating all but the very last verse of the original version, the new film's Scar never gets to tell the hyenas—and by extension, us—to \"prepare for senSAAYtional news.\" Sure, maybe he couldn't have put the same English on that legendary line-reading that Irons did (reader, he couldn't have) but it would have been interesting to see him at least try.\u003c/p>\n\u003cp>Did this all bum you out? I didn't mean to. The new film does have some things to recommend it, which we'll talk about on the show. But my purpose in giving you a heads up vis-a-vis Scar's anthem was simple: service journalism. Odds are you're gonna see this new \u003cem>Lion King\u003c/em>, so you should go into it clear-eyed. Manage your expectations. Adjust your parameters.\u003c/p>\n\u003cp>Be prepared.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This essay was originally published in the \u003c/em>Pop Culture Happy Hour\u003cem> newsletter, edited by Patrick Jarenwattananon. \u003c/em>\u003ca href=\"https://www.npr.org/newsletters/\">\u003cem>Subscribe to NPR newsletters here\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Lion+King%27+Had+The+Perfect+Villain+Song.+This+Time%2C+%27Be+Prepared%27+For+Less&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Before 'Hustlers': How Pole Dancing Broke Into the Mainstream",
"title": "Before 'Hustlers': How Pole Dancing Broke Into the Mainstream",
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"content": "\u003cp>In \u003cem>Crazy Stupid Love\u003c/em>, Ryan Gosling, playing a know-it-all lothario, shares an opinion. \"We won the sex war,\" he says, \"after women started doing pole dancing for exercise.”\u003c/p>\n\u003cp>Finding pop-culture examples of pole dancing being stigmatized is not a struggle. Comedians like \u003ca href=\"https://www.youtube.com/watch?v=Vqg8-qCXKz8\">Chris Rock\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=gt_s0qeRdkw\">Joe Rogan\u003c/a> and \u003ca href=\"https://titsandsass.com/category/tina-fey-hates-sex-workers/\">Tina Fey\u003c/a> have indulged in various degrees of stripper shaming, and stereotypes about the rough and ready lives of dancers have long been a staple of cop shows and movies like \u003cem>I Know Who Killed Me\u003c/em>, \u003cem>Powder Blue\u003c/em> and \u003cem>The Wrestler\u003c/em>.\u003c/p>\n\u003cp>\"Traditionally, portrayals of dancers are either women who are drug-addicted, or who obviously have major daddy issues,\" Nicki [not her real name] a San Francisco dancer, says.\u003c/p>\n\u003cp>But the gulf between representations of pole dancers and reality has narrowed in recent years, thanks in part to the 2008 founding of the \u003ca href=\"http://www.polesports.org/\">International Pole Sports Federation\u003c/a>—an organization set up to standardize rules around competitive pole dancing, and lobby to include pole sports in the Olympics. Its existence has allowed pole dancing the relatively new luxury of being seen as a legitimate skill.\u003c/p>\n\u003cp>That skill is something that Nicki knows firsthand. \"The women I've had the pleasure of working with over the years are all incredible,\" she says. \"This job can make you feel invincible.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Amanda Ortiz echoes the sentiment. After getting a job on the front desk at fitness center \u003ca href=\"https://sfpoleanddance.com/\">San Francisco Pole and Dance\u003c/a> a year ago, Ortiz, a PhD. student, fell in love with pole dancing. \"It was during a rough time in my life and I saw the effects pole dancing had on women and men of all backgrounds,\" she says.\u003c/p>\n\u003cp>Ortiz estimates that everyone who tries a class leaves with much more respect for those who dance professionally.\u003c/p>\n\u003cp>\"It is probably some of the hardest work ever,\" she says, \"and the best teachers are always current or former strippers. Everyone here is funny, kind and encouraging. I do think that the stigma is reducing.