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Arnie’s OCD would create friction with how chaotic I was, and that’s the Bert & Ernie dynamic… That’s what I had in my life, a Bert and Ernie relationship. How could it not permeate?\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8iwj5hEqZ4Q\u003c/p>\n\u003cp>The revelation is in direct contradiction to sporadic denials issued over the years. In 1993, \u003ca href=\"https://www.snopes.com/fact-check/open-sesame/\">the Children’s Television Workshop said\u003c/a> that “Bert and Ernie, who’ve been on \u003cem>Sesame Street\u003c/em> for 25 years, do not portray a gay couple, and there are no plans for them to do so in the future.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Sesame Street Workshop also released \u003ca href=\"https://abc7.com/archive/8302125/\">a statement\u003c/a> in 2011 that stated: \"Bert and Ernie are best friends. They were created to teach preschoolers that people can be good friends with those who are very different from themselves. Even though they are identified as male characters and possess many human traits and characteristics (as most \u003cem>Sesame Street\u003c/em> Muppets™ do), they remain puppets, and do not have a sexual orientation.\"\u003c/p>\n\u003cfigure id=\"attachment_105841\" class=\"wp-caption alignright\" style=\"max-width: 580px\">\u003cimg class=\"size-full wp-image-105841\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/09/new-yorker-cover-bert-ernie-gay-marriage-580.jpg\" alt=\"\" width=\"580\" height=\"792\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/09/new-yorker-cover-bert-ernie-gay-marriage-580.jpg 580w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/new-yorker-cover-bert-ernie-gay-marriage-580-160x218.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/new-yorker-cover-bert-ernie-gay-marriage-580-240x328.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/new-yorker-cover-bert-ernie-gay-marriage-580-375x512.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/new-yorker-cover-bert-ernie-gay-marriage-580-520x710.jpg 520w\" sizes=\"(max-width: 580px) 100vw, 580px\">\u003cfigcaption class=\"wp-caption-text\">'The New Yorker', July 8 & 15, 2013.\u003c/figcaption>\u003c/figure>\n\u003cp>A 2013 \u003cem>New Yorker\u003c/em> cover, drawn by Jack Hunter, disagreed. Featuring Ernie and Bert snuggling in front of the TV, the art was intended to celebrate the Supreme Court striking down the Defense of Marriage Act that had been a bar to the rights of same-sex couples since 1996. Some were more thrilled than others. \u003cem>Slate\u003c/em> at the time declared the cover \u003ca href=\"http://www.slate.com/blogs/browbeat/2013/06/28/bert_and_ernie_on_new_yorker_cover_for_gay_marriage_a_terrible_way_to_commemorate.html\">\"a terrible way to commemorate a major civil rights victory.\"\u003c/a>\u003c/p>\n\u003cp>Regardless, Bert and Ernie have been used as shorthand for same-sex marriage before same-sex marriage was even legal. In 2011, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=Mh5pAtgubMY\">Family Guy\u003c/a>\u003c/em> blended \u003cem>Sesame Street\u003c/em> with a police procedural, and the gritty result finally depicted Bert and Ernie sharing one bed. A year later, \u003cem>The Simpsons\u003c/em> did something similar, depicting Bert and Ernie in a gay bar. And in 2014, \u003cem>Modern Family\u003c/em>'s gay couple, Cam and Mitch, \u003ca href=\"http://modernfamily.wikia.com/wiki/Haley%27s_21st_Birthday\">compared themselves\u003c/a> to Bert and Ernie.\u003c/p>\n\u003cp>This morning, the Sesame Workshop issued yet another denial, then deleted it in favor of this more gently worded tweet:\u003c/p>\n\u003cp>https://twitter.com/SesameWorkshop/status/1042197230583721989\u003c/p>\n\u003cp>Given Saltzman's heart-warming reasons for developing these characters in the 1980s to resemble his own real-life relationship, and given the obvious need for more representation of LGBT people in children's educational materials, we can't help but want to believe Saltzman's version of events and be done with it.\u003c/p>\n\u003cp>With that in mind, here's wishing Bert and Ernie another 49 years of happiness together!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>An earlier version of this story featured a Sesame Workshop tweet that was later deleted. Their updated statement has been added in its place. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The rumors about Bert and Ernie have persisted for decades—after all, they have been cohabiting for nearly 50 years at this point. And while the answer to the \"are-they\" or \"aren't-they\" questions has always seemed pretty obvious, we finally have a reasonably solid confirmation that Bert and Ernie are gay. Hurray!\u003c/p>\n\u003cp>The life partners were just outed by \u003cem>Sesame Street\u003c/em> writer, Mark Saltzman, who \u003ca href=\"https://www.queerty.com/exclusive-bert-ernie-couple-finally-answer-20180916\">told \u003cem>Queerty\u003c/em>\u003c/a> that the dynamic between Bert and Ernie was based on his own decades-long relationship with film editor, Arnold Glassman.\u003c/p>\n\u003cp>\"I was Ernie,\" Saltzman says. \"I was the jokester... I was already with Arnie when I came to \u003cem>Sesame Street\u003c/em>. So I don’t think I’d know how else to write them but as a loving couple. Arnie’s OCD would create friction with how chaotic I was, and that’s the Bert & Ernie dynamic… That’s what I had in my life, a Bert and Ernie relationship. How could it not permeate?\"\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/8iwj5hEqZ4Q'\n title='//www.youtube.com/embed/8iwj5hEqZ4Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The revelation is in direct contradiction to sporadic denials issued over the years. In 1993, \u003ca href=\"https://www.snopes.com/fact-check/open-sesame/\">the Children’s Television Workshop said\u003c/a> that “Bert and Ernie, who’ve been on \u003cem>Sesame Street\u003c/em> for 25 years, do not portray a gay couple, and there are no plans for them to do so in the future.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Sesame Street Workshop also released \u003ca href=\"https://abc7.com/archive/8302125/\">a statement\u003c/a> in 2011 that stated: \"Bert and Ernie are best friends. They were created to teach preschoolers that people can be good friends with those who are very different from themselves. Even though they are identified as male characters and possess many human traits and characteristics (as most \u003cem>Sesame Street\u003c/em> Muppets™ do), they remain puppets, and do not have a sexual orientation.\"\u003c/p>\n\u003cfigure id=\"attachment_105841\" class=\"wp-caption alignright\" style=\"max-width: 580px\">\u003cimg class=\"size-full wp-image-105841\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/09/new-yorker-cover-bert-ernie-gay-marriage-580.jpg\" alt=\"\" width=\"580\" height=\"792\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/09/new-yorker-cover-bert-ernie-gay-marriage-580.jpg 580w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/new-yorker-cover-bert-ernie-gay-marriage-580-160x218.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/new-yorker-cover-bert-ernie-gay-marriage-580-240x328.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/new-yorker-cover-bert-ernie-gay-marriage-580-375x512.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/new-yorker-cover-bert-ernie-gay-marriage-580-520x710.jpg 520w\" sizes=\"(max-width: 580px) 100vw, 580px\">\u003cfigcaption class=\"wp-caption-text\">'The New Yorker', July 8 & 15, 2013.\u003c/figcaption>\u003c/figure>\n\u003cp>A 2013 \u003cem>New Yorker\u003c/em> cover, drawn by Jack Hunter, disagreed. Featuring Ernie and Bert snuggling in front of the TV, the art was intended to celebrate the Supreme Court striking down the Defense of Marriage Act that had been a bar to the rights of same-sex couples since 1996. Some were more thrilled than others. \u003cem>Slate\u003c/em> at the time declared the cover \u003ca href=\"http://www.slate.com/blogs/browbeat/2013/06/28/bert_and_ernie_on_new_yorker_cover_for_gay_marriage_a_terrible_way_to_commemorate.html\">\"a terrible way to commemorate a major civil rights victory.