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"content": "\u003cp>It's a genre known for screaming matches, hot-tub hookups and contestants who are there \u003cem>to win,\u003c/em> \u003cem>not\u003c/em> \u003cem>to make friends\u003c/em>. But as of late, reality television has taken a kinder, gentler turn.\u003c/p>\n\u003cp>Fire up Netflix and you'll see sweet-natured shows such as \u003cem>Queer Eye\u003c/em>, which kicked off its fourth season with a public school teacher getting an enthusiastic makeover, and a slew of food programs where people are lovely to each other. Think \u003cem>The Great British Baking Show\u003c/em>, \u003cem>Sugar Rush\u003c/em>, \u003cem>Street Food\u003c/em> and \u003cem>Nailed It!\u003c/em>, where contestants giggle with the hosts about their haplessness in decorating cakes.\u003c/p>\n\u003cp>Netflix's dating show, \u003cem>Dating Around\u003c/em>, is practically humiliation-free. And in the hit series \u003cem>Tidying Up with Marie Kondo\u003c/em>, \u003ca href=\"https://www.npr.org/2016/01/07/462230434/japanese-organizing-consultant-marie-kondo-takes-america-by-storm\">the Japanese organizing guru\u003c/a> gently guides Americans into discarding stuff that doesn't \"spark joy.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WvyeapVBLWY\u003c/p>\n\u003cp>\"We say 'spark joy' now for everything,\" says Brandon Riegg, the Netflix vice president in charge of unscripted series.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Riegg says Netflix has made heartwarming reality shows central to its brand, though that wasn't always the plan. The success of \u003cem>Queer Eye\u003c/em> and \u003cem>Nailed It! \u003c/em>convinced Netflix to double down on reality shows featuring people being kind to each other, he says. (Of course, because Netflix does not release audience numbers, we don't precisely know how successful those shows are.)\u003c/p>\n\u003cp>\"In the beginning, it wasn't an intentional strategy,\" Riegg says. \"When we decided to get into original unscripted programming, it was really a blank slate.\"\u003c/p>\n\u003cp>It should be noted that not all of Netflix's reality programming can be described as sweet. Its game show \u003cem>Flinch\u003c/em> doesn't disguise its nasty streak, and Netflix recently took heat over its upcoming \u003cem>Prank\u003c/em> \u003cem>Encounters\u003c/em>, where people working in short-term jobs are subject to hidden-camera pranks. (Netflix says the show, hosted by a teenage star of the sci-fi hit series \u003cem>Stranger Things\u003c/em>, is \"spooky, supernatural and over-the-top, and everyone had a great time.\")\u003c/p>\n\u003cp>Still, the burgeoning trend of positive reality programming has spread across the industry, according to Riegg.\u003c/p>\n\u003cp>\"Everyone's noticing that viewers are more drawn to that, that there's an appetite for that,\" he says, pointing to Fox's \u003cem>The Masked Singer\u003c/em> and NBC's \u003cem>Songland\u003c/em>. NBC is also the home of the notoriously nice crafting show \u003cem>Making It\u003c/em>, and the network may have helped to start this trend years ago, with weight-loss program \u003cem>The Biggest Loser\u003c/em>, along with ABC's \u003cem>Extreme Makeover: Home Edition \u003c/em>(which Riegg helped to develop).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pOi9OmdoxQs\u003c/p>\n\u003cp>\"As a critic and fan of reality TV, I love it,\" says Andy Dehnart, creator of the website \u003ca href=\"https://www.realityblurred.com/realitytv/\">Reality Blurred\u003c/a>. \"It makes it a lot easier to watch, to write about and just enjoy.\"\u003c/p>\n\u003cp>Dehnart points out these shows appeal to advertisers and to families looking for shows to watch together. Sunny reality shows may provide something of a counterbalance to the deeply dark scripted shows dominating TV of late: \u003cem>The Walking Dead\u003c/em>, \u003cem>Game of Thrones\u003c/em>, \u003cem>Chernobyl\u003c/em>, \u003cem>The Handmaid's Tale\u003c/em>, \u003cem>Killing Eve\u003c/em>, \u003cem>Ozark\u003c/em>, \u003cem>Better Call Saul\u003c/em>, \u003cem>Succession\u003c/em> and so on.\u003c/p>\n\u003cp>Of late, reality shows are providing a much-needed break from people being rotten to each other, says Tara Long, president of unscripted TV for Entertainment One, which produces such reality shows as \u003cem>Growing Up Hip Hop\u003c/em>, \u003cem>LadyGang\u003c/em> and \u003cem>Siesta Key\u003c/em>.\u003c/p>\n\u003cp>\"We actually have production meetings where we say we don't want fighting,\" she says. It's a profound shift from the days when the genre relied on people flipping tables for drama. \"Ten years ago, you'd need that in every episode to build up to your final act.\"\u003c/p>\n\u003cp>I asked Long if people who make reality television might be trying to change the cultural conversation after 20 years of toxic reality shows that helped—in part—elect \u003ca href=\"https://www.npr.org/2017/02/03/513194862/with-conflict-and-drama-trump-hooks-you-like-a-reality-tv-show\">a former reality show star\u003c/a> to the U.S. presidency.\u003c/p>\n\u003cp>\"A hundred percent,\" she says, without hesitation. \"I think we want to create this content and tell these stories to kind of course-correct for some of the type of shows that have been done in the past.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a moment when the tone of public discourse feels so lowered, Long says, maybe now is the time for reality television—yes, reality television—to push for civility and respect.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Riegg says Netflix has made heartwarming reality shows central to its brand, though that wasn't always the plan. The success of \u003cem>Queer Eye\u003c/em> and \u003cem>Nailed It! \u003c/em>convinced Netflix to double down on reality shows featuring people being kind to each other, he says. (Of course, because Netflix does not release audience numbers, we don't precisely know how successful those shows are.)\u003c/p>\n\u003cp>\"In the beginning, it wasn't an intentional strategy,\" Riegg says. \"When we decided to get into original unscripted programming, it was really a blank slate.\"\u003c/p>\n\u003cp>It should be noted that not all of Netflix's reality programming can be described as sweet. Its game show \u003cem>Flinch\u003c/em> doesn't disguise its nasty streak, and Netflix recently took heat over its upcoming \u003cem>Prank\u003c/em> \u003cem>Encounters\u003c/em>, where people working in short-term jobs are subject to hidden-camera pranks. (Netflix says the show, hosted by a teenage star of the sci-fi hit series \u003cem>Stranger Things\u003c/em>, is \"spooky, supernatural and over-the-top, and everyone had a great time.\")\u003c/p>\n\u003cp>Still, the burgeoning trend of positive reality programming has spread across the industry, according to Riegg.\u003c/p>\n\u003cp>\"Everyone's noticing that viewers are more drawn to that, that there's an appetite for that,\" he says, pointing to Fox's \u003cem>The Masked Singer\u003c/em> and NBC's \u003cem>Songland\u003c/em>. NBC is also the home of the notoriously nice crafting show \u003cem>Making It\u003c/em>, and the network may have helped to start this trend years ago, with weight-loss program \u003cem>The Biggest Loser\u003c/em>, along with ABC's \u003cem>Extreme Makeover: Home Edition \u003c/em>(which Riegg helped to develop).\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/pOi9OmdoxQs'\n title='//www.youtube.com/embed/pOi9OmdoxQs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"As a critic and fan of reality TV, I love it,\" says Andy Dehnart, creator of the website \u003ca href=\"https://www.realityblurred.com/realitytv/\">Reality Blurred\u003c/a>. \"It makes it a lot easier to watch, to write about and just enjoy.\"\u003c/p>\n\u003cp>Dehnart points out these shows appeal to advertisers and to families looking for shows to watch together. Sunny reality shows may provide something of a counterbalance to the deeply dark scripted shows dominating TV of late: \u003cem>The Walking Dead\u003c/em>, \u003cem>Game of Thrones\u003c/em>, \u003cem>Chernobyl\u003c/em>, \u003cem>The Handmaid's Tale\u003c/em>, \u003cem>Killing Eve\u003c/em>, \u003cem>Ozark\u003c/em>, \u003cem>Better Call Saul\u003c/em>, \u003cem>Succession\u003c/em> and so on.\u003c/p>\n\u003cp>Of late, reality shows are providing a much-needed break from people being rotten to each other, says Tara Long, president of unscripted TV for Entertainment One, which produces such reality shows as \u003cem>Growing Up Hip Hop\u003c/em>, \u003cem>LadyGang\u003c/em> and \u003cem>Siesta Key\u003c/em>.\u003c/p>\n\u003cp>\"We actually have production meetings where we say we don't want fighting,\" she says. It's a profound shift from the days when the genre relied on people flipping tables for drama. \"Ten years ago, you'd need that in every episode to build up to your final act.\"\u003c/p>\n\u003cp>I asked Long if people who make reality television might be trying to change the cultural conversation after 20 years of toxic reality shows that helped—in part—elect \u003ca href=\"https://www.npr.org/2017/02/03/513194862/with-conflict-and-drama-trump-hooks-you-like-a-reality-tv-show\">a former reality show star\u003c/a> to the U.S. presidency.\u003c/p>\n\u003cp>\"A hundred percent,\" she says, without hesitation. \"I think we want to create this content and tell these stories to kind of course-correct for some of the type of shows that have been done in the past.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a moment when the tone of public discourse feels so lowered, Long says, maybe now is the time for reality television—yes, reality television—to push for civility and respect.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. 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"content": "\u003cp>The original \u003cem>Veronica Mars \u003c/em>premiered on television 15 years ago, which, in TV terms, was a whole different era. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4531413\">David Milch\u003c/a>'s HBO series \u003cem>Deadwood\u003c/em>, which just reunited its cast for a \u003ca href=\"https://www.npr.org/2019/05/31/728586097/13-years-later-deadwood-goes-out-just-as-brilliantly-as-it-came-in\">fabulous TV movie\u003c/a>, premiered that year. So did two major hits for ABC, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=123297394\">\u003cem>Lost \u003c/em>\u003c/a>and \u003cem>Desperate Housewives. \u003c/em>And 2004 also brought us the premiere of NBC's \u003ca href=\"https://www.npr.org/2017/10/05/555949712/the-apprentice-creators-look-back\">\u003cem>The Apprentice.\u003c/em> \u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2016/07/30/487769552/kristen-bell-on-bad-moms-it-was-the-funniest-script-i-had-ever-read\">Kristen Bell\u003c/a> hit the ground running that year as Veronica Mars, an outcast high school student in the fictional beach town of Neptune, Calif. She worked part-time as an investigator for her dad's private eye firm, like a modern-day Nancy Drew—with a little bit of Sam Spade mixed in.\u003c/p>\n\u003cp>A lot of time has passed since then, and a lot has happened to Veronica. By the end of the original series, she had gone from high school to college. In the 2014 movie, she abandoned law school. And now, as the new eight-episode \u003cem>Veronica Mars \u003c/em>begins, she's on familiar ground. Back in her home town, she's again working for her dad's detective agency—and still providing her own wry narration as she comments on her life then and now.