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lw-kllxaNAI\u003c/p>\n\u003cp>Still others have mixed feelings about pole dancing going mainstream. Alexis Brooks danced in strip clubs for 13 years, stopping only after the combination of sky-high heels and a slippery tile floor at work caused her to break an ankle. She says that pole dancing on a sporting stage can give people unrealistic expectations: \"People have to realize that nine times out of ten, they aren't going to see that level of pole dancing at the club. We don't have trainers and hours to perfect our moves.\"\u003c/p>\n\u003cp>Brooks is happy, however, to see more variety in popular depictions of pole dancing. \"Traditionally, we're seen as either super glamorous and raking in the dough, or at rock bottom,\" she says. \"The reality is somewhere in between.\"\u003c/p>\n\u003cp>Cardi B's NSFW \"Money\" video, then, might be the closest that mainstream culture has come to accurate commentary on the lives of pole dancers. In it, she honors her own past working in strip clubs—a job she says \u003ca href=\"https://www.youtube.com/watch?v=vzfcNl-o9bI\">saved her\u003c/a> from a \"boyfriend who was beating my ass\"—presenting it as serious work with major financial benefits. \"People want me to be so full of shame that I used to dance,\" Cardi \u003ca href=\"https://www.theguardian.com/music/2017/dec/01/how-cardi-b-went-from-stripper-to-star\">told \u003cem>The Guardian\u003c/em>\u003c/a> in 2017. \"I learned a lot. I would never be ashamed of it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zUOh09GoQgk\u003c/p>\n\u003cp>Indeed, the shift in the public perception of pole dancing has been most visible in music videos. While early on, artists like like Dr. Dre and Snoop Dogg used pole dancing as a \u003ca href=\"https://www.youtube.com/watch?v=QZXc39hT8t4\" target=\"_blank\" rel=\"noopener\">means for objectification\u003c/a>, within a decade it was socially acceptable enough for the decidedly non-edgy Enrique Iglesias to include in his video for \"\u003ca href=\"https://www.youtube.com/watch?v=vHJAUuicC0Q\">Dirty Dancer\u003c/a>.\" In 2013, Bruno Mars put pole dancing at the center of a love triangle in the \"\u003ca href=\"https://www.youtube.com/watch?v=AHDtXqjgEj4\">Gorilla\u003c/a>\" video, and, a year later, \u003ca href=\"https://www.youtube.com/watch?v=Fk1ZO_980DI\">Ne-Yo\u003c/a> put dancers in mundane, everyday settings as a suggestion that it was something even middle-aged housewives and mousey librarians could enjoy.\u003c/p>\n\u003cp>Then came Rihanna and Beyoncé including poles in their respective videos for \"\u003ca href=\"https://www.youtube.com/watch?v=ehcVomMexkY\">Pour It Up\u003c/a>\" and \"\u003ca href=\"https://www.youtube.com/watch?v=pZ12_E5R3qc\">Partition\u003c/a>,\" and ideas shifted about just who pole dancing was for. Their reframing of pole dancing, from entertainment for men to empowerment for women, not only opened doors for Cardi B but others—FKA Twigs recently used it to literally elevate her contemporary artistry to new, trippy heights.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YkLjqFpBh84&t=111s\u003c/p>\n\u003cp>Reality TV, too, has done a lot to normalize pole dancing. HBO's \u003ca href=\"https://en.wikipedia.org/wiki/G_String_Divas\">\u003cem>G String Divas\u003c/em>\u003c/a> started to de-stigmatize the job back in 2000, and today, \u003ca href=\"https://www.youtube.com/watch?v=TD-VzLfHZXQ\">\u003cem>Beyond The Pole\u003c/em>\u003c/a> shows the every day lives of professional dancers in Atlanta.\u003c/p>\n\u003cp>But it's \u003cem>Keeping Up With The Kardashians \u003c/em>that did the most to take pole dancing mainstream. When 2007's Season 1 first showed a pole in Kris and Bruce's bedroom, it seemed risqué and over-the-top. When then-tweens Kendall and Kylie played on it—prompting Robin Antin to tell Kylie she was a \"future Pussycat Doll\"—it simultaneously caused a mountain of controversy and somehow made a pole at home seem somewhat mundane. By 2014, Kris, Kim and their friends were taking a \u003ca href=\"https://www.youtube.com/watch?v=0Gqb7ECJnoA\">pole dancing class\u003c/a> on the show together—a relatively new form of exercise that has since boomed in popularity.