\"\u003c/a>\u003c/p>\n\u003cp>Regardless, Bert and Ernie have been used as shorthand for same-sex marriage before same-sex marriage was even legal. In 2011, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=Mh5pAtgubMY\">Family Guy\u003c/a>\u003c/em> blended \u003cem>Sesame Street\u003c/em> with a police procedural, and the gritty result finally depicted Bert and Ernie sharing one bed. A year later, \u003cem>The Simpsons\u003c/em> did something similar, depicting Bert and Ernie in a gay bar. And in 2014, \u003cem>Modern Family\u003c/em>'s gay couple, Cam and Mitch, \u003ca href=\"http://modernfamily.wikia.com/wiki/Haley%27s_21st_Birthday\">compared themselves\u003c/a> to Bert and Ernie.\u003c/p>\n\u003cp>This morning, the Sesame Workshop issued yet another denial, then deleted it in favor of this more gently worded tweet:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Given Saltzman's heart-warming reasons for developing these characters in the 1980s to resemble his own real-life relationship, and given the obvious need for more representation of LGBT people in children's educational materials, we can't help but want to believe Saltzman's version of events and be done with it.\u003c/p>\n\u003cp>With that in mind, here's wishing Bert and Ernie another 49 years of happiness together!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>An earlier version of this story featured a Sesame Workshop tweet that was later deleted. Their updated statement has been added in its place. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Rarely has the opening of an awards show felt as inauspicious as the first 10 minutes or so of Monday night's Emmy Awards. An opening number called \"We Solved It,\" making light of the idea that Hollywood's meager progress toward greater diversity constitutes a meaningful resolution to the issue, featured a number of appealing TV personalities: \u003cem>Saturday Night Live\u003c/em>'s Kenan Thompson and Kate McKinnon, Tituss Burgess of \u003cem>The Unbreakable Kimmy Schmidt\u003c/em>, Kristen Bell of \u003cem>The Good Place\u003c/em>, RuPaul, Sterling K. Brown of \u003cem>This Is Us\u003c/em>, and Ricky Martin. It even included what they called the One Of Each Dancers, a group that, taken together, supposedly checked every demographic box. It worked better in theory than in execution: the song wasn't great, and the number seemed a little sloppy, like they'd all just learned it. Regrettably, it got worse before it got better.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J74hHQgCjrc\u003c/p>\n\u003cp>Because what came after that was the introduction of the hosts, Colin Jost and Michael Che, both of \u003cem>SNL'\u003c/em>s \u003cem>Weekend Update \u003c/em>segment. They seemed awkward, miserable, unfunny, and cursed with mostly weak jokes. Devoid of charisma and struggling to get the audience on their side, they plodded on, looking like two dads forced to emcee a school assembly where they didn't particularly want to be there, but someone had prevailed upon them to help out. Equally grim were Fred Armisen and Maya Rudolph, not helping their new Amazon series \u003cem>Forever \u003c/em>by appearing together in a series of resolutely dull and (here's that word again) awkward scenes in which the joke seemed to be that there was no joke.\u003c/p>\n\u003cp>Especially in the first half of the show, a pall hung over the ceremony as if much of the crowd had been heavily sedated. Jeff Daniels rambled about his horse and people chuckled politely. Aidy Bryant and Bob Odenkirk — both known to be funny people! — haltingly executed a bit of scripted patter about doing scripted patter, a gambit that's been taking down presenters for ages. (This never works. Stop doing this.) Speech after speech seemed dragged down by the energy around it. It's not that there were no successes at all among the presenters; Michael Douglas was very funny talking about the deep resentment he believes in carrying around about the awards you've lost.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CVYtkqBSgoc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But it didn't help that the first two award-winners of the night were probably the most energetic ones to hit the stage for quite a while. Henry Winkler, honored for his supporting work in \u003cem>Barry\u003c/em> and receiving the first Primetime Emmy Award of his long career, was just as charming as you'd hope, and just as excited, saying he only had 37 seconds for a speech he'd been holding for 43 years. And Alex Borstein, who won in the supporting category for \u003cem>The Marvelous Mrs. Maisel\u003c/em>, started by announcing she wasn't wearing a bra and asking other women not to pee on the seats of public toilets. It might not have been a traditional awards speech, but it had a certain verve.\u003c/p>\n\u003cp>Others were just fine: Rachel Brosnahan won for her leading performance in \u003cem>The Marvelous Mrs. Maisel\u003c/em> and encouraged everyone to vote in the midterms, and Bill Hader won for his leading performance in \u003cem>Barry \u003c/em>and seemed genuinely shocked. Actor Darren Criss and director Ryan Murphy both won for \u003cem>The Assassination of Gianni Versace: American Crime Story\u003c/em>, part of the \u003cem>ACS \u003c/em>anthology series that picked up a bunch of awards for its previous season about the O.J. Simpson trial. Peter Dinklage won in the supporting category for \u003cem>Game of Thrones\u003c/em>, as he has twice before. Things rolled along.\u003c/p>\n\u003cp>But on an awards ceremony that started off trying to do edgy humor about the limits of progress toward diversity, it was hard not to notice that it took quite a while to get to the first nonwhite winner in an acting category: Regina King for the Netflix limited series \u003cem>Seven Seconds\u003c/em>, which will not return for a second season (as many \"limited\" series, in fact, do). Thandie Newton also won in the supporting actress in a drama series category for \u003cem>Westworld\u003c/em>, but some of the actors of color for whom hopes were highest — Sandra Oh in \u003cem>Killing Eve\u003c/em>, for instance — they didn't come to pass.\u003c/p>\n\u003cp>One of the hosts' few successful bits was Che's \"Reparations Emmys,\" where he handed out Emmy statuettes he said he'd stolen from Bill Cosby to beloved black actors who hadn't won in the past: Marla Gibbs from \u003cem>The Jeffersons \u003c/em>and \u003cem>227\u003c/em>, Jimmie Walker from \u003cem>Good Times\u003c/em>, Kadeem Hardison from \u003cem>A Different World\u003c/em>, Tichina Arnold from \u003cem>Martin\u003c/em>, comedy journeyman John Witherspoon, and even Jaleel White — that's right, Che gave an honorary award to Urkel.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mFLk09CJHCY\u003c/p>\n\u003cp>One reason why the awards looked as white as they did was that the shows that really cleaned up were ... really white shows. \u003cem>The Marvelous Mrs. Maisel \u003c/em>and \u003cem>Barry \u003c/em>cornered all of the comedy awards, and it was a decent showing for the last season of \u003cem>The Americans \u003c/em>on FX, which won in the writing category for drama and was recognized for Matthew Rhys' lead performance. Keri Russell, on the other hand, lost out to \u003cem>The Crown\u003c/em>'s Claire Foy — as did Sandra Oh. \u003cem>Atlanta\u003c/em>, which has an embarrassment of riches in its cast, including some of the most sought-after young actors in Hollywood at the moment, was shut out of the major awards entirely. The excellent shows \u003cem>Vida\u003c/em>, \u003cem>One Day At A Time \u003c/em>and \u003cem>Jane The Virgin \u003c/em>weren't even in the running, and there are plenty of other examples. When you miss out on whole shows, you miss out on nominees, and you miss out on winners. There's an inevitability to it.\u003c/p>\n\u003cp>The most viral-ready moment of the evening came from Glenn Weiss, who won for directing the Oscars (yes, you can win at an awards show for directing another awards show). He proposed to his girlfriend on stage, and she accepted. That is a man who knows how to produce a moment.