\u003c/p>\n\u003cp>This new season of \u003cem>Veronica Mars \u003c/em>was supposed to arrive on July 26, but Hulu presented a \u003cem>Mars \u003c/em>panel at the \u003ca href=\"https://www.npr.org/2019/07/19/743341846/san-diego-comic-con-is-turning-50-heres-its-origin-story\">San Diego Comic-Con\u003c/a> fan festival on July 19, which happened to be a day after Bell's 39\u003csup>th\u003c/sup> birthday. Hulu surprised the actress, and the fans—and TV critics—by unveiling the entire new season early, as a sort of birthday present. So viewers can now see all of \u003cem>Veronica Mars—\u003c/em>the tele-movie is available on HBO, and the show's first three vintage seasons, and the new fourth one, are streaming on Hulu.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gwtVHhjQDhE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The new season borrows a bit from \u003ca href=\"https://www.npr.org/2018/08/16/638614995/what-no-jaws-or-see-the-movie-skip-the-book\">\u003cem>Jaws\u003c/em>\u003c/a>, with a series of deaths threatening to close down the beach town during the summer tourist season. Except it's not a shark doing the killing—it's a serial bomber, and there are plenty of suspects to go around. The new players this season all are very strong additions: \u003ca href=\"https://www.npr.org/2017/11/27/566720304/patton-oswalt-falling-in-love-again-was-like-getting-hit-by-lightning-twice\">Patton Oswalt \u003c/a>plays a pizza deliverer and conspiracy theorist, \u003ca href=\"https://www.npr.org/2014/10/14/356140539/j-k-simmons-wont-throw-a-chair-at-your-head-but-his-character-might\">J.K. Simmons\u003c/a> plays an ex-con working for the town bigwig, and Kirby Howell-Baptiste plays a bar owner who's even tougher, and more independent, than Veronica. But the best element of this new \u003cem>Veronica Mars \u003c/em>season, by far, is the returning cast.\u003c/p>\n\u003cp>Give Bell lots of credit. She's as good with the rapid dialogue and shifting emotions here as she is with the surrealistic sarcasm of NBC's \u003ca href=\"https://www.npr.org/2018/09/28/652215005/the-good-place-gets-down-to-earth-where-it-continues-to-delight\">\u003cem>The Good Place\u003c/em>\u003c/a> or her musical numbers as Anna in Disney's \u003ca href=\"https://www.npr.org/2013/11/27/247195259/solid-frozen-puts-a-fresh-sheen-on-an-old-story\">\u003cem>Frozen\u003c/em>\u003c/a>. And while she gets to play opposite many old, familiar characters and actors—to identify them would be to ruin part of the fun—the heart of this new season comes from Veronica's interactions with two key men in her life.\u003c/p>\n\u003cp>One is Jason Dohring as Logan, who was described in the original \u003cem>Veronica Mars\u003c/em> pilot as the school's \"obligatory psychotic jackass.\" Veronica's opinion of Logan has grown significantly, and so has the character. The other prominent person in Veronica's current life is her father Keith—portrayed, as always, by Enrico Colantoni, whose playful parental byplay with his daughter is as funny and as fast as anything ever heard on \u003ca href=\"https://www.npr.org/2015/10/25/451643579/gilmore-guys-on-gilmore-girls-return\">\u003cem>The Gilmore Girls.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>There's a lot to enjoy here. The characters are drawn so deeply by creator Rob Thomas and his staff, that you truly care about them—the new ones as well as the returning favorites. And like the recent \u003cem>Deadwood \u003c/em>TV reunion movie, there's a lot more going on in this new \u003cem>Veronica Mars\u003c/em> season than mere nostalgia. The show's theme song is sung by a new artist this season, but still begins with the same telling, clear-eyed lyrics: \"We used to be friends ...\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The character of Veronica Mars doesn't have it easy in this new batch of shows, but, like the show itself, she's a survivor. \u003cem>Veronica Mars, \u003c/em>as a TV drama, has outlived UPN, been shown on the CW and HBO, and has found a new home on Hulu. And I'm betting this new, excellent season of \u003cem>Veronica Mars \u003c/em>will not be the last we'll hear from her—or see \u003cem>of \u003c/em>her.\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=%27Veronica+Mars%27+Offers+More+Than+Nostalgia%3B+She%27s+Always+Been+A+Survivor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The original \u003cem>Veronica Mars \u003c/em>premiered on television 15 years ago, which, in TV terms, was a whole different era. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4531413\">David Milch\u003c/a>'s HBO series \u003cem>Deadwood\u003c/em>, which just reunited its cast for a \u003ca href=\"https://www.npr.org/2019/05/31/728586097/13-years-later-deadwood-goes-out-just-as-brilliantly-as-it-came-in\">fabulous TV movie\u003c/a>, premiered that year. So did two major hits for ABC, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=123297394\">\u003cem>Lost \u003c/em>\u003c/a>and \u003cem>Desperate Housewives. \u003c/em>And 2004 also brought us the premiere of NBC's \u003ca href=\"https://www.npr.org/2017/10/05/555949712/the-apprentice-creators-look-back\">\u003cem>The Apprentice.\u003c/em> \u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2016/07/30/487769552/kristen-bell-on-bad-moms-it-was-the-funniest-script-i-had-ever-read\">Kristen Bell\u003c/a> hit the ground running that year as Veronica Mars, an outcast high school student in the fictional beach town of Neptune, Calif. She worked part-time as an investigator for her dad's private eye firm, like a modern-day Nancy Drew—with a little bit of Sam Spade mixed in.\u003c/p>\n\u003cp>A lot of time has passed since then, and a lot has happened to Veronica. By the end of the original series, she had gone from high school to college. In the 2014 movie, she abandoned law school. And now, as the new eight-episode \u003cem>Veronica Mars \u003c/em>begins, she's on familiar ground. Back in her home town, she's again working for her dad's detective agency—and still providing her own wry narration as she comments on her life then and now.\u003c/p>\n\u003cp>This new season of \u003cem>Veronica Mars \u003c/em>was supposed to arrive on July 26, but Hulu presented a \u003cem>Mars \u003c/em>panel at the \u003ca href=\"https://www.npr.org/2019/07/19/743341846/san-diego-comic-con-is-turning-50-heres-its-origin-story\">San Diego Comic-Con\u003c/a> fan festival on July 19, which happened to be a day after Bell's 39\u003csup>th\u003c/sup> birthday. Hulu surprised the actress, and the fans—and TV critics—by unveiling the entire new season early, as a sort of birthday present. So viewers can now see all of \u003cem>Veronica Mars—\u003c/em>the tele-movie is available on HBO, and the show's first three vintage seasons, and the new fourth one, are streaming on Hulu.\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/gwtVHhjQDhE'\n title='//www.youtube.com/embed/gwtVHhjQDhE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The new season borrows a bit from \u003ca href=\"https://www.npr.org/2018/08/16/638614995/what-no-jaws-or-see-the-movie-skip-the-book\">\u003cem>Jaws\u003c/em>\u003c/a>, with a series of deaths threatening to close down the beach town during the summer tourist season. Except it's not a shark doing the killing—it's a serial bomber, and there are plenty of suspects to go around. The new players this season all are very strong additions: \u003ca href=\"https://www.npr.org/2017/11/27/566720304/patton-oswalt-falling-in-love-again-was-like-getting-hit-by-lightning-twice\">Patton Oswalt \u003c/a>plays a pizza deliverer and conspiracy theorist, \u003ca href=\"https://www.npr.org/2014/10/14/356140539/j-k-simmons-wont-throw-a-chair-at-your-head-but-his-character-might\">J.K. Simmons\u003c/a> plays an ex-con working for the town bigwig, and Kirby Howell-Baptiste plays a bar owner who's even tougher, and more independent, than Veronica. But the best element of this new \u003cem>Veronica Mars \u003c/em>season, by far, is the returning cast.\u003c/p>\n\u003cp>Give Bell lots of credit. She's as good with the rapid dialogue and shifting emotions here as she is with the surrealistic sarcasm of NBC's \u003ca href=\"https://www.npr.org/2018/09/28/652215005/the-good-place-gets-down-to-earth-where-it-continues-to-delight\">\u003cem>The Good Place\u003c/em>\u003c/a> or her musical numbers as Anna in Disney's \u003ca href=\"https://www.npr.org/2013/11/27/247195259/solid-frozen-puts-a-fresh-sheen-on-an-old-story\">\u003cem>Frozen\u003c/em>\u003c/a>. And while she gets to play opposite many old, familiar characters and actors—to identify them would be to ruin part of the fun—the heart of this new season comes from Veronica's interactions with two key men in her life.\u003c/p>\n\u003cp>One is Jason Dohring as Logan, who was described in the original \u003cem>Veronica Mars\u003c/em> pilot as the school's \"obligatory psychotic jackass.\" Veronica's opinion of Logan has grown significantly, and so has the character. The other prominent person in Veronica's current life is her father Keith—portrayed, as always, by Enrico Colantoni, whose playful parental byplay with his daughter is as funny and as fast as anything ever heard on \u003ca href=\"https://www.npr.org/2015/10/25/451643579/gilmore-guys-on-gilmore-girls-return\">\u003cem>The Gilmore Girls.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>There's a lot to enjoy here. The characters are drawn so deeply by creator Rob Thomas and his staff, that you truly care about them—the new ones as well as the returning favorites. And like the recent \u003cem>Deadwood \u003c/em>TV reunion movie, there's a lot more going on in this new \u003cem>Veronica Mars\u003c/em> season than mere nostalgia. The show's theme song is sung by a new artist this season, but still begins with the same telling, clear-eyed lyrics: \"We used to be friends ...\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The character of Veronica Mars doesn't have it easy in this new batch of shows, but, like the show itself, she's a survivor. \u003cem>Veronica Mars, \u003c/em>as a TV drama, has outlived UPN, been shown on the CW and HBO, and has found a new home on Hulu. And I'm betting this new, excellent season of \u003cem>Veronica Mars \u003c/em>will not be the last we'll hear from her—or see \u003cem>of \u003c/em>her.\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=%27Veronica+Mars%27+Offers+More+Than+Nostalgia%3B+She%27s+Always+Been+A+Survivor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Inside the All-Black Writers Room of Netflix's 'Family Reunion'",
"title": "Inside the All-Black Writers Room of Netflix's 'Family Reunion'",