\u003c/p>\n\u003cp>The pinnacle of pole dancing's mainstream acceptance arrives September 13 with the movie \u003cem>Hustlers\u003c/em>, starring Jennifer Lopez, Constance Wu and Cardi B as a group of strip club employees banding together to \"turn the tables on their Wall Street clients.\" The movie, based on a \u003ca href=\"https://www.thecut.com/2015/12/robin-hood-strippers-scores-c-v-r.html#_ga=2.96829916.2122431926.1556836402-1366781981.1518059390\">\u003cem>New York Magazine\u003c/em> article\u003c/a> about real-life dancers who swindled their richest clients out of thousands of dollars, is something that Nicki, the dancer from San Francisco, looks forward to seeing.\u003c/p>\n\u003cp>\"Pole dancing really is an art form when it's done well,\" she says. \"It is getting easier to see that dancing isn't just some seedy, taboo thing, as more women in the spotlight are embracing it.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>She pauses, thinks about her request for anonymity, and adds: \"When we get to the point where I can use my real name in an article like this, \u003cem>that\u003c/em> will really be something.\"\u003c/p>\n\n",
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"excerpt": "Before pole dancing hits the big screen in 'Hustlers,' we ask professionals and amateurs alike their views on the strip club staple going mainstream.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003cem>Crazy Stupid Love\u003c/em>, Ryan Gosling, playing a know-it-all lothario, shares an opinion. \"We won the sex war,\" he says, \"after women started doing pole dancing for exercise.”\u003c/p>\n\u003cp>Finding pop-culture examples of pole dancing being stigmatized is not a struggle. Comedians like \u003ca href=\"https://www.youtube.com/watch?v=Vqg8-qCXKz8\">Chris Rock\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=gt_s0qeRdkw\">Joe Rogan\u003c/a> and \u003ca href=\"https://titsandsass.com/category/tina-fey-hates-sex-workers/\">Tina Fey\u003c/a> have indulged in various degrees of stripper shaming, and stereotypes about the rough and ready lives of dancers have long been a staple of cop shows and movies like \u003cem>I Know Who Killed Me\u003c/em>, \u003cem>Powder Blue\u003c/em> and \u003cem>The Wrestler\u003c/em>.\u003c/p>\n\u003cp>\"Traditionally, portrayals of dancers are either women who are drug-addicted, or who obviously have major daddy issues,\" Nicki [not her real name] a San Francisco dancer, says.\u003c/p>\n\u003cp>But the gulf between representations of pole dancers and reality has narrowed in recent years, thanks in part to the 2008 founding of the \u003ca href=\"http://www.polesports.org/\">International Pole Sports Federation\u003c/a>—an organization set up to standardize rules around competitive pole dancing, and lobby to include pole sports in the Olympics. Its existence has allowed pole dancing the relatively new luxury of being seen as a legitimate skill.\u003c/p>\n\u003cp>That skill is something that Nicki knows firsthand. \"The women I've had the pleasure of working with over the years are all incredible,\" she says. \"This job can make you feel invincible.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Amanda Ortiz echoes the sentiment. After getting a job on the front desk at fitness center \u003ca href=\"https://sfpoleanddance.com/\">San Francisco Pole and Dance\u003c/a> a year ago, Ortiz, a PhD. student, fell in love with pole dancing. \"It was during a rough time in my life and I saw the effects pole dancing had on women and men of all backgrounds,\" she says.\u003c/p>\n\u003cp>Ortiz estimates that everyone who tries a class leaves with much more respect for those who dance professionally.\u003c/p>\n\u003cp>\"It is probably some of the hardest work ever,\" she says, \"and the best teachers are always current or former strippers. Everyone here is funny, kind and encouraging. I do think that the stigma is reducing.