\u003c/p>\n\u003cp>In the end, none of the winners at the show level were surprises: \u003cem>RuPaul's Drag Race\u003c/em>, \u003cem>Last Week Tonight\u003c/em>, and \u003cem>Saturday Night Live\u003c/em> won in reality and variety categories. \u003cem>American Crime Story: The Assassination of Gianni Versace \u003c/em>won in the limited series category. After seeing \u003cem>The Marvelous Mrs. Maisel \u003c/em>rack up four of the six available comedy awards at the beginning of the broadcast, it was no surprise to see it take outstanding comedy series near the end of it. And \u003cem>Game of Thrones\u003c/em> won its third Emmy for outstanding drama series — a win for a season that didn't garner as much praise as some past cycles have.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So what have we learned? Well, we've learned that a musical number jokingly announcing that you've solved your diversity problem actually makes your diversity problem more awkward. We've learned that the hosts of an awards show should behave as if they're glad to be there and as if they care that the audience is glad to be there. And we've certainly learned that the Emmy voters really liked \u003cem>The Marvelous Mrs. Maisel\u003c/em>, they still like \u003cem>Game Of Thrones\u003c/em>, and maybe they didn't get those \u003cem>Killing Eve \u003c/em>screeners. Were they sent by registered mail?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+The+2018+Emmys%2C+%27Game+Of+Thrones%27+And+%27Mrs.+Maisel%27+Soar+While+The+Hosts+Struggle&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rarely has the opening of an awards show felt as inauspicious as the first 10 minutes or so of Monday night's Emmy Awards. An opening number called \"We Solved It,\" making light of the idea that Hollywood's meager progress toward greater diversity constitutes a meaningful resolution to the issue, featured a number of appealing TV personalities: \u003cem>Saturday Night Live\u003c/em>'s Kenan Thompson and Kate McKinnon, Tituss Burgess of \u003cem>The Unbreakable Kimmy Schmidt\u003c/em>, Kristen Bell of \u003cem>The Good Place\u003c/em>, RuPaul, Sterling K. Brown of \u003cem>This Is Us\u003c/em>, and Ricky Martin. It even included what they called the One Of Each Dancers, a group that, taken together, supposedly checked every demographic box. It worked better in theory than in execution: the song wasn't great, and the number seemed a little sloppy, like they'd all just learned it. Regrettably, it got worse before it got better.\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/J74hHQgCjrc'\n title='//www.youtube.com/embed/J74hHQgCjrc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Because what came after that was the introduction of the hosts, Colin Jost and Michael Che, both of \u003cem>SNL'\u003c/em>s \u003cem>Weekend Update \u003c/em>segment. They seemed awkward, miserable, unfunny, and cursed with mostly weak jokes. Devoid of charisma and struggling to get the audience on their side, they plodded on, looking like two dads forced to emcee a school assembly where they didn't particularly want to be there, but someone had prevailed upon them to help out. Equally grim were Fred Armisen and Maya Rudolph, not helping their new Amazon series \u003cem>Forever \u003c/em>by appearing together in a series of resolutely dull and (here's that word again) awkward scenes in which the joke seemed to be that there was no joke.\u003c/p>\n\u003cp>Especially in the first half of the show, a pall hung over the ceremony as if much of the crowd had been heavily sedated. Jeff Daniels rambled about his horse and people chuckled politely. Aidy Bryant and Bob Odenkirk — both known to be funny people! — haltingly executed a bit of scripted patter about doing scripted patter, a gambit that's been taking down presenters for ages. (This never works. Stop doing this.) Speech after speech seemed dragged down by the energy around it. It's not that there were no successes at all among the presenters; Michael Douglas was very funny talking about the deep resentment he believes in carrying around about the awards you've lost.\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/CVYtkqBSgoc'\n title='//www.youtube.com/embed/CVYtkqBSgoc'\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>But it didn't help that the first two award-winners of the night were probably the most energetic ones to hit the stage for quite a while. Henry Winkler, honored for his supporting work in \u003cem>Barry\u003c/em> and receiving the first Primetime Emmy Award of his long career, was just as charming as you'd hope, and just as excited, saying he only had 37 seconds for a speech he'd been holding for 43 years. And Alex Borstein, who won in the supporting category for \u003cem>The Marvelous Mrs. Maisel\u003c/em>, started by announcing she wasn't wearing a bra and asking other women not to pee on the seats of public toilets. It might not have been a traditional awards speech, but it had a certain verve.\u003c/p>\n\u003cp>Others were just fine: Rachel Brosnahan won for her leading performance in \u003cem>The Marvelous Mrs. Maisel\u003c/em> and encouraged everyone to vote in the midterms, and Bill Hader won for his leading performance in \u003cem>Barry \u003c/em>and seemed genuinely shocked. Actor Darren Criss and director Ryan Murphy both won for \u003cem>The Assassination of Gianni Versace: American Crime Story\u003c/em>, part of the \u003cem>ACS \u003c/em>anthology series that picked up a bunch of awards for its previous season about the O.J. Simpson trial. Peter Dinklage won in the supporting category for \u003cem>Game of Thrones\u003c/em>, as he has twice before. Things rolled along.\u003c/p>\n\u003cp>But on an awards ceremony that started off trying to do edgy humor about the limits of progress toward diversity, it was hard not to notice that it took quite a while to get to the first nonwhite winner in an acting category: Regina King for the Netflix limited series \u003cem>Seven Seconds\u003c/em>, which will not return for a second season (as many \"limited\" series, in fact, do). Thandie Newton also won in the supporting actress in a drama series category for \u003cem>Westworld\u003c/em>, but some of the actors of color for whom hopes were highest — Sandra Oh in \u003cem>Killing Eve\u003c/em>, for instance — they didn't come to pass.\u003c/p>\n\u003cp>One of the hosts' few successful bits was Che's \"Reparations Emmys,\" where he handed out Emmy statuettes he said he'd stolen from Bill Cosby to beloved black actors who hadn't won in the past: Marla Gibbs from \u003cem>The Jeffersons \u003c/em>and \u003cem>227\u003c/em>, Jimmie Walker from \u003cem>Good Times\u003c/em>, Kadeem Hardison from \u003cem>A Different World\u003c/em>, Tichina Arnold from \u003cem>Martin\u003c/em>, comedy journeyman John Witherspoon, and even Jaleel White — that's right, Che gave an honorary award to Urkel.\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/mFLk09CJHCY'\n title='//www.youtube.com/embed/mFLk09CJHCY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One reason why the awards looked as white as they did was that the shows that really cleaned up were ... really white shows. \u003cem>The Marvelous Mrs. Maisel \u003c/em>and \u003cem>Barry \u003c/em>cornered all of the comedy awards, and it was a decent showing for the last season of \u003cem>The Americans \u003c/em>on FX, which won in the writing category for drama and was recognized for Matthew Rhys' lead performance. Keri Russell, on the other hand, lost out to \u003cem>The Crown\u003c/em>'s Claire Foy — as did Sandra Oh. \u003cem>Atlanta\u003c/em>, which has an embarrassment of riches in its cast, including some of the most sought-after young actors in Hollywood at the moment, was shut out of the major awards entirely. The excellent shows \u003cem>Vida\u003c/em>, \u003cem>One Day At A Time \u003c/em>and \u003cem>Jane The Virgin \u003c/em>weren't even in the running, and there are plenty of other examples. When you miss out on whole shows, you miss out on nominees, and you miss out on winners. There's an inevitability to it.