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"content": "\u003cp>In \u003cem>Family Reunion\u003c/em>, the new Netflix series, Tia Mowry-Hardrict plays Cocoa McKellan, a free-spirited mother of four and wife of a retired football player, Moz (Anthony Alabi, himself a former NFL player). The McKellans packed their bags in Seattle, Wash., and have moved to Columbus, Ga. to live with Moz's parents—including his old-fashioned mother M'Dear (Loretta Devine).\u003c/p>\n\u003cp>The family sitcom is penned entirely by black writers, and draws from the personal stories of its writers, including creator and executive producer Meg DeLoatch, who got the idea when she went to a family reunion in Georgia three years ago.\u003c/p>\n\u003cp>\"It's such a warm, lovely feeling to be surrounded by family, and—you know, it's summertime, the food is great,\" she says in an interview. \"And I remember wondering how different my life might have been if I had been able to grow up and live and work and raise my son within arm's reach of family. And so that had been marinating in the back of my mind for a while. So when Netflix came to me and asked me to do a family sitcom, I immediately thought back to: Wow, that time in my life.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J4eHcqKh-X8\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how the all-black writers room came about\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At Netflix, and their encouragement. I actually didn't set out—that wasn't what I was thinking, and I'll be honest with you: because it's never really been something I've been allowed to do, at least not with the major networks. And then when one of the execs said, \"Meg, you're going to hire an all-black room, right?\" I was like, \"I am. Yeah, I am!\"\u003c/p>\n\u003cp>And it was really, really cool to do because I wanted to genuinely share the African American experience. And there's no one experience, of course, in this country. And so to assemble a group of people that, in some ways, what we all only had in common was being black, and then we came from different walks of life, different parts of the country—it was a great way to talk and percolate and weave together the experience of one black family. ... I mean it was important to me that we have younger writers, writers that were from affluent and less affluent backgrounds, because all of that is reflected in the show.\u003c/p>\n\u003cp>\u003cstrong>On what is different about an all-black writing staff\u003c/strong>\u003c/p>\n\u003cp>Well, first of all, there's a shorthand that happens when culturally ... we've been raised a similar way. And what I think is interesting is that a lot of African American people in this country: We're only a generation or two away from the South. So that means that even if you do come up in Seattle, you're probably being raised by someone whose grandmother was somewhere in the South. And so that means that culturally, food and conversation and other touchstones, there are some common threads.\u003c/p>\n\u003cp>So that being said, nobody had to stop and explain certain things. It was sort of already understood. Whereas if I were in other rooms that weren't all-black, I might stop and say, \"OK, just so you know, a lot of black people, when they go to church, they'll wear dress hats,\" or ... whatever the topic might be. I might feel the need to stop and explain to someone what we're talking about.\u003c/p>\n\u003cp>\u003cstrong>On the family's immersion in the Southern black cultural experience\u003c/strong>\u003c/p>\n\u003cp>I think it's so important that kids be raised with an understanding of who they are culturally, and if for no other reason, for self-esteem, right. It's not to be like, \"Oh, I'm like this, so I'm different from you, or better than you, or less than you.\" It's: \"I'm like this, and this means something.\" And that there's a cultural relevance in that people have something to fall back on.\u003c/p>\n\u003cp>I was raised in a very integrated environment. And what that meant was that I felt good about being a young African American girl and having friends who weren't African American. And if you're not in touch with your culture, sometimes there are small things that might make you feel less-than, whether it's the way your hair curls or the fact that you're just different from your friends. So I wanted to get into that and say: It's cool to integrate, even to assimilate—but it's only cool if you know who you are and where you come from.\u003c/p>\n\u003cp>\u003cstrong>On the issues of identity around the light-skinned teenage character Jade\u003c/strong>\u003c/p>\n\u003cp>You know, that's the reality for a lot of people. And it can come from both sides of the spectrum depending on where you fall, color-wise. And it's one of the things in our community that we contend with. And there's nothing wrong with it. It's just—let's talk about it. Let's get to the root of it. And then at the end of the day, let's acknowledge while we may sometimes look different, we are not different and we're all beautiful.\u003c/p>\n\u003cp>\u003cstrong>On the scene where Jade is confronted by a group of girls because she doesn't know who the Black Panthers are\u003c/strong>\u003c/p>\n\u003cp>It was really important to me. ... I call them my \"woke mean girl\" crew ... because you know, high school is high school, and often girls are not very nice to each other. But I thought it would be really interesting if they were coming at her and weren't being kind to her because they felt like she was not \"awake\" and \"woke.\" And so that there was more to their cattiness than just \"we're teenage girls and we don't like each other.\" Their constant prodding with Jade is encouraging her to know her history, to appreciate where she comes from, and therefore to own all that she is. And ultimately they get her there. It's just not the nicest way possible.\u003c/p>\n\u003cfigure id=\"attachment_112891\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-112891\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-800x600.jpg\" alt=\"'Family Reunion' Executive Producer Meg DeLoatch is a veteran of family sitcoms like 'Family Matters,' 'One on One' and 'Fuller House.'\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">'Family Reunion' Executive Producer Meg DeLoatch is a veteran of family sitcoms like 'Family Matters,' 'One on One' and 'Fuller House.' \u003ccite>(Rachel Murray/Getty Images for Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On if she thinks Hollywood is having a moment for diverse cultural experiences in storytelling\u003c/strong>\u003c/p>\n\u003cp>I do. And let me say first: I hope it lasts. Because it happens every now and then where culturally, everybody will get into diversity, and then it kind of goes away. But it does feel different this time. And I am optimistic that it lasts. It is an awesome time to be a woman of color and a storyteller in Hollywood, because people want to hear our stories. And it hasn't always been that way. ...\u003c/p>\n\u003cp>And you know, everybody's experience is different. Maybe someone would argue with me about that. But I really—from just the sheer number of shows and movies and things out there that are telling different parts of the black experience, the Latin experience, etc., I feel that the industry is more open than it's ever been since I started working in it 20 years ago.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Jordan Tobias, Sophia Alvarez Boyd and Barrie Hardymon produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\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=Inside+%27Family+Reunion%2C%27+A+Sitcom+With+An+All-Black+Writers+Room&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Creator Meg DeLoatch conceived her new streaming series, starring Tia Mowry-Hardrict, around her own family reunion in Georgia. Then Netflix encouraged her to staff up with African Americans.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003cem>Family Reunion\u003c/em>, the new Netflix series, Tia Mowry-Hardrict plays Cocoa McKellan, a free-spirited mother of four and wife of a retired football player, Moz (Anthony Alabi, himself a former NFL player). The McKellans packed their bags in Seattle, Wash., and have moved to Columbus, Ga. to live with Moz's parents—including his old-fashioned mother M'Dear (Loretta Devine).\u003c/p>\n\u003cp>The family sitcom is penned entirely by black writers, and draws from the personal stories of its writers, including creator and executive producer Meg DeLoatch, who got the idea when she went to a family reunion in Georgia three years ago.\u003c/p>\n\u003cp>\"It's such a warm, lovely feeling to be surrounded by family, and—you know, it's summertime, the food is great,\" she says in an interview. \"And I remember wondering how different my life might have been if I had been able to grow up and live and work and raise my son within arm's reach of family. And so that had been marinating in the back of my mind for a while. So when Netflix came to me and asked me to do a family sitcom, I immediately thought back to: Wow, that time in my 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/J4eHcqKh-X8'\n title='//www.youtube.com/embed/J4eHcqKh-X8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how the all-black writers room came about\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At Netflix, and their encouragement. I actually didn't set out—that wasn't what I was thinking, and I'll be honest with you: because it's never really been something I've been allowed to do, at least not with the major networks. And then when one of the execs said, \"Meg, you're going to hire an all-black room, right?\" I was like, \"I am. Yeah, I am!\"\u003c/p>\n\u003cp>And it was really, really cool to do because I wanted to genuinely share the African American experience. And there's no one experience, of course, in this country. And so to assemble a group of people that, in some ways, what we all only had in common was being black, and then we came from different walks of life, different parts of the country—it was a great way to talk and percolate and weave together the experience of one black family. ... I mean it was important to me that we have younger writers, writers that were from affluent and less affluent backgrounds, because all of that is reflected in the show.\u003c/p>\n\u003cp>\u003cstrong>On what is different about an all-black writing staff\u003c/strong>\u003c/p>\n\u003cp>Well, first of all, there's a shorthand that happens when culturally ... we've been raised a similar way. And what I think is interesting is that a lot of African American people in this country: We're only a generation or two away from the South. So that means that even if you do come up in Seattle, you're probably being raised by someone whose grandmother was somewhere in the South. And so that means that culturally, food and conversation and other touchstones, there are some common threads.\u003c/p>\n\u003cp>So that being said, nobody had to stop and explain certain things. It was sort of already understood. Whereas if I were in other rooms that weren't all-black, I might stop and say, \"OK, just so you know, a lot of black people, when they go to church, they'll wear dress hats,\" or ... whatever the topic might be. I might feel the need to stop and explain to someone what we're talking about.\u003c/p>\n\u003cp>\u003cstrong>On the family's immersion in the Southern black cultural experience\u003c/strong>\u003c/p>\n\u003cp>I think it's so important that kids be raised with an understanding of who they are culturally, and if for no other reason, for self-esteem, right. It's not to be like, \"Oh, I'm like this, so I'm different from you, or better than you, or less than you.\" It's: \"I'm like this, and this means something.\" And that there's a cultural relevance in that people have something to fall back on.