\"\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lw-kllxaNAI'\n title='//www.youtube.com/embed/lw-kllxaNAI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Still others have mixed feelings about pole dancing going mainstream. Alexis Brooks danced in strip clubs for 13 years, stopping only after the combination of sky-high heels and a slippery tile floor at work caused her to break an ankle. She says that pole dancing on a sporting stage can give people unrealistic expectations: \"People have to realize that nine times out of ten, they aren't going to see that level of pole dancing at the club. We don't have trainers and hours to perfect our moves.\"\u003c/p>\n\u003cp>Brooks is happy, however, to see more variety in popular depictions of pole dancing. \"Traditionally, we're seen as either super glamorous and raking in the dough, or at rock bottom,\" she says. \"The reality is somewhere in between.\"\u003c/p>\n\u003cp>Cardi B's NSFW \"Money\" video, then, might be the closest that mainstream culture has come to accurate commentary on the lives of pole dancers. In it, she honors her own past working in strip clubs—a job she says \u003ca href=\"https://www.youtube.com/watch?v=vzfcNl-o9bI\">saved her\u003c/a> from a \"boyfriend who was beating my ass\"—presenting it as serious work with major financial benefits. \"People want me to be so full of shame that I used to dance,\" Cardi \u003ca href=\"https://www.theguardian.com/music/2017/dec/01/how-cardi-b-went-from-stripper-to-star\">told \u003cem>The Guardian\u003c/em>\u003c/a> in 2017. \"I learned a lot. I would never be ashamed of it.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zUOh09GoQgk'\n title='//www.youtube.com/embed/zUOh09GoQgk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Indeed, the shift in the public perception of pole dancing has been most visible in music videos. While early on, artists like like Dr. Dre and Snoop Dogg used pole dancing as a \u003ca href=\"https://www.youtube.com/watch?v=QZXc39hT8t4\" target=\"_blank\" rel=\"noopener\">means for objectification\u003c/a>, within a decade it was socially acceptable enough for the decidedly non-edgy Enrique Iglesias to include in his video for \"\u003ca href=\"https://www.youtube.com/watch?v=vHJAUuicC0Q\">Dirty Dancer\u003c/a>.\" In 2013, Bruno Mars put pole dancing at the center of a love triangle in the \"\u003ca href=\"https://www.youtube.com/watch?v=AHDtXqjgEj4\">Gorilla\u003c/a>\" video, and, a year later, \u003ca href=\"https://www.youtube.com/watch?v=Fk1ZO_980DI\">Ne-Yo\u003c/a> put dancers in mundane, everyday settings as a suggestion that it was something even middle-aged housewives and mousey librarians could enjoy.\u003c/p>\n\u003cp>Then came Rihanna and Beyoncé including poles in their respective videos for \"\u003ca href=\"https://www.youtube.com/watch?v=ehcVomMexkY\">Pour It Up\u003c/a>\" and \"\u003ca href=\"https://www.youtube.com/watch?v=pZ12_E5R3qc\">Partition\u003c/a>,\" and ideas shifted about just who pole dancing was for. Their reframing of pole dancing, from entertainment for men to empowerment for women, not only opened doors for Cardi B but others—FKA Twigs recently used it to literally elevate her contemporary artistry to new, trippy heights.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YkLjqFpBh84'\n title='//www.youtube.com/embed/YkLjqFpBh84'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Reality TV, too, has done a lot to normalize pole dancing. HBO's \u003ca href=\"https://en.wikipedia.org/wiki/G_String_Divas\">\u003cem>G String Divas\u003c/em>\u003c/a> started to de-stigmatize the job back in 2000, and today, \u003ca href=\"https://www.youtube.com/watch?v=TD-VzLfHZXQ\">\u003cem>Beyond The Pole\u003c/em>\u003c/a> shows the every day lives of professional dancers in Atlanta.\u003c/p>\n\u003cp>But it's \u003cem>Keeping Up With The Kardashians \u003c/em>that did the most to take pole dancing mainstream. When 2007's Season 1 first showed a pole in Kris and Bruce's bedroom, it seemed risqué and over-the-top. When then-tweens Kendall and Kylie played on it—prompting Robin Antin to tell Kylie she was a \"future Pussycat Doll\"—it simultaneously caused a mountain of controversy and somehow made a pole at home seem somewhat mundane. By 2014, Kris, Kim and their friends were taking a \u003ca href=\"https://www.youtube.com/watch?v=0Gqb7ECJnoA\">pole dancing class\u003c/a> on the show together—a relatively new form of exercise that has since boomed in popularity.