\u003c/p>\n\u003cp>The most viral-ready moment of the evening came from Glenn Weiss, who won for directing the Oscars (yes, you can win at an awards show for directing another awards show). He proposed to his girlfriend on stage, and she accepted. That is a man who knows how to produce a moment.\u003c/p>\n\u003cp>In the end, none of the winners at the show level were surprises: \u003cem>RuPaul's Drag Race\u003c/em>, \u003cem>Last Week Tonight\u003c/em>, and \u003cem>Saturday Night Live\u003c/em> won in reality and variety categories. \u003cem>American Crime Story: The Assassination of Gianni Versace \u003c/em>won in the limited series category. After seeing \u003cem>The Marvelous Mrs. Maisel \u003c/em>rack up four of the six available comedy awards at the beginning of the broadcast, it was no surprise to see it take outstanding comedy series near the end of it. And \u003cem>Game of Thrones\u003c/em> won its third Emmy for outstanding drama series — a win for a season that didn't garner as much praise as some past cycles have.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So what have we learned? Well, we've learned that a musical number jokingly announcing that you've solved your diversity problem actually makes your diversity problem more awkward. We've learned that the hosts of an awards show should behave as if they're glad to be there and as if they care that the audience is glad to be there. And we've certainly learned that the Emmy voters really liked \u003cem>The Marvelous Mrs. Maisel\u003c/em>, they still like \u003cem>Game Of Thrones\u003c/em>, and maybe they didn't get those \u003cem>Killing Eve \u003c/em>screeners. Were they sent by registered mail?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+The+2018+Emmys%2C+%27Game+Of+Thrones%27+And+%27Mrs.+Maisel%27+Soar+While+The+Hosts+Struggle&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The 2018 Emmy Awards are airing Monday night on NBC beginning at 7:30 PM. How can you remember they're on NBC, should you forget? Well, for one thing, the hosts are \u003cem>Saturday Night Live \u003c/em>cast members and \u003cem>Weekend Update \u003c/em>co-anchors Colin Jost and Michael Che, two guys who fit more into the category of \"the Emmys will be good for them\" than into the category of \"they will be good for the Emmys.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ck222VlWdHQ\u003c/p>\n\u003cp>But whether or not you pay any attention to the hosts, it should be a fun evening to watch established dramas slug it out while fresh comedies try to elbow their way in. There are seven shows in the running for outstanding drama series including \u003cem>The Handmaid's Tale \u003c/em>(last year's winner), \u003cem>Game of Thrones \u003c/em>(won the two years before that)\u003cem>, This Is Us (\u003c/em>holding down the fort for broadcast networks for the second year in a row), \u003cem>The Americans \u003c/em>(which wrapped up its acclaimed run this year) and repeat nominees from 2017 \u003cem>The Crown\u003c/em>, \u003cem>Stranger Things\u003c/em>, and \u003cem>Westworld\u003c/em>. Not one new show was nominated, and there are a lot of very heavy hitters in the category.\u003c/p>\n\u003cp>The comedy side, which often changes very slowly, is a lot more exciting in terms of new entries. Of the eight nominees, three are new shows: \u003cem>GLOW\u003c/em>, \u003cem>Barry \u003c/em>and \u003cem>The Marvelous Mrs. Maisel\u003c/em>. The five others — \u003cem>Silicon Valley\u003c/em>, \u003cem>Atlanta, Black-ish\u003c/em>, \u003cem>Unbreakable Kimmy Schmidt\u003c/em>, and \u003cem>Curb Your Enthusiasm\u003c/em> — have never won. Except for \u003cem>Curb Your Enthusiasm\u003c/em>, which before this cycle hadn't had a new season since 2011, they've all been shut out by the one-two punch of \u003cem>Modern Family \u003c/em>winning from 2010-2014 and then \u003cem>Veep \u003c/em>winning in 2015-2017.\u003c/p>\n\u003cp>But both of those shows are out of the running this year: \u003cem>Veep \u003c/em>took a season off and isn't eligible, while \u003cem>Modern Family \u003c/em>went without a nomination for the first time in its long run. What that means is that you are guaranteed an outstanding comedy series winner that's never won before, and a shakeup to a category that's long tended to pick a winner it likes and go with it. (The same goes for the lead actress in a comedy category, where the great Julia Louis-Dreyfus, who's won six times in a row, is out of the running, which opens the door for someone like Rachel Brosnahan of \u003cem>Mrs. Maisel \u003c/em>or Tracee Ellis Ross of \u003cem>Black-ish\u003c/em>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So there will be plenty of drama (and comedy!) to watch out for, and plenty of opportunities for fresh faces. There will also be gowns — \u003ca href=\"https://www.eonline.com/news/967683/e-will-be-live-from-the-red-carpet-with-extensive-coverage-for-the-2018-emmys-don-t-miss-a-moment\">watch or stream\u003c/a> the red carpet show on E! at 6 p.m. if that's your kind of thing — and speeches, surprising losses and unbelievable wins. At least we hope there will be, because that's the best part. And we'll be following on Twitter: you can follow \u003ca href=\"http://www.twitter.com/lindaholmes\">me\u003c/a>, \u003ca href=\"http://www.twitter.com/idislikestephen\">Stephen Thompson\u003c/a>, \u003ca href=\"http://twitter.com/ghweldon\">Glen Weldon\u003c/a> and \u003ca href=\"http://twitter.com/deggans\">Eric Deggans\u003c/a> as we put our feet up to see what happens.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And whatever does happen, we'll be here on Tuesday with a wrap-up of everything you need to know, and you'll be able to hear an episode of \u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\">Pop Culture Happy Hour\u003c/a> on Tuesday morning where we tell you what you missed Monday night.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+Faces+And+Old+Favorites+Will+Face+Off+At+The+Emmy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 2018 Emmy Awards are airing Monday night on NBC beginning at 7:30 PM. How can you remember they're on NBC, should you forget? Well, for one thing, the hosts are \u003cem>Saturday Night Live \u003c/em>cast members and \u003cem>Weekend Update \u003c/em>co-anchors Colin Jost and Michael Che, two guys who fit more into the category of \"the Emmys will be good for them\" than into the category of \"they will be good for the Emmys.\"\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/Ck222VlWdHQ'\n title='//www.youtube.com/embed/Ck222VlWdHQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But whether or not you pay any attention to the hosts, it should be a fun evening to watch established dramas slug it out while fresh comedies try to elbow their way in. There are seven shows in the running for outstanding drama series including \u003cem>The Handmaid's Tale \u003c/em>(last year's winner), \u003cem>Game of Thrones \u003c/em>(won the two years before that)\u003cem>, This Is Us (\u003c/em>holding down the fort for broadcast networks for the second year in a row), \u003cem>The Americans \u003c/em>(which wrapped up its acclaimed run this year) and repeat nominees from 2017 \u003cem>The Crown\u003c/em>, \u003cem>Stranger Things\u003c/em>, and \u003cem>Westworld\u003c/em>. Not one new show was nominated, and there are a lot of very heavy hitters in the category.\u003c/p>\n\u003cp>The comedy side, which often changes very slowly, is a lot more exciting in terms of new entries. Of the eight nominees, three are new shows: \u003cem>GLOW\u003c/em>, \u003cem>Barry \u003c/em>and \u003cem>The Marvelous Mrs. Maisel\u003c/em>. The five others — \u003cem>Silicon Valley\u003c/em>, \u003cem>Atlanta, Black-ish\u003c/em>, \u003cem>Unbreakable Kimmy Schmidt\u003c/em>, and \u003cem>Curb Your Enthusiasm\u003c/em> — have never won. Except for \u003cem>Curb Your Enthusiasm\u003c/em>, which before this cycle hadn't had a new season since 2011, they've all been shut out by the one-two punch of \u003cem>Modern Family \u003c/em>winning from 2010-2014 and then \u003cem>Veep \u003c/em>winning in 2015-2017.