\u003c/p>\n\u003cp>I was raised in a very integrated environment. And what that meant was that I felt good about being a young African American girl and having friends who weren't African American. And if you're not in touch with your culture, sometimes there are small things that might make you feel less-than, whether it's the way your hair curls or the fact that you're just different from your friends. So I wanted to get into that and say: It's cool to integrate, even to assimilate—but it's only cool if you know who you are and where you come from.\u003c/p>\n\u003cp>\u003cstrong>On the issues of identity around the light-skinned teenage character Jade\u003c/strong>\u003c/p>\n\u003cp>You know, that's the reality for a lot of people. And it can come from both sides of the spectrum depending on where you fall, color-wise. And it's one of the things in our community that we contend with. And there's nothing wrong with it. It's just—let's talk about it. Let's get to the root of it. And then at the end of the day, let's acknowledge while we may sometimes look different, we are not different and we're all beautiful.\u003c/p>\n\u003cp>\u003cstrong>On the scene where Jade is confronted by a group of girls because she doesn't know who the Black Panthers are\u003c/strong>\u003c/p>\n\u003cp>It was really important to me. ... I call them my \"woke mean girl\" crew ... because you know, high school is high school, and often girls are not very nice to each other. But I thought it would be really interesting if they were coming at her and weren't being kind to her because they felt like she was not \"awake\" and \"woke.\" And so that there was more to their cattiness than just \"we're teenage girls and we don't like each other.\" Their constant prodding with Jade is encouraging her to know her history, to appreciate where she comes from, and therefore to own all that she is. And ultimately they get her there. It's just not the nicest way possible.\u003c/p>\n\u003cfigure id=\"attachment_112891\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-112891\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-800x600.jpg\" alt=\"'Family Reunion' Executive Producer Meg DeLoatch is a veteran of family sitcoms like 'Family Matters,' 'One on One' and 'Fuller House.'\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">'Family Reunion' Executive Producer Meg DeLoatch is a veteran of family sitcoms like 'Family Matters,' 'One on One' and 'Fuller House.' \u003ccite>(Rachel Murray/Getty Images for Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On if she thinks Hollywood is having a moment for diverse cultural experiences in storytelling\u003c/strong>\u003c/p>\n\u003cp>I do. And let me say first: I hope it lasts. Because it happens every now and then where culturally, everybody will get into diversity, and then it kind of goes away. But it does feel different this time. And I am optimistic that it lasts. It is an awesome time to be a woman of color and a storyteller in Hollywood, because people want to hear our stories. And it hasn't always been that way. ...\u003c/p>\n\u003cp>And you know, everybody's experience is different. Maybe someone would argue with me about that. But I really—from just the sheer number of shows and movies and things out there that are telling different parts of the black experience, the Latin experience, etc., I feel that the industry is more open than it's ever been since I started working in it 20 years ago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Jordan Tobias, Sophia Alvarez Boyd and Barrie Hardymon produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\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=Inside+%27Family+Reunion%2C%27+A+Sitcom+With+An+All-Black+Writers+Room&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Now Starring in Children's Cartoons: Authentic Indigenous Characters",
"title": "Now Starring in Children's Cartoons: Authentic Indigenous Characters",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>For decades, animated children's stories included negative stereotypes of Indigenous people.\u003c/p>\n\u003cp>There was Disney's \u003ca href=\"https://www.youtube.com/watch?v=hpVNsegX94g\" target=\"_blank\" rel=\"noopener\">\u003cem>Pocahontas\u003c/em>\u003c/a>, which presented the daughter of a Powhatan chief in a romantic love story with Captain John Smith. Crystal Echo Hawk, CEO of the media watchdog group IllumiNative, says it was a false narrative about a girl who in reality was \"taken by force and sexually assaulted.\"\u003c/p>\n\u003cp>There was \u003ca href=\"https://www.youtube.com/watch?v=f7yE8TKUB_M\" target=\"_blank\" rel=\"noopener\">Tiger Lily\u003c/a> in the classic film \u003cem>Peter Pan\u003c/em>, the princess of the \"Piccaninny\" tribe who smoked a peace pipe and spoke in one-syllable gibberish. The same went for the various \"injuns\" in old Bugs Bunny cartoons.\u003c/p>\n\u003cp>More recently, Disney and Pixar got kudos for more authentic representations of Native people in the films \u003ca href=\"https://www.npr.org/2016/11/23/503066811/moana-actress-grew-up-with-the-polynesian-myth-that-inspired-the-movie\" target=\"_blank\" rel=\"noopener\">\u003cem>Moana\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2017/11/20/564385036/mexico-music-and-family-take-center-stage-in-coco\" target=\"_blank\" rel=\"noopener\">\u003cem>Coco\u003c/em>\u003c/a>. Now, TV networks and streaming services are reaching children with realistic portrayals on the small screen—where they consume most of their media.\u003c/p>\n\u003cp>The new PBS show \u003cem>Molly of Denali\u003c/em> is the first nationally distributed children's series to feature an Alaska Native lead character. She's 10 years old; her heritage is Gwich'in, Koyukon and Dena'ina Athabascan. She lives in the fictional village of Qyah, population 94. She goes fishing and hunting, and also looks up information on the Internet and on her smartphone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=L_FiNuKnTW8\u003c/p>\n\u003cp>\"Molly is computer-savvy,\" says the show's creative producer, Princess Daazhraii Johnson. \"I think it's really important for us to show that, because we are modern, living people that are not relegated to the past. That stereotype, that romanticized notion of who we are as Native people, is rampant.\"\u003c/p>\n\u003cp>Johnson says when she travels, she still meets people who assume all Alaskans live in igloos and are Eskimos—\"which isn't a term that people really even use anymore up here,\" she says. \"We have 229 federally recognized tribes in Alaska; we have 20 officially recognized Alaska Native languages here. We are so diverse and dynamic. And that's something else that we're going to be able to share out to the world.\"\u003c/p>\n\u003cp>In one episode, Molly learns that her grandfather stopped drumming and singing as a child when he was taken away to a Bureau of Indian Affairs boarding school. \"At the school we weren't allowed to sing the songs from our people,\" an elder tells her. \"We were made to feel bad about who we were.\"\u003c/p>\n\u003cp>Johnson says this storyline really happened to one of the elders on the show's advisory board. It's a kid's show, so it has a happy ending: Molly and her grandfather sing together.\u003c/p>\n\u003cp>\"We're just over the moon about \u003cem>Molly of Denali\u003c/em>, because this is exactly the type of thing that can really began to shift perceptions in this country,\" Echo Hawk says.\u003c/p>\n\u003cp>Echo Hawk says that for years, Hollywood didn't produce stories about or by Native people because it didn't think a market existed for them. But that, she says, was shortsighted. Her organization polled more than 13,000 Americans, and found that nearly 80% of them said they want to learn more about Native peoples.\u003c/p>\n\u003cp>\"Media makers have always used the excuse 'the Native population in the United States is statistically insignificant ... there's not a demand because you guys are so small,'\" she says. \"But what this new research shows is that there is demand well beyond the Native population in this country.\"\u003c/p>\n\u003cp>For several decades, the Australian and Canadian Broadcasting Corporations have spotlighted shows by and about their indigenous populations. Now, Netflix is \u003ca href=\"https://globalnews.ca/news/5379809/netflix-partners-indigenous-groups/\" target=\"_blank\" rel=\"noopener\">partnering with three Indigenous cultural organizations\u003c/a> to develop the next generation of First Nation creators across Canada.\u003c/p>\n\u003cp>And in the U.S. and in Latin America, Netflix is running the animated film \u003cem>Pachamama\u003c/em>. The story centers on a 10-year-old boy in an Andean village who dreams of becoming a shaman. His people suffer under both the Spanish conquest and the Incan Empire.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QrOwxPPfzy8\u003c/p>\n\u003cp>\"It's told from the point of view of the Indigenous people,\" says Juan Antin, who wrote and directed the film. He says he wanted to give a realistic view of domination in the region.\u003c/p>\n\u003cp>Antin, who is from Argentina, says he was inspired by his travels with his anthropologist wife in Bolivia and Peru. \"There, I fell in love with the culture of Pachamama, which is how the indigenous people call Mother Earth, having respect, love to the Earth,\" he says.\u003c/p>\n\u003cp>The Cartoon Network series \u003cem>Victor and Valentino\u003c/em> features two half-brothers in a fictitious Mesoamerican village, exploring myths that come to life. For example, they follow the dog Achi into the land of the dead, where they encounter a \u003cem>chupacabra \u003c/em>and other legends.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bWPMMV4Z5ew\u003c/p>\n\u003cp>Animator Diego Molano, whose heritage is Mexican, Colombian and Cuban, began drawing his characters in college before writing for cartoons like \u003cem>The Powerpuff Girls\u003c/em>. He says with his new series, he wanted to share the folk tales his grandfather used to tell him.\u003c/p>\n\u003cp>\"I love the myths, but sometimes the myths are not kid-friendly,\" Molano says. \"So I kind of use what I like about them and kind of make a story that is relatable.\"\u003c/p>\n\u003cp>Molano says it's about time networks began showing cartoons with Indigenous characters and themes. He just hopes it's not just a fad.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ted Robbins edited this story for broadcast.\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>.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Now+Starring+In+Children%27s+Cartoons%3A+Authentic+Indigenous+Characters&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For decades, animated children's stories included negative stereotypes of Indigenous people.\u003c/p>\n\u003cp>There was Disney's \u003ca href=\"https://www.youtube.com/watch?v=hpVNsegX94g\" target=\"_blank\" rel=\"noopener\">\u003cem>Pocahontas\u003c/em>\u003c/a>, which presented the daughter of a Powhatan chief in a romantic love story with Captain John Smith. Crystal Echo Hawk, CEO of the media watchdog group IllumiNative, says it was a false narrative about a girl who in reality was \"taken by force and sexually assaulted.\"\u003c/p>\n\u003cp>There was \u003ca href=\"https://www.youtube.com/watch?v=f7yE8TKUB_M\" target=\"_blank\" rel=\"noopener\">Tiger Lily\u003c/a> in the classic film \u003cem>Peter Pan\u003c/em>, the princess of the \"Piccaninny\" tribe who smoked a peace pipe and spoke in one-syllable gibberish. The same went for the various \"injuns\" in old Bugs Bunny cartoons.