\u003c/p>\n\u003cp>The pinnacle of pole dancing's mainstream acceptance arrives September 13 with the movie \u003cem>Hustlers\u003c/em>, starring Jennifer Lopez, Constance Wu and Cardi B as a group of strip club employees banding together to \"turn the tables on their Wall Street clients.\" The movie, based on a \u003ca href=\"https://www.thecut.com/2015/12/robin-hood-strippers-scores-c-v-r.html#_ga=2.96829916.2122431926.1556836402-1366781981.1518059390\">\u003cem>New York Magazine\u003c/em> article\u003c/a> about real-life dancers who swindled their richest clients out of thousands of dollars, is something that Nicki, the dancer from San Francisco, looks forward to seeing.\u003c/p>\n\u003cp>\"Pole dancing really is an art form when it's done well,\" she says. \"It is getting easier to see that dancing isn't just some seedy, taboo thing, as more women in the spotlight are embracing it.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Disney Claps Back at Halle Bailey Haters Upset Over ‘Little Mermaid’ Casting",
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"content": "\u003cp>When Disney announced that Halle Bailey, a teen actress and one-half of the singing group Chloe x Halle, had landed the role of Ariel in the forthcoming live-action remake of \u003cem>The Little Mermaid, \u003c/em>some people on social media went bonkers.\u003c/p>\n\u003cp>But not over the fact that it's 2019 and the Danish fairy tale tells the story of a young female creature who loves singing and wearing a seashell bikini top and eagerly gives up her voice in exchange for a romance with a good-looking guy. Nor are critics outraged by the kind of message that narrative conveys to young children.\u003c/p>\n\u003cp>Instead, certain circles of the Internet are aghast that the ingenue cast by Disney is black.\u003c/p>\n\u003cp>https://www.instagram.com/p/Bzjo72VhdS2/?utm_source=ig_embed\u003c/p>\n\u003cp>The complaints run along the lines of: \"The actress should look like the real Little Mermaid!\" By which they presumably mean the white-skinned, blue-eyed cartoon character in the 1989 blockbuster film. The hashtag #NotMyAriel quickly began trending on Twitter, and since the announcement last week, scores of fans have pledged to boycott the film.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For days the company remained silent regarding the controversy, but Freeform, a cable network owned by Disney and on which Bailey appears as a cast member on \u003cem>Grown-ish,\u003c/em> issued a statement on Instagram clarifying that, \"Ariel...is a mermaid.\"\u003c/p>\n\u003cp>https://www.instagram.com/p/BzmMah4gw-g/?utm_source=ig_embed\u003c/p>\n\u003cp>The company concedes that the story's author, Hans Christian Andersen, is Danish but added, \"[Ariel] lives in an underwater kingdom in international waters and can legit swim wherever she wants.\"\u003c/p>\n\u003cp>The tongue-in-cheek statement continued: \"Ariel can sneak up to the surface at any time with her pals Scuttle and the *ahem* Jamaican crab Sebastian (sorry Flounder!) and keep that bronze base tight.\"\u003c/p>\n\u003cp>\"But for the sake of argument, let's say that Ariel, too, is Danish. Danish mermaids can be black because Danish *people* can be black,\" Freeform added.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Spoiler alert,\" Freeform concluded, \"the character of Ariel is a work of fiction.\"\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Disney+Cable+Channel+Defends+Casting+Black+Actress+As+New+%27Little+Mermaid%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The complaints run along the lines of: \"The actress should look like the real Little Mermaid!\" By which they presumably mean the white-skinned, blue-eyed cartoon character in the 1989 blockbuster film. The hashtag #NotMyAriel quickly began trending on Twitter, and since the announcement last week, scores of fans have pledged to boycott the film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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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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