\u003c/p>\n\u003cp>But both of those shows are out of the running this year: \u003cem>Veep \u003c/em>took a season off and isn't eligible, while \u003cem>Modern Family \u003c/em>went without a nomination for the first time in its long run. What that means is that you are guaranteed an outstanding comedy series winner that's never won before, and a shakeup to a category that's long tended to pick a winner it likes and go with it. (The same goes for the lead actress in a comedy category, where the great Julia Louis-Dreyfus, who's won six times in a row, is out of the running, which opens the door for someone like Rachel Brosnahan of \u003cem>Mrs. Maisel \u003c/em>or Tracee Ellis Ross of \u003cem>Black-ish\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So there will be plenty of drama (and comedy!) to watch out for, and plenty of opportunities for fresh faces. There will also be gowns — \u003ca href=\"https://www.eonline.com/news/967683/e-will-be-live-from-the-red-carpet-with-extensive-coverage-for-the-2018-emmys-don-t-miss-a-moment\">watch or stream\u003c/a> the red carpet show on E! at 6 p.m. if that's your kind of thing — and speeches, surprising losses and unbelievable wins. At least we hope there will be, because that's the best part. And we'll be following on Twitter: you can follow \u003ca href=\"http://www.twitter.com/lindaholmes\">me\u003c/a>, \u003ca href=\"http://www.twitter.com/idislikestephen\">Stephen Thompson\u003c/a>, \u003ca href=\"http://twitter.com/ghweldon\">Glen Weldon\u003c/a> and \u003ca href=\"http://twitter.com/deggans\">Eric Deggans\u003c/a> as we put our feet up to see what happens.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And whatever does happen, we'll be here on Tuesday with a wrap-up of everything you need to know, and you'll be able to hear an episode of \u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\">Pop Culture Happy Hour\u003c/a> on Tuesday morning where we tell you what you missed Monday night.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+Faces+And+Old+Favorites+Will+Face+Off+At+The+Emmy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In interviews, Maya Rudolph and Fred Armisen \u003ca href=\"https://www.nytimes.com/2018/08/30/arts/television/fred-armisen-maya-rudolph-forever.html\">have said that what attracted them to the project that became \u003cem>Forever\u003c/em>,\u003c/a> a slyly surreal 8-episode series on Amazon Prime, was the prospect of telling a complete story about the same characters over an extended period of time — and then dropping them.\u003c/p>\n\u003cp>It's a chance for them to shake off their \u003cem>SNL\u003c/em> sketch-comedy training, which exploited their talents for quick changes and big takes; \u003cem>Forever\u003c/em>'s limited lifespan (there will be no subsequent seasons) presents them with an opportunity to thumb their noses at their television alma mater's penchant for driving recurring, catchphrase-based hit characters into the ground. (Armisen's work since, on both \u003cem>Portlandia \u003c/em>and \u003cem>Documentary Now!,\u003c/em> has been just as chameleon-like as ever, but both of those shows supply him a bit more room to settle into his characters. Rudolph, meanwhile, has spent her years since leaving \u003cem>SNL\u003c/em> dependably killing it in sketch (albeit in the wince-inducing \u003cem>Maya & Marty\u003c/em>) and in smaller comedic roles (\u003cem>Up All Night, Life of the Party, Big Mouth \u003c/em>and a too-brief, flatly astonishing Dionne Warwick turn on \u003cem>The Unbreakable Kimmy Schmidt\u003c/em>).\u003c/p>\n\u003cp>Neither performer has previously assayed roles that require them to dig as deep as they do in \u003cem>Forever\u003c/em>. (Rudolph, it must be said, digs deeper and finds more dramatic gold — Armisen, as an actor, retains a blankness that's played for laughs, but keeps us at a distance.) The story of the series, which to avoid spoilers I'll discuss here with great delicacy and not inconsiderable difficulty, is set up neatly in the first episode's quietly virtuosic opening five minutes: The camera pans left to right, across a series of scenes featuring Rudolph's June and Armisen's Oscar as they meet, date, marry and settle into a life together.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bagwg_tXlhc\u003c/p>\n\u003cp>Can a couple who seems happy enough be... happy, enough? That's what \u003cem>Forever \u003c/em>grapples with, though \"grapples\" implies effortful struggle, and the series is far too chill to let you see it sweat. One reason for that: Part of the show's subject is passivity — in relationships, in life — and roads not taken. As that passivity slowly but steadily leaches into the series itself, you may find your mind wandering, noting, for example how its ability to [redacted! spoilers!] compares to another television series like [redacted! spoilers!], which is currently playing in a very similar conceptual sandbox.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Look, there's a lot I'm not telling you. In particular I'm not telling you that, just as you're growing impatient with how effectively (read: slowly) the series shows us the pleasant groove June and Oscar have found together widening into a vaguely dissatisfying rut (for June, at least), then along comes episode [redacted! spoilers!], which dispenses with everything that's come before to explore the notion of romantic attraction, and fidelity, from a wholly different and invigorating angle.\u003c/p>\n\u003cp>\"I don't understand why you can't just be happy,\" Oscar says to June at one point, and that's the crux of the series. He doesn't understand — he can't. And she won't \"just be happy\" — she can't. And yet, here they are.\u003c/p>\n\u003cp>The \"here\" in question gets complicated by a character played by Catherine Keener Who Is Great In Everything\u003csup>TM\u003c/sup>. Between her supporting roles in this series and in Showtime's \u003cem>Kidding\u003c/em>, we seem to be in the midst of a long-overdue Keenersance, which is to be welcomed by all right-thinking Americans.\u003c/p>\n\u003cp>\u003cem>Forever \u003c/em>is low-key funny, particularly when it's focused on Rudolph's character dealing with one of the big changes life throws her way, and it's low-key frustrating, specifically when it bothers with the surreal, world-building stuff that a series like [redacted! spoilers! again! some more!] has a lot more fun with.\u003c/p>\n\u003cfigure id=\"attachment_105816\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-105816\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/09/forever-season-1-uyh_104_04724_r_rgb_wide-12bc490ad3e7973a1f5d7d69f5ededcb10fc6403-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/09/forever-season-1-uyh_104_04724_r_rgb_wide-12bc490ad3e7973a1f5d7d69f5ededcb10fc6403-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/forever-season-1-uyh_104_04724_r_rgb_wide-12bc490ad3e7973a1f5d7d69f5ededcb10fc6403-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/forever-season-1-uyh_104_04724_r_rgb_wide-12bc490ad3e7973a1f5d7d69f5ededcb10fc6403-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/forever-season-1-uyh_104_04724_r_rgb_wide-12bc490ad3e7973a1f5d7d69f5ededcb10fc6403-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/forever-season-1-uyh_104_04724_r_rgb_wide-12bc490ad3e7973a1f5d7d69f5ededcb10fc6403-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/forever-season-1-uyh_104_04724_r_rgb_wide-12bc490ad3e7973a1f5d7d69f5ededcb10fc6403-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/forever-season-1-uyh_104_04724_r_rgb_wide-12bc490ad3e7973a1f5d7d69f5ededcb10fc6403-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/forever-season-1-uyh_104_04724_r_rgb_wide-12bc490ad3e7973a1f5d7d69f5ededcb10fc6403-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/forever-season-1-uyh_104_04724_r_rgb_wide-12bc490ad3e7973a1f5d7d69f5ededcb10fc6403-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/forever-season-1-uyh_104_04724_r_rgb_wide-12bc490ad3e7973a1f5d7d69f5ededcb10fc6403-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/forever-season-1-uyh_104_04724_r_rgb_wide-12bc490ad3e7973a1f5d7d69f5ededcb10fc6403-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oscar (Fred Armisen) and June (Maya Rudolph) try to turn their rut into a groove in 'Forever'. (Amazon)\u003c/figcaption>\u003c/figure>\n\u003cp>There's a fine line, in long-term relationships, between the everyday and the mundane. The former is a living thing, nurtured by emotional intimacy. The latter is dead, smothered by mere familiarity. \u003cem>Forever \u003c/em>sets up a base camp on that line between intimacy and familiarity, determined not to broaden its characters into familiar TV-couple types. Whether or not Oscar and June are happy, and whether or not they stay together, doesn't depend on either one doing anything wrong. \u003cem>Forever \u003c/em>is instead a series about a series of emotional crossroads — roads not taken, words left unsaid.