\u003c/p>\n\u003cp>More recently, Disney and Pixar got kudos for more authentic representations of Native people in the films \u003ca href=\"https://www.npr.org/2016/11/23/503066811/moana-actress-grew-up-with-the-polynesian-myth-that-inspired-the-movie\" target=\"_blank\" rel=\"noopener\">\u003cem>Moana\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2017/11/20/564385036/mexico-music-and-family-take-center-stage-in-coco\" target=\"_blank\" rel=\"noopener\">\u003cem>Coco\u003c/em>\u003c/a>. Now, TV networks and streaming services are reaching children with realistic portrayals on the small screen—where they consume most of their media.\u003c/p>\n\u003cp>The new PBS show \u003cem>Molly of Denali\u003c/em> is the first nationally distributed children's series to feature an Alaska Native lead character. She's 10 years old; her heritage is Gwich'in, Koyukon and Dena'ina Athabascan. She lives in the fictional village of Qyah, population 94. She goes fishing and hunting, and also looks up information on the Internet and on her smartphone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/L_FiNuKnTW8'\n title='//www.youtube.com/embed/L_FiNuKnTW8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"Molly is computer-savvy,\" says the show's creative producer, Princess Daazhraii Johnson. \"I think it's really important for us to show that, because we are modern, living people that are not relegated to the past. That stereotype, that romanticized notion of who we are as Native people, is rampant.\"\u003c/p>\n\u003cp>Johnson says when she travels, she still meets people who assume all Alaskans live in igloos and are Eskimos—\"which isn't a term that people really even use anymore up here,\" she says. \"We have 229 federally recognized tribes in Alaska; we have 20 officially recognized Alaska Native languages here. We are so diverse and dynamic. And that's something else that we're going to be able to share out to the world.\"\u003c/p>\n\u003cp>In one episode, Molly learns that her grandfather stopped drumming and singing as a child when he was taken away to a Bureau of Indian Affairs boarding school. \"At the school we weren't allowed to sing the songs from our people,\" an elder tells her. \"We were made to feel bad about who we were.\"\u003c/p>\n\u003cp>Johnson says this storyline really happened to one of the elders on the show's advisory board. It's a kid's show, so it has a happy ending: Molly and her grandfather sing together.\u003c/p>\n\u003cp>\"We're just over the moon about \u003cem>Molly of Denali\u003c/em>, because this is exactly the type of thing that can really began to shift perceptions in this country,\" Echo Hawk says.\u003c/p>\n\u003cp>Echo Hawk says that for years, Hollywood didn't produce stories about or by Native people because it didn't think a market existed for them. But that, she says, was shortsighted. Her organization polled more than 13,000 Americans, and found that nearly 80% of them said they want to learn more about Native peoples.\u003c/p>\n\u003cp>\"Media makers have always used the excuse 'the Native population in the United States is statistically insignificant ... there's not a demand because you guys are so small,'\" she says. \"But what this new research shows is that there is demand well beyond the Native population in this country.\"\u003c/p>\n\u003cp>For several decades, the Australian and Canadian Broadcasting Corporations have spotlighted shows by and about their indigenous populations. Now, Netflix is \u003ca href=\"https://globalnews.ca/news/5379809/netflix-partners-indigenous-groups/\" target=\"_blank\" rel=\"noopener\">partnering with three Indigenous cultural organizations\u003c/a> to develop the next generation of First Nation creators across Canada.\u003c/p>\n\u003cp>And in the U.S. and in Latin America, Netflix is running the animated film \u003cem>Pachamama\u003c/em>. The story centers on a 10-year-old boy in an Andean village who dreams of becoming a shaman. His people suffer under both the Spanish conquest and the Incan Empire.\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/QrOwxPPfzy8'\n title='//www.youtube.com/embed/QrOwxPPfzy8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"It's told from the point of view of the Indigenous people,\" says Juan Antin, who wrote and directed the film. He says he wanted to give a realistic view of domination in the region.\u003c/p>\n\u003cp>Antin, who is from Argentina, says he was inspired by his travels with his anthropologist wife in Bolivia and Peru. \"There, I fell in love with the culture of Pachamama, which is how the indigenous people call Mother Earth, having respect, love to the Earth,\" he says.\u003c/p>\n\u003cp>The Cartoon Network series \u003cem>Victor and Valentino\u003c/em> features two half-brothers in a fictitious Mesoamerican village, exploring myths that come to life. For example, they follow the dog Achi into the land of the dead, where they encounter a \u003cem>chupacabra \u003c/em>and other legends.\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/bWPMMV4Z5ew'\n title='//www.youtube.com/embed/bWPMMV4Z5ew'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Animator Diego Molano, whose heritage is Mexican, Colombian and Cuban, began drawing his characters in college before writing for cartoons like \u003cem>The Powerpuff Girls\u003c/em>. He says with his new series, he wanted to share the folk tales his grandfather used to tell him.\u003c/p>\n\u003cp>\"I love the myths, but sometimes the myths are not kid-friendly,\" Molano says. \"So I kind of use what I like about them and kind of make a story that is relatable.\"\u003c/p>\n\u003cp>Molano says it's about time networks began showing cartoons with Indigenous characters and themes. He just hopes it's not just a fad.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ted Robbins edited this story for broadcast.\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>.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Now+Starring+In+Children%27s+Cartoons%3A+Authentic+Indigenous+Characters&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Netflix Cuts Controversial Suicide Scene From '13 Reasons Why'",
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"content": "\u003cp>Two years after it released the first season of the show \u003cem>13 Reasons Why \u003c/em>with a graphic suicide scene, Netflix has announced that it has edited it out.\u003c/p>\n\u003cp>The show is centered on the suicide of fictional teen Hannah Baker, and the first season's finale shows her taking her own life. Several organizations, including the National Association of School Psychologists, \u003ca href=\"https://www.nasponline.org/resources-and-publications/resources-and-podcasts/school-climate-safety-and-crisis/mental-health-resources/preventing-youth-suicide/13-reasons-why-netflix-series/13-reasons-why-netflix-series-considerations-for-educators\">raised concerns\u003c/a> that it could romanticize suicide for vulnerable teens.\u003c/p>\n\u003cp>\"Our creative intent in portraying the ugly, painful reality of suicide in such graphic detail in Season 1 was to tell the truth about the horror of such an act, and make sure no one would ever wish to emulate it,\" show creator Brian Yorkey \u003ca href=\"https://twitter.com/13ReasonsWhy/status/1150987786243018752\">said in a statement\u003c/a>. \"But as we ready to launch Season 3, we have heard concerns about the scene from Dr. Christine Moutier at the American Foundation for Suicide Prevention and others, and have agreed with Netflix to re-edit it.\"\u003c/p>\n\u003cp>\"No one scene is more important than the life of the show, and its message that we must take better care of each other,\" he added. \"We believe this edit will help the show do the most good for the most people while mitigating any risk for especially vulnerable young viewers.\"\u003c/p>\n\u003cp>After some initial criticism, Netflix added a warning card to the beginning of the episode, alerting viewers that the episode contained \"graphic depictions of suicide and violence.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=toj3CyMhBOs\u003c/p>\n\u003cp>The show also has a website, \u003ca href=\"https://13reasonswhy.info/\">13reasonswhy.info\u003c/a>, containing resources about suicide prevention. It contains videos of cast members discussing topics such as bullying, consent, depression and how to talk with a teen about the series. The site also warns: \"If you are struggling, this series may not be right for you or you may want to watch it with a trusted adult.\"\u003c/p>\n\u003cp>The edited version, now on Netflix, shows Hannah looking at herself in the mirror, full of emotion. It then cuts to her parents finding her body in the bathroom and reacting to her death. The previous version was nearly three minutes long, \u003ca href=\"https://www.hollywoodreporter.com/live-feed/netflix-alters-graphic-13-reasons-why-suicide-scene-controversy-1224489?utm_medium=social&utm_source=twitter&utm_source=t.co&utm_medium=referral\">according to The Hollywood Reporter\u003c/a>, and showed her cutting her wrists with a razor blade.\u003c/p>\n\u003cp>Netflix's decision has drawn praise from a number of suicide prevention advocates, such as American Association of Suicidology, American Foundation for Suicide Prevention, American School Counselor Association, Dr. Helen Hsu from Stanford, advocacy group Mental Health America, the Trevor Project and Dr. Rebecca Hedrick from Cedars-Sinai, according to THR.\u003c/p>\n\u003cp>\"We support the decision to edit the scene in which Hannah takes her own life from \u003cem>13 Reasons Why\u003c/em>. There has been much debate about the series in the medical community,\" they said in a joint statement, as THR reported. \"But this positive change will ensure that \u003cem>13 Reasons Why\u003c/em> continues to encourage open conversation about mental health and suicide prevention—while also mitigating the risk for the most vulnerable teenage viewers.\"\u003c/p>\n\u003cp>Ron Avi Astor at the University of Southern California, who studies adolescent bullying and mental health, discussed with \u003ca href=\"https://www.npr.org/sections/ed/2017/05/05/526871398/facts-about-teens-suicide-and-13-reasons-why\">NPR's Anya Kamenetz\u003c/a> how the images of self-harm on the show could affect teens.\u003c/p>\n\u003cp>Avi Astor told Kamenetz that the depiction could be contagious—but just for certain teens. \"It's not just that any random kid would see it and do it,\" he said, but for a kid who was already thinking about suicide, it had the potential to influence their behavior.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you or someone you know may be considering suicide, contact the National Suicide Prevention Lifeline at 1-800-273-8255 (En Español: 1-888-628-9454; Deaf and Hard of Hearing: 1-800-799-4889) or the Crisis Text Line by texting HOME to 741741.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Netflix+Cuts+Controversial+Suicide+Scene+From+%2713+Reasons+Why%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two years after it released the first season of the show \u003cem>13 Reasons Why \u003c/em>with a graphic suicide scene, Netflix has announced that it has edited it out.