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>By the eighth and final episode, those roads get taken, those words get said. What happens afterwards may not be as explicitly defined as many viewers will hope and expect — it is, let's be clear, just plain odd — but with that nagging ambiguity comes, nevertheless, a sense of finality and closure. The series' eight-episode story — June and Oscar's story — is over. Even \u003cem>Forever \u003c/em>ends.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Forever%27%3A+A+Couple%27s+Comfortable+Coexistence+Comes+To+A+Crossroads&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In interviews, Maya Rudolph and Fred Armisen \u003ca href=\"https://www.nytimes.com/2018/08/30/arts/television/fred-armisen-maya-rudolph-forever.html\">have said that what attracted them to the project that became \u003cem>Forever\u003c/em>,\u003c/a> a slyly surreal 8-episode series on Amazon Prime, was the prospect of telling a complete story about the same characters over an extended period of time — and then dropping them.\u003c/p>\n\u003cp>It's a chance for them to shake off their \u003cem>SNL\u003c/em> sketch-comedy training, which exploited their talents for quick changes and big takes; \u003cem>Forever\u003c/em>'s limited lifespan (there will be no subsequent seasons) presents them with an opportunity to thumb their noses at their television alma mater's penchant for driving recurring, catchphrase-based hit characters into the ground. (Armisen's work since, on both \u003cem>Portlandia \u003c/em>and \u003cem>Documentary Now!,\u003c/em> has been just as chameleon-like as ever, but both of those shows supply him a bit more room to settle into his characters. Rudolph, meanwhile, has spent her years since leaving \u003cem>SNL\u003c/em> dependably killing it in sketch (albeit in the wince-inducing \u003cem>Maya & Marty\u003c/em>) and in smaller comedic roles (\u003cem>Up All Night, Life of the Party, Big Mouth \u003c/em>and a too-brief, flatly astonishing Dionne Warwick turn on \u003cem>The Unbreakable Kimmy Schmidt\u003c/em>).\u003c/p>\n\u003cp>Neither performer has previously assayed roles that require them to dig as deep as they do in \u003cem>Forever\u003c/em>. (Rudolph, it must be said, digs deeper and finds more dramatic gold — Armisen, as an actor, retains a blankness that's played for laughs, but keeps us at a distance.) The story of the series, which to avoid spoilers I'll discuss here with great delicacy and not inconsiderable difficulty, is set up neatly in the first episode's quietly virtuosic opening five minutes: The camera pans left to right, across a series of scenes featuring Rudolph's June and Armisen's Oscar as they meet, date, marry and settle into a life together.\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/bagwg_tXlhc'\n title='//www.youtube.com/embed/bagwg_tXlhc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Can a couple who seems happy enough be... happy, enough? That's what \u003cem>Forever \u003c/em>grapples with, though \"grapples\" implies effortful struggle, and the series is far too chill to let you see it sweat. One reason for that: Part of the show's subject is passivity — in relationships, in life — and roads not taken. As that passivity slowly but steadily leaches into the series itself, you may find your mind wandering, noting, for example how its ability to [redacted! spoilers!] compares to another television series like [redacted! spoilers!], which is currently playing in a very similar conceptual sandbox.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Look, there's a lot I'm not telling you. In particular I'm not telling you that, just as you're growing impatient with how effectively (read: slowly) the series shows us the pleasant groove June and Oscar have found together widening into a vaguely dissatisfying rut (for June, at least), then along comes episode [redacted! spoilers!], which dispenses with everything that's come before to explore the notion of romantic attraction, and fidelity, from a wholly different and invigorating angle.\u003c/p>\n\u003cp>\"I don't understand why you can't just be happy,\" Oscar says to June at one point, and that's the crux of the series. He doesn't understand — he can't. And she won't \"just be happy\" — she can't. And yet, here they are.\u003c/p>\n\u003cp>The \"here\" in question gets complicated by a character played by Catherine Keener Who Is Great In Everything\u003csup>TM\u003c/sup>. Between her supporting roles in this series and in Showtime's \u003cem>Kidding\u003c/em>, we seem to be in the midst of a long-overdue Keenersance, which is to be welcomed by all right-thinking Americans.\u003c/p>\n\u003cp>\u003cem>Forever \u003c/em>is low-key funny, particularly when it's focused on Rudolph's character dealing with one of the big changes life throws her way, and it's low-key frustrating, specifically when it bothers with the surreal, world-building stuff that a series like [redacted! spoilers! again! some more!] has a lot more fun with.\u003c/p>\n\u003cfigure id=\"attachment_105816\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-105816\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/09/forever-season-1-uyh_104_04724_r_rgb_wide-12bc490ad3e7973a1f5d7d69f5ededcb10fc6403-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/09/forever-season-1-uyh_104_04724_r_rgb_wide-12bc490ad3e7973a1f5d7d69f5ededcb10fc6403-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/forever-season-1-uyh_104_04724_r_rgb_wide-12bc490ad3e7973a1f5d7d69f5ededcb10fc6403-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/forever-season-1-uyh_104_04724_r_rgb_wide-12bc490ad3e7973a1f5d7d69f5ededcb10fc6403-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/forever-season-1-uyh_104_04724_r_rgb_wide-12bc490ad3e7973a1f5d7d69f5ededcb10fc6403-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/forever-season-1-uyh_104_04724_r_rgb_wide-12bc490ad3e7973a1f5d7d69f5ededcb10fc6403-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/forever-season-1-uyh_104_04724_r_rgb_wide-12bc490ad3e7973a1f5d7d69f5ededcb10fc6403-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/forever-season-1-uyh_104_04724_r_rgb_wide-12bc490ad3e7973a1f5d7d69f5ededcb10fc6403-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/forever-season-1-uyh_104_04724_r_rgb_wide-12bc490ad3e7973a1f5d7d69f5ededcb10fc6403-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/forever-season-1-uyh_104_04724_r_rgb_wide-12bc490ad3e7973a1f5d7d69f5ededcb10fc6403-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/forever-season-1-uyh_104_04724_r_rgb_wide-12bc490ad3e7973a1f5d7d69f5ededcb10fc6403-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/forever-season-1-uyh_104_04724_r_rgb_wide-12bc490ad3e7973a1f5d7d69f5ededcb10fc6403-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oscar (Fred Armisen) and June (Maya Rudolph) try to turn their rut into a groove in 'Forever'. (Amazon)\u003c/figcaption>\u003c/figure>\n\u003cp>There's a fine line, in long-term relationships, between the everyday and the mundane. The former is a living thing, nurtured by emotional intimacy. The latter is dead, smothered by mere familiarity. \u003cem>Forever \u003c/em>sets up a base camp on that line between intimacy and familiarity, determined not to broaden its characters into familiar TV-couple types. Whether or not Oscar and June are happy, and whether or not they stay together, doesn't depend on either one doing anything wrong. \u003cem>Forever \u003c/em>is instead a series about a series of emotional crossroads — roads not taken, words left unsaid.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>By the eighth and final episode, those roads get taken, those words get said. What happens afterwards may not be as explicitly defined as many viewers will hope and expect — it is, let's be clear, just plain odd — but with that nagging ambiguity comes, nevertheless, a sense of finality and closure. The series' eight-episode story — June and Oscar's story — is over. Even \u003cem>Forever \u003c/em>ends.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Forever%27%3A+A+Couple%27s+Comfortable+Coexistence+Comes+To+A+Crossroads&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Showtime's 'Kidding' is the Deep Dive Into Grief America Needs",
"title": "Showtime's 'Kidding' is the Deep Dive Into Grief America Needs",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>In 2004, Michel Gondry and Jim Carrey made one of the most searingly accurate depictions of lost love ever committed to celluloid. Despite its inherent surrealism and futuristic overtones, \u003ca href=\"https://www.imdb.com/title/tt0338013/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Eternal Sunshine of the Spotless Mind \u003c/em>\u003c/a>captured post-relationship agony in an incredibly recognizable and relatable way. Now Gondry and Carrey are collaborating again for new Showtime series, \u003ca href=\"https://www.imdb.com/title/tt7375404/?ref_=nm_flmg_act_3\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Kidding\u003c/em>\u003c/a> (created by Dave Holstein), and they're tackling grief in the same complex and intimate way.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=amNMm-2rXrU\u003c/p>\n\u003cp>Typically, on-screen explorations of grief are inaccurate, incomplete or both. It's not for lack of trying, it's just that grief is so complicated and differs so wildly per the individual, it's almost impossible to capture. On television, death occurs frequently, but grief is mostly a fleeting plot point (though \u003ca href=\"https://www.imdb.com/title/tt5555260/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>This is Us\u003c/em>\u003c/a> offers a rare exception to that rule). In movies, what we mostly get are romanticized depictions (\u003ca href=\"https://www.imdb.com/title/tt0431308/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>P.S. I Love You\u003c/em>\u003c/a>), sentimental explorations (\u003ca href=\"https://www.imdb.com/title/tt4682786/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Collateral Beauty\u003c/em>\u003c/a>), or examinations of the immediate aftermath from a single perspective (\u003ca href=\"https://www.imdb.com/title/tt0935075/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rabbit Hole\u003c/em>\u003c/a>).\u003c/p>\n\u003cp>\u003cem>Kidding, \u003c/em>though, feels different and revelatory. Based on the first few episodes alone, the show appears to be unlocking the core components of grief and trying to piece them together in the same jumbled way people are forced to when they're living with sudden and overwhelming loss. Jim Carrey's character, Jeff Pickles, is a PBS superstar in the same vein as Mr. Rogers, whose son was killed in a car accident one year prior. His wife Jill (\u003ca href=\"https://www.imdb.com/name/nm0339460/?ref_=tt_cl_t4\" target=\"_blank\" rel=\"noopener noreferrer\">Judy Greer\u003c/a>) has left Jeff and started a new romance. Their son Will (\u003ca href=\"https://www.imdb.com/name/nm7719683/?ref_=tt_cl_t5\" target=\"_blank\" rel=\"noopener noreferrer\">Cole Allen\u003c/a>) is responding to the death of his twin brother by acting out in every way imaginable.\u003c/p>\n\u003cp>Utilizing the vastly different perspectives of Jeff, Jill and Will allows \u003cem>Kidding\u003c/em> to explore the nuances of deep mourning. As so many people are startled to find out in real life, there are no straight-forward seven stages of grief here, and it's refreshing to see a TV show tackling that so unflinchingly. Jeff and Jill's separation also touches on a common real-life problem—up to \u003ca href=\"https://www.liveabout.com/coping-with-the-death-of-child-2300877\" target=\"_blank\" rel=\"noopener noreferrer\">a third of couples report marriage problems\u003c/a> resulting from the loss of a child, and the first six months after are when most grief-related divorces occur.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jill's grief manifests in her running away from the familiar. She no longer wishes to participate in any school activities, despite her surviving child, she no longer listens to phone messages (no doubt to avoid the family greeting recorded before her son's death), and she looks agonized to even be in the same room as Jeff. Outwardly, she suggests it's because Jeff isn't grieving enough, but her physical responses suggest the very sight of him reminds her of her past life, and also of her own sense of guilt. She was, after all, the person driving the car her son died in. It's worth noting too that in reality, \"the female model of grieving,\" according to the \u003ca href=\"https://www.cfhp.com.au/grieving-differences-men-women/\" target=\"_blank\" rel=\"noopener noreferrer\">Center For Human Potential,\u003c/a> can include \"a deeper feeling of guilt when moving on.\"\u003c/p>\n\u003cp>Will is channeling his grief into a full-on rebellion that involves cursing (he calls his mom the c-word and his dad the p-word), smoking weed and smashing stuff. His sense of loss has transformed itself into a sort of frustrated fury, a hatred of his parents and a general sense of nihilism—something that does happen to some young people dealing with grief. “With sibling loss, there is often less opportunity for children to talk about their grief, to work through it and express their feelings,” psychotherapist \u003ca href=\"https://people.com/archive/when-a-child-dies-a-therapist-warns-the-grief-of-brothers-and-sisters-may-leave-lasting-scars-vol-27-no-12/\" target=\"_blank\" rel=\"noopener noreferrer\">Jerry Rothman told \u003cem>People\u003c/em> magazine\u003c/a>. \"Survivors may…move into delinquency. Without help, they have difficulty becoming healthy functioning people.\"\u003c/p>\n\u003cp>Anyone who has experienced a sudden loss will tell you that one of the most exhausting aspects of grief is the gargantuan effort it takes to look normal for other people. Jeff is the personification of this struggle, as he continues his career as the most positive and wholesome character on television. In him, \u003cem>Kidding\u003c/em> is giving us an exaggerated depiction of what it takes to continue on in the world while shouldering an unimaginably heavy burden. Some critics have suggested that \u003cem>Kidding\u003c/em>'s tone is \u003ca href=\"https://www.npr.org/2018/09/07/641557104/in-the-odd-inscrutable-kidding-jim-carrey-is-a-kids-show-host-in-meltdown\" target=\"_blank\" rel=\"noopener noreferrer\">uneven,\u003c/a> but that's one of the things that makes it such an effective show. In reality, trying to carry on with normal life in the midst of extraordinary emotional pain feels wildly uneven, not to mention surreal, which is why Mr. Pickles' bizarre array of puppets feel so appropriate too.\u003c/p>\n\u003cp>The other perspective Jeff gives us is the desperate need to find meaning in tragedy. In trying to convince himself that everything happens for a reason, Jeff insists on recording an episode of his show in which he explains death to children. He is trying to use his pain constructively, and for the greater good, as so many parents do in the aftermath of losing a child. (Just think of the number of foundations and charities set up under those circumstances.)