\u003c/p>\n\u003cp>The show is centered on the suicide of fictional teen Hannah Baker, and the first season's finale shows her taking her own life. Several organizations, including the National Association of School Psychologists, \u003ca href=\"https://www.nasponline.org/resources-and-publications/resources-and-podcasts/school-climate-safety-and-crisis/mental-health-resources/preventing-youth-suicide/13-reasons-why-netflix-series/13-reasons-why-netflix-series-considerations-for-educators\">raised concerns\u003c/a> that it could romanticize suicide for vulnerable teens.\u003c/p>\n\u003cp>\"Our creative intent in portraying the ugly, painful reality of suicide in such graphic detail in Season 1 was to tell the truth about the horror of such an act, and make sure no one would ever wish to emulate it,\" show creator Brian Yorkey \u003ca href=\"https://twitter.com/13ReasonsWhy/status/1150987786243018752\">said in a statement\u003c/a>. \"But as we ready to launch Season 3, we have heard concerns about the scene from Dr. Christine Moutier at the American Foundation for Suicide Prevention and others, and have agreed with Netflix to re-edit it.\"\u003c/p>\n\u003cp>\"No one scene is more important than the life of the show, and its message that we must take better care of each other,\" he added. \"We believe this edit will help the show do the most good for the most people while mitigating any risk for especially vulnerable young viewers.\"\u003c/p>\n\u003cp>After some initial criticism, Netflix added a warning card to the beginning of the episode, alerting viewers that the episode contained \"graphic depictions of suicide and violence.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/toj3CyMhBOs'\n title='//www.youtube.com/embed/toj3CyMhBOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The show also has a website, \u003ca href=\"https://13reasonswhy.info/\">13reasonswhy.info\u003c/a>, containing resources about suicide prevention. It contains videos of cast members discussing topics such as bullying, consent, depression and how to talk with a teen about the series. The site also warns: \"If you are struggling, this series may not be right for you or you may want to watch it with a trusted adult.\"\u003c/p>\n\u003cp>The edited version, now on Netflix, shows Hannah looking at herself in the mirror, full of emotion. It then cuts to her parents finding her body in the bathroom and reacting to her death. The previous version was nearly three minutes long, \u003ca href=\"https://www.hollywoodreporter.com/live-feed/netflix-alters-graphic-13-reasons-why-suicide-scene-controversy-1224489?utm_medium=social&utm_source=twitter&utm_source=t.co&utm_medium=referral\">according to The Hollywood Reporter\u003c/a>, and showed her cutting her wrists with a razor blade.\u003c/p>\n\u003cp>Netflix's decision has drawn praise from a number of suicide prevention advocates, such as American Association of Suicidology, American Foundation for Suicide Prevention, American School Counselor Association, Dr. Helen Hsu from Stanford, advocacy group Mental Health America, the Trevor Project and Dr. Rebecca Hedrick from Cedars-Sinai, according to THR.\u003c/p>\n\u003cp>\"We support the decision to edit the scene in which Hannah takes her own life from \u003cem>13 Reasons Why\u003c/em>. There has been much debate about the series in the medical community,\" they said in a joint statement, as THR reported. \"But this positive change will ensure that \u003cem>13 Reasons Why\u003c/em> continues to encourage open conversation about mental health and suicide prevention—while also mitigating the risk for the most vulnerable teenage viewers.\"\u003c/p>\n\u003cp>Ron Avi Astor at the University of Southern California, who studies adolescent bullying and mental health, discussed with \u003ca href=\"https://www.npr.org/sections/ed/2017/05/05/526871398/facts-about-teens-suicide-and-13-reasons-why\">NPR's Anya Kamenetz\u003c/a> how the images of self-harm on the show could affect teens.\u003c/p>\n\u003cp>Avi Astor told Kamenetz that the depiction could be contagious—but just for certain teens. \"It's not just that any random kid would see it and do it,\" he said, but for a kid who was already thinking about suicide, it had the potential to influence their behavior.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you or someone you know may be considering suicide, contact the National Suicide Prevention Lifeline at 1-800-273-8255 (En Español: 1-888-628-9454; Deaf and Hard of Hearing: 1-800-799-4889) or the Crisis Text Line by texting HOME to 741741.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Netflix+Cuts+Controversial+Suicide+Scene+From+%2713+Reasons+Why%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Most Unintentionally Terrifying Commercials From Your Childhood",
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"content": "\u003cp>Recently, for reasons that remain unclear, that weird Quizno's Subs commercial from 2004 started trending on Twitter. If you were alive and awake that year, you definitely remember this:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aZrks-BPeLQ\u003c/p>\n\u003cp>Some hailed the singing \u003ca href=\"https://slate.com/business/2004/02/the-singing-quiznos-rodents-explained.html\">Spongmonkeys\u003c/a> (I didn't make that up; that's honestly what the floating tooth monsters were called) as trend-setters for future surreal ad campaigns. Others relived the confusion they felt the first time they saw the ad. And a surprisingly high number of people expressed abject fear.\u003c/p>\n\u003cp>https://twitter.com/hoofscout/status/1140466088452349952\u003c/p>\n\u003cp>https://twitter.com/baby_ajumma/status/1140487826359902209\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It's not the only time a commercial has unintentionally scared the bejesus out of kids. When I was a child, Tefal—a British range of household electrical items—insisted on putting men with oversized heads in all of their commercials. Their large craniums were supposed to imply a greater degree of intelligence, but all they achieved in my house was giving me and my sister nightmares for years. Was it the grotesquely long skulls that scared us? The creepy multi-tasking? Or the glaring lack of female egg-heads? It doesn't really matter. This advert will never not be horrifying.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2r7XfhTKRMw\u003c/p>\n\u003cp>Kids in the '90s were subjected to similarly horrific head aberrations via Fruit Gushers commercials. The entire series (and it really feels like there were about fifty) evoked a \u003ca href=\"https://roalddahl.fandom.com/wiki/Violet_Beauregarde\">Violet Beauregardean\u003c/a> nightmare—children eating the wrong kind of candy and paying the price, suffering immediate physical \u003cem>and\u003c/em> vocal transformations. This plays out more like a PSA than an ad. Frankly, the banana alone is more terrifying than the entire \u003ca href=\"https://en.wikipedia.org/wiki/Hostel_(2005_film)\">\u003cem>Hostel\u003c/em> franchise\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gyzt3Q05Ris\u003c/p>\n\u003cp>There is clearly something unfathomably difficult about conveying the taste of fruit that drives advertisers to bizarre lengths. The Sprite commercial below portrays a blindfolded human being subjected to physical experiments, something akin to water torture and, apparently, hallucinogens. Its tagline? \"Don't worry. It will only affect your brain.\" Pity the parents who had to explain every bedtime that actually, no, a sexy tennis player wasn't going to come and immobilize them with saran wrap at 4 am.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xrv8-wsf8qo\u003c/p>\n\u003cp>Remarkably, making fruit freaky has been a staple of American advertising for decades. The California Raisins might have sparked an \u003ca href=\"https://en.wikipedia.org/wiki/The_California_Raisin_Show\">entire TV show\u003c/a> and a giant pile of merch, but when you get down to it, there was always something rather unsettling about them. In the clip below, are they worshipping at the feet of a Sun-Maid overlord? Or harassing a woman who's locked in an attic, her smile frozen into a \u003cem>Stepford Wives\u003c/em> grimace to placate them? It's impossible to tell because everyone involved has hollow dead eyes. I am definitely no closer to wanting to eat grapes of sadness.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9hnLVmgfAZA\u003c/p>\n\u003cp>If you want to find unchecked, definitely occurring harassment in commercial-land though, look no further than Mr. Six. The old man's long-term reign of Six Flags-related terror began back in 2004, when he rolled his child-catcher bus into a quiet neighborhood and danced maniacally until he had successfully stolen multiple kids. The whole thing ends up looking a lot like what would happen if \u003ca href=\"https://www.youtube.com/watch?v=XnxgYYfIooc\">\u003cem>The Shining'\u003c/em>s Delbert Grady\u003c/a> escaped the Overlook Hotel and headed straight for suburbia.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=l0bvgpg7yig\u003c/p>\n\u003cp>Sometimes, it's not even the mascot that's scary, it's the physical product. After she stopped being Crystal on \u003cem>Dynasty\u003c/em>, Linda Evans got roped into endorsing a beauty product called \u003ca href=\"https://www.amazon.com/Rejuvenique-RJV10KIT-Facial-Toning-Mask/dp/B00005JHWB\">Rejuvenique\u003c/a>, which sends \u003cspan style=\"text-decoration: line-through\">electric shocks\u003c/span> \"pulses\" into the face of the wearer, in the pursuit of tighter skin. Not only does it sound like a torture device, but aesthetically it also resembles a combination of Jason Voorhees and one of the stabby intruders from \u003ca href=\"https://www.imdb.com/title/tt0482606/\">\u003cem>The Strangers\u003c/em>\u003c/a>. (Sidenote: If your family has angered you recently and you fancy getting back at them, you can still find \u003ca href=\"https://www.ebay.com/i/264150847259?chn=ps&norover=1&mkevt=1&mkrid=711-117182-37290-0&mkcid=2&itemid=264150847259&targetid=483914779430&device=c&adtype=pla&googleloc=9031945&poi=&campaignid=1497326117&adgroupid=60666402627&rlsatarget=pla-483914779430&abcId=1139446&merchantid=114729115&gclid=EAIaIQobChMIx8CVqeaU4wIVSh6tBh0Z0w3UEAQYAyABEgIjm_D_BwE\">these on eBay\u003c/a>.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SXcYVh-W14E\u003c/p>\n\u003cp>On the surface, this all suggests that nightmare-inducing commercials are a relatively recent invention, but sheer terror has been a part of the TV realm since the medium was invented. Take a look at this 1953 ad for Sugar Rice Krinkles, consider the fact that Stephen King was around six when this was in rotation, then wonder no more about where the inspiration for \u003ca href=\"https://en.wikipedia.org/wiki/It_(novel)\">\u003cem>It\u003c/em>\u003c/a> came from. (In case you've forgotten, the character of Georgie Denbrough is also six when he's killed by the evil clown in that novel. Coincidence?)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3094hyz-K9Y\u003c/p>\n\u003cp>Amazingly—and as much as I'm sure we'd all like to give these advertisers the benefit of the doubt—it's possible that the horror influence can also work the other way around. A full two years AFTER \u003cem>The Twilight Zone\u003c/em> aired its legendary \u003ca href=\"https://www.kqed.org/pop/109055/the-10-best-twilight-zone-episodes-to-watch-before-jordan-peeles-reboot\">\"Living Doll\"\u003c/a> episode (in which a doll named Talky Tina exacts murderous revenge), Mattel released Baby Secret—a doll that speaks exclusively in whispers, wants to hang out when everyone else is asleep and sounds like it's saying \"I want to kill you.\" Take it away, \u003ca href=\"https://en.wikipedia.org/wiki/Annabelle_(film)\">Annabelle\u003c/a> the First!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zY1xtnnMr2c\u003c/p>\n\u003cp>In case all of this has left you feeling disturbed and on edge, this last clip is intended to make you feel better. Because, sure, while massive heads and animated fruit and strange old men doing the running man are bad, pray for the children of Japan who had to watch on in horror for years as this dog did strange things with human ears, doll heads, other animals and what appear to be ping pong paddles, in a series of commercials that culminate in the dog becoming a red-eyed flying half-alien.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IU6ax9nhHUE\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See? It could be worse!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Recently, for reasons that remain unclear, that weird Quizno's Subs commercial from 2004 started trending on Twitter. If you were alive and awake that year, you definitely remember 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/aZrks-BPeLQ'\n title='//www.youtube.com/embed/aZrks-BPeLQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Some hailed the singing \u003ca href=\"https://slate.com/business/2004/02/the-singing-quiznos-rodents-explained.html\">Spongmonkeys\u003c/a> (I didn't make that up; that's honestly what the floating tooth monsters were called) as trend-setters for future surreal ad campaigns. Others relived the confusion they felt the first time they saw the ad. And a surprisingly high number of people expressed abject fear.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It's not the only time a commercial has unintentionally scared the bejesus out of kids. When I was a child, Tefal—a British range of household electrical items—insisted on putting men with oversized heads in all of their commercials. Their large craniums were supposed to imply a greater degree of intelligence, but all they achieved in my house was giving me and my sister nightmares for years. Was it the grotesquely long skulls that scared us? The creepy multi-tasking? Or the glaring lack of female egg-heads? It doesn't really matter. This advert will never not be horrifying.\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/2r7XfhTKRMw'\n title='//www.youtube.com/embed/2r7XfhTKRMw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kids in the '90s were subjected to similarly horrific head aberrations via Fruit Gushers commercials. The entire series (and it really feels like there were about fifty) evoked a \u003ca href=\"https://roalddahl.fandom.com/wiki/Violet_Beauregarde\">Violet Beauregardean\u003c/a> nightmare—children eating the wrong kind of candy and paying the price, suffering immediate physical \u003cem>and\u003c/em> vocal transformations. This plays out more like a PSA than an ad. Frankly, the banana alone is more terrifying than the entire \u003ca href=\"https://en.wikipedia.org/wiki/Hostel_(2005_film)\">\u003cem>Hostel\u003c/em> franchise\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Gyzt3Q05Ris'\n title='//www.youtube.com/embed/Gyzt3Q05Ris'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There is clearly something unfathomably difficult about conveying the taste of fruit that drives advertisers to bizarre lengths. The Sprite commercial below portrays a blindfolded human being subjected to physical experiments, something akin to water torture and, apparently, hallucinogens. Its tagline? \"Don't worry. It will only affect your brain.\" Pity the parents who had to explain every bedtime that actually, no, a sexy tennis player wasn't going to come and immobilize them with saran wrap at 4 am.\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/xrv8-wsf8qo'\n title='//www.youtube.com/embed/xrv8-wsf8qo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Remarkably, making fruit freaky has been a staple of American advertising for decades. The California Raisins might have sparked an \u003ca href=\"https://en.wikipedia.org/wiki/The_California_Raisin_Show\">entire TV show\u003c/a> and a giant pile of merch, but when you get down to it, there was always something rather unsettling about them. In the clip below, are they worshipping at the feet of a Sun-Maid overlord? Or harassing a woman who's locked in an attic, her smile frozen into a \u003cem>Stepford Wives\u003c/em> grimace to placate them? It's impossible to tell because everyone involved has hollow dead eyes. I am definitely no closer to wanting to eat grapes of sadness.\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/9hnLVmgfAZA'\n title='//www.youtube.com/embed/9hnLVmgfAZA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you want to find unchecked, definitely occurring harassment in commercial-land though, look no further than Mr. Six. The old man's long-term reign of Six Flags-related terror began back in 2004, when he rolled his child-catcher bus into a quiet neighborhood and danced maniacally until he had successfully stolen multiple kids. The whole thing ends up looking a lot like what would happen if \u003ca href=\"https://www.youtube.com/watch?v=XnxgYYfIooc\">\u003cem>The Shining'\u003c/em>s Delbert Grady\u003c/a> escaped the Overlook Hotel and headed straight for suburbia.\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/l0bvgpg7yig'\n title='//www.youtube.com/embed/l0bvgpg7yig'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sometimes, it's not even the mascot that's scary, it's the physical product. After she stopped being Crystal on \u003cem>Dynasty\u003c/em>, Linda Evans got roped into endorsing a beauty product called \u003ca href=\"https://www.amazon.com/Rejuvenique-RJV10KIT-Facial-Toning-Mask/dp/B00005JHWB\">Rejuvenique\u003c/a>, which sends \u003cspan style=\"text-decoration: line-through\">electric shocks\u003c/span> \"pulses\" into the face of the wearer, in the pursuit of tighter skin. Not only does it sound like a torture device, but aesthetically it also resembles a combination of Jason Voorhees and one of the stabby intruders from \u003ca href=\"https://www.imdb.com/title/tt0482606/\">\u003cem>The Strangers\u003c/em>\u003c/a>. (Sidenote: If your family has angered you recently and you fancy getting back at them, you can still find \u003ca href=\"https://www.ebay.com/i/264150847259?chn=ps&norover=1&mkevt=1&mkrid=711-117182-37290-0&mkcid=2&itemid=264150847259&targetid=483914779430&device=c&adtype=pla&googleloc=9031945&poi=&campaignid=1497326117&adgroupid=60666402627&rlsatarget=pla-483914779430&abcId=1139446&merchantid=114729115&gclid=EAIaIQobChMIx8CVqeaU4wIVSh6tBh0Z0w3UEAQYAyABEgIjm_D_BwE\">these on eBay\u003c/a>.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SXcYVh-W14E'\n title='//www.youtube.com/embed/SXcYVh-W14E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the surface, this all suggests that nightmare-inducing commercials are a relatively recent invention, but sheer terror has been a part of the TV realm since the medium was invented. Take a look at this 1953 ad for Sugar Rice Krinkles, consider the fact that Stephen King was around six when this was in rotation, then wonder no more about where the inspiration for \u003ca href=\"https://en.wikipedia.org/wiki/It_(novel)\">\u003cem>It\u003c/em>\u003c/a> came from. (In case you've forgotten, the character of Georgie Denbrough is also six when he's killed by the evil clown in that novel. Coincidence?)\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/3094hyz-K9Y'\n title='//www.youtube.com/embed/3094hyz-K9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Amazingly—and as much as I'm sure we'd all like to give these advertisers the benefit of the doubt—it's possible that the horror influence can also work the other way around. A full two years AFTER \u003cem>The Twilight Zone\u003c/em> aired its legendary \u003ca href=\"https://www.kqed.org/pop/109055/the-10-best-twilight-zone-episodes-to-watch-before-jordan-peeles-reboot\">\"Living Doll\"\u003c/a> episode (in which a doll named Talky Tina exacts murderous revenge), Mattel released Baby Secret—a doll that speaks exclusively in whispers, wants to hang out when everyone else is asleep and sounds like it's saying \"I want to kill you.\" Take it away, \u003ca href=\"https://en.wikipedia.org/wiki/Annabelle_(film)\">Annabelle\u003c/a> the First!\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/zY1xtnnMr2c'\n title='//www.youtube.com/embed/zY1xtnnMr2c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In case all of this has left you feeling disturbed and on edge, this last clip is intended to make you feel better. Because, sure, while massive heads and animated fruit and strange old men doing the running man are bad, pray for the children of Japan who had to watch on in horror for years as this dog did strange things with human ears, doll heads, other animals and what appear to be ping pong paddles, in a series of commercials that culminate in the dog becoming a red-eyed flying half-alien.\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/IU6ax9nhHUE'\n title='//www.youtube.com/embed/IU6ax9nhHUE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>See? It could be worse!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As far as #MeToo revelations go, none have been more controversial or more divisive than the \u003cem>Babe\u003c/em> article in which a woman calling herself Grace described a terrible night with Aziz Ansari. The piece—titled \"\u003ca href=\"https://babe.net/2018/01/13/aziz-ansari-28355\">I went on a date with Aziz Ansari. It turned into the worst night of my life\u003c/a>\"—caused \u003ca href=\"https://www.kqed.org/pop/98503/how-the-aziz-ansari-debate-is-currently-missing-the-point\">such a furor\u003c/a> when it came out, some critics believed it was misguided enough to bring #MeToo crashing to a halt forever. It didn't of course, but it did prove to be a disaster for everyone involved.\u003c/p>\n\u003cp>Ansari disappeared from the public eye, Grace's true identity was revealed online and the reputation of \u003ca href=\"https://www.thecut.com/2019/06/babe-net-aziz-ansari-date-rise-and-fall.html\">Babe.net was annihilated\u003c/a> almost overnight, a process sped up by how poorly the author of the piece \u003ca href=\"https://www.businessinsider.com/aziz-ansari-writer-email-to-hln-ashleigh-banfield-2018-1\">responded to criticism\u003c/a> after the fact. There were pros and cons on both sides of the Grace/Ansari dispute, but ultimately the only good gleaned from it was the jumping-off point it gave the nation to start talking, in a wider context, \u003ca href=\"https://www.kqed.org/pop/98503/how-the-aziz-ansari-debate-is-currently-missing-the-point\">about consent\u003c/a>.\u003c/p>\n\u003cp>Eighteen months on and Ansari is back on our screens with a new Netflix special titled \u003cem>Right Now\u003c/em>. Early reviews have focused on the reflections Ansari bookends his set with, about the sexual misconduct claims; his acknowledgment that \"I just felt terrible that this person felt this way\"; and the descriptions of how his life has changed since. But the most revealing material of all is hidden within the core content of the hour-long stand-up special.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=t_UqIMUgmZs\u003c/p>\n\u003cp>\u003cem>Right Now\u003c/em> is ultimately about learning curves, taking responsibility for mistakes and the individual reckonings that are part and parcel of social progress. Ansari spends much of the set examining his own less-heard-of missteps. Everything from not hanging out with his grandma enough (\"I'm one afternoon good, I'm not two nights good\") to fat-shaming his little cousin \"on a global scale\" in previous comedy specials (\"He's super buff. He goes to the gym all the time. Probably because he was scarred for life\"). Of praising R. Kelly in his first two specials, he says: \"I’m watching this [\u003cem>Surviving R. Kelly\u003c/em>] documentary. I’m terrified. I’m like ‘Man, they better not pull up them clips! I’ve had a tricky year as it is!'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ansari even reflects on a 2010 episode of \u003cem>Parks and Recreation\u003c/em> in which his character, Tom, gives a teddy bear with a nanny cam in it to Anne, in order to spy on her. \"I feel like if I got that script today, I’d be like ‘Yeeeeeah, I’m not doing this one, guys! I’m pretty sure Tom would go to jail for that.’ But back then I was like ‘Oh, I get it! Now I can see inside her house! Hahaha!'”\u003c/p>\n\u003cp>In exploring these moments, Ansari is publicly accepting and owning his flaws, but the set is not all humility and self-examination. Much of the hour is spent dissecting the absurd nature of people \"out-woking\" one another, particularly online. He gives the audience a number of tests about their own moral compasses too, including a comparison of the number of people \"done\" with R. Kelly vs. Michael Jackson (which plays out exactly as you might imagine). At one point, Ansari explicitly states: \"Look, we’re all shitty people, okay? We have our blind spots and we slowly get better. We’re all on a journey.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LJqhSipUuzw\u003c/p>\n\u003cp>What this all boils down to is Ansari indirectly asking the public to stop judging him so harshly, when learning and growing and making mistakes is the very essence of being human. If there was a comedy special attached to Jon Ronson's excellent \u003ca href=\"https://www.amazon.com/So-Youve-Been-Publicly-Shamed/dp/1594634017\">\u003cem>So You've Been Publicly Shamed\u003c/em>\u003c/a> book, this would be it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In much the same way that Grace and Ansari's disastrous night became an opportunity to talk about communication between intimate partners, Ansari has taken his own public humiliation as a means to more widely explore communication in the modern world and the often judgmental nature of it. For Ansari's detractors, it will all mean very little; a brief glance at Twitter will tell you as much. But taking a personal crisis and making it meaningful on this broad a scale is an impressive feat whichever way you slice it. \"All we really have,\" he says at the end of \u003cem>Right Now\u003c/em>, \"is the moment we’re in and the people we’re with.” Ansari has clearly learned a lot from Grace sharing her story. We could all learn something from hearing his too.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As far as #MeToo revelations go, none have been more controversial or more divisive than the \u003cem>Babe\u003c/em> article in which a woman calling herself Grace described a terrible night with Aziz Ansari. The piece—titled \"\u003ca href=\"https://babe.net/2018/01/13/aziz-ansari-28355\">I went on a date with Aziz Ansari. It turned into the worst night of my life\u003c/a>\"—caused \u003ca href=\"https://www.kqed.org/pop/98503/how-the-aziz-ansari-debate-is-currently-missing-the-point\">such a furor\u003c/a> when it came out, some critics believed it was misguided enough to bring #MeToo crashing to a halt forever. It didn't of course, but it did prove to be a disaster for everyone involved.\u003c/p>\n\u003cp>Ansari disappeared from the public eye, Grace's true identity was revealed online and the reputation of \u003ca href=\"https://www.thecut.com/2019/06/babe-net-aziz-ansari-date-rise-and-fall.html\">Babe.net was annihilated\u003c/a> almost overnight, a process sped up by how poorly the author of the piece \u003ca href=\"https://www.businessinsider.com/aziz-ansari-writer-email-to-hln-ashleigh-banfield-2018-1\">responded to criticism\u003c/a> after the fact. There were pros and cons on both sides of the Grace/Ansari dispute, but ultimately the only good gleaned from it was the jumping-off point it gave the nation to start talking, in a wider context, \u003ca href=\"https://www.kqed.org/pop/98503/how-the-aziz-ansari-debate-is-currently-missing-the-point\">about consent\u003c/a>.\u003c/p>\n\u003cp>Eighteen months on and Ansari is back on our screens with a new Netflix special titled \u003cem>Right Now\u003c/em>. Early reviews have focused on the reflections Ansari bookends his set with, about the sexual misconduct claims; his acknowledgment that \"I just felt terrible that this person felt this way\"; and the descriptions of how his life has changed since. But the most revealing material of all is hidden within the core content of the hour-long stand-up special.\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/t_UqIMUgmZs'\n title='//www.youtube.com/embed/t_UqIMUgmZs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Right Now\u003c/em> is ultimately about learning curves, taking responsibility for mistakes and the individual reckonings that are part and parcel of social progress. Ansari spends much of the set examining his own less-heard-of missteps. Everything from not hanging out with his grandma enough (\"I'm one afternoon good, I'm not two nights good\") to fat-shaming his little cousin \"on a global scale\" in previous comedy specials (\"He's super buff. He goes to the gym all the time. Probably because he was scarred for life\"). Of praising R. Kelly in his first two specials, he says: \"I’m watching this [\u003cem>Surviving R. Kelly\u003c/em>] documentary. I’m terrified. I’m like ‘Man, they better not pull up them clips! I’ve had a tricky year as it is!'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ansari even reflects on a 2010 episode of \u003cem>Parks and Recreation\u003c/em> in which his character, Tom, gives a teddy bear with a nanny cam in it to Anne, in order to spy on her. \"I feel like if I got that script today, I’d be like ‘Yeeeeeah, I’m not doing this one, guys! I’m pretty sure Tom would go to jail for that.’ But back then I was like ‘Oh, I get it! Now I can see inside her house! Hahaha!'”\u003c/p>\n\u003cp>In exploring these moments, Ansari is publicly accepting and owning his flaws, but the set is not all humility and self-examination. Much of the hour is spent dissecting the absurd nature of people \"out-woking\" one another, particularly online. He gives the audience a number of tests about their own moral compasses too, including a comparison of the number of people \"done\" with R. Kelly vs. Michael Jackson (which plays out exactly as you might imagine). At one point, Ansari explicitly states: \"Look, we’re all shitty people, okay? We have our blind spots and we slowly get better. We’re all on a journey.\"\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/LJqhSipUuzw'\n title='//www.youtube.com/embed/LJqhSipUuzw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What this all boils down to is Ansari indirectly asking the public to stop judging him so harshly, when learning and growing and making mistakes is the very essence of being human. If there was a comedy special attached to Jon Ronson's excellent \u003ca href=\"https://www.amazon.com/So-Youve-Been-Publicly-Shamed/dp/1594634017\">\u003cem>So You've Been Publicly Shamed\u003c/em>\u003c/a> book, this would be it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In much the same way that Grace and Ansari's disastrous night became an opportunity to talk about communication between intimate partners, Ansari has taken his own public humiliation as a means to more widely explore communication in the modern world and the often judgmental nature of it. For Ansari's detractors, it will all mean very little; a brief glance at Twitter will tell you as much. But taking a personal crisis and making it meaningful on this broad a scale is an impressive feat whichever way you slice it. \"All we really have,\" he says at the end of \u003cem>Right Now\u003c/em>, \"is the moment we’re in and the people we’re with.” Ansari has clearly learned a lot from Grace sharing her story. We could all learn something from hearing his too.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "It's About Damn Time We Got A Show Like 'A Black Lady Sketch Show'",
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"content": "\u003cp>Over the weekend, the first trailer for \u003cem>A Black Lady Sketch Show\u003c/em> dropped and we haven't been this excited to watch skits since \u003cem>SNL\u003c/em>'s 2005 cast first got together.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EPBi9ttKbeU\u003c/p>\n\u003cp>Executive produced by \u003cem>Insecure\u003c/em>'s Issa Rae, \u003cem>BLSS\u003c/em> is the brainchild of Robin Thede. You might recognize Thede from her BET talk show, \u003ca href=\"https://www.youtube.com/watch?v=h2tzpWJ0frE\">\u003cem>The Rundown\u003c/em>\u003c/a>, or her guest appearances on \u003cem>Key & Peele\u003c/em> and \u003ci>Difficult People,\u003c/i> but behind the scenes, she has also worked as head writer for both \u003cem>The Nightly Show With Larry Wilmore\u003c/em> and \u003cem>The Queen Latifah Show. \u003c/em>\"This team is so dynamic,\" \u003ca href=\"https://www.youtube.com/watch?v=Db2o12JEVBo\">Thede says\u003c/a> in a clip posted to \u003cem>Issa Rae Presents\u003c/em>' YouTube channel. \"We are so ready to bring you the funniest sketches like you have never seen.\"\u003c/p>\n\u003cp>Thede and Rae's on-screen crew is rounded out by Ashley Nicole Black (of \u003ca href=\"https://www.youtube.com/watch?v=CXDe9DYUONE\">\u003cem>Full Frontal With Samantha Bee\u003c/em>\u003c/a>), Gabrielle Dennis (of \u003ca href=\"https://www.youtube.com/watch?v=dYfiFc1yiSw\">\u003cem>Luke Cage\u003c/em>\u003c/a>) and Quinta Brunson (\u003ca href=\"https://www.youtube.com/watch?v=J-FZ2e0uk64\">viral video star\u003c/a> turned BuzzFeed producer). The ladies have also gathered a super-impressive roster of guest stars including Lena Waithe, Kelly Rowland, Angela Bassett, Laverne Cox, Patti LaBelle and Yvette Nicole Brown.\u003c/p>\n\u003cp>\u003cem>A Black Lady Sketch Show\u003c/em> has the astounding distinction of being the first TV sketch show in history created by, written by and starring black women. It is about damn time we got one of those. Thankfully, with the jaw-dropping amount of talent involved, it's bound to be worth the wait.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>'A Black Lady Sketch Show' premieres on HBO, August 2.\u003c/em>\u003c/p>\n\n",
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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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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "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": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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},
"tech-nation": {
"id": "tech-nation",
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