\u003c/p>\n\u003cp>When Jeff's producer (and dad) refuses to air the death-themed episode, it's symbolic of America's discomfort in tackling this particular taboo. It's left to Jeff to explain why a societal shift is so badly needed. “The longer we take to deal with this,\" he says, \"the more we’re telling every child in America that when something catastrophic happens to them, they should just pretend it didn’t. When kids don’t talk about their dark feelings, they get quiet. It’s the quiet ones that make the news.”\u003c/p>\n\u003cp>\u003cem>Kidding\u003c/em>, then, is grounded in reality, remarkable in its scope, and breaking new ground because of it. In life, people are often woefully unprepared for the ravages of suddenly losing someone. \u003cem>Kidding\u003c/em> is opening up a space to examine the many different faces and directions grief can take, and doing it in a way that belies the standard graduation of tears, hugs and fond reminiscing that usually accompanies a death on television.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Based on previews, it's inevitable that, as the series moves forward, we are going to see Jeff Pickles spiral out of control. Hopefully, when he does, it will be made clear that it's not because he's managing his feelings incorrectly, but rather because some pain is simply too severe to handle in any kind of ordered, contained way. And that's a reality that is rarely touched on in either our entertainment \u003cem>or\u003c/em> our culture as a whole. As such, \u003cem>Kidding\u003c/em> is long overdue.\u003c/p>\n\n",
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"excerpt": "Grief on television is usually reduced to tears, hugs and reminiscing. 'Kidding' offers something a lot closer to reality. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2004, Michel Gondry and Jim Carrey made one of the most searingly accurate depictions of lost love ever committed to celluloid. Despite its inherent surrealism and futuristic overtones, \u003ca href=\"https://www.imdb.com/title/tt0338013/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Eternal Sunshine of the Spotless Mind \u003c/em>\u003c/a>captured post-relationship agony in an incredibly recognizable and relatable way. Now Gondry and Carrey are collaborating again for new Showtime series, \u003ca href=\"https://www.imdb.com/title/tt7375404/?ref_=nm_flmg_act_3\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Kidding\u003c/em>\u003c/a> (created by Dave Holstein), and they're tackling grief in the same complex and intimate way.\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/amNMm-2rXrU'\n title='//www.youtube.com/embed/amNMm-2rXrU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Typically, on-screen explorations of grief are inaccurate, incomplete or both. It's not for lack of trying, it's just that grief is so complicated and differs so wildly per the individual, it's almost impossible to capture. On television, death occurs frequently, but grief is mostly a fleeting plot point (though \u003ca href=\"https://www.imdb.com/title/tt5555260/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>This is Us\u003c/em>\u003c/a> offers a rare exception to that rule). In movies, what we mostly get are romanticized depictions (\u003ca href=\"https://www.imdb.com/title/tt0431308/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>P.S. I Love You\u003c/em>\u003c/a>), sentimental explorations (\u003ca href=\"https://www.imdb.com/title/tt4682786/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Collateral Beauty\u003c/em>\u003c/a>), or examinations of the immediate aftermath from a single perspective (\u003ca href=\"https://www.imdb.com/title/tt0935075/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rabbit Hole\u003c/em>\u003c/a>).\u003c/p>\n\u003cp>\u003cem>Kidding, \u003c/em>though, feels different and revelatory. Based on the first few episodes alone, the show appears to be unlocking the core components of grief and trying to piece them together in the same jumbled way people are forced to when they're living with sudden and overwhelming loss. Jim Carrey's character, Jeff Pickles, is a PBS superstar in the same vein as Mr. Rogers, whose son was killed in a car accident one year prior. His wife Jill (\u003ca href=\"https://www.imdb.com/name/nm0339460/?ref_=tt_cl_t4\" target=\"_blank\" rel=\"noopener noreferrer\">Judy Greer\u003c/a>) has left Jeff and started a new romance. Their son Will (\u003ca href=\"https://www.imdb.com/name/nm7719683/?ref_=tt_cl_t5\" target=\"_blank\" rel=\"noopener noreferrer\">Cole Allen\u003c/a>) is responding to the death of his twin brother by acting out in every way imaginable.\u003c/p>\n\u003cp>Utilizing the vastly different perspectives of Jeff, Jill and Will allows \u003cem>Kidding\u003c/em> to explore the nuances of deep mourning. As so many people are startled to find out in real life, there are no straight-forward seven stages of grief here, and it's refreshing to see a TV show tackling that so unflinchingly. Jeff and Jill's separation also touches on a common real-life problem—up to \u003ca href=\"https://www.liveabout.com/coping-with-the-death-of-child-2300877\" target=\"_blank\" rel=\"noopener noreferrer\">a third of couples report marriage problems\u003c/a> resulting from the loss of a child, and the first six months after are when most grief-related divorces occur.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jill's grief manifests in her running away from the familiar. She no longer wishes to participate in any school activities, despite her surviving child, she no longer listens to phone messages (no doubt to avoid the family greeting recorded before her son's death), and she looks agonized to even be in the same room as Jeff. Outwardly, she suggests it's because Jeff isn't grieving enough, but her physical responses suggest the very sight of him reminds her of her past life, and also of her own sense of guilt. She was, after all, the person driving the car her son died in. It's worth noting too that in reality, \"the female model of grieving,\" according to the \u003ca href=\"https://www.cfhp.com.au/grieving-differences-men-women/\" target=\"_blank\" rel=\"noopener noreferrer\">Center For Human Potential,\u003c/a> can include \"a deeper feeling of guilt when moving on.\"\u003c/p>\n\u003cp>Will is channeling his grief into a full-on rebellion that involves cursing (he calls his mom the c-word and his dad the p-word), smoking weed and smashing stuff. His sense of loss has transformed itself into a sort of frustrated fury, a hatred of his parents and a general sense of nihilism—something that does happen to some young people dealing with grief. “With sibling loss, there is often less opportunity for children to talk about their grief, to work through it and express their feelings,” psychotherapist \u003ca href=\"https://people.com/archive/when-a-child-dies-a-therapist-warns-the-grief-of-brothers-and-sisters-may-leave-lasting-scars-vol-27-no-12/\" target=\"_blank\" rel=\"noopener noreferrer\">Jerry Rothman told \u003cem>People\u003c/em> magazine\u003c/a>. \"Survivors may…move into delinquency. Without help, they have difficulty becoming healthy functioning people.\"\u003c/p>\n\u003cp>Anyone who has experienced a sudden loss will tell you that one of the most exhausting aspects of grief is the gargantuan effort it takes to look normal for other people. Jeff is the personification of this struggle, as he continues his career as the most positive and wholesome character on television. In him, \u003cem>Kidding\u003c/em> is giving us an exaggerated depiction of what it takes to continue on in the world while shouldering an unimaginably heavy burden. Some critics have suggested that \u003cem>Kidding\u003c/em>'s tone is \u003ca href=\"https://www.npr.org/2018/09/07/641557104/in-the-odd-inscrutable-kidding-jim-carrey-is-a-kids-show-host-in-meltdown\" target=\"_blank\" rel=\"noopener noreferrer\">uneven,\u003c/a> but that's one of the things that makes it such an effective show. In reality, trying to carry on with normal life in the midst of extraordinary emotional pain feels wildly uneven, not to mention surreal, which is why Mr. Pickles' bizarre array of puppets feel so appropriate too.\u003c/p>\n\u003cp>The other perspective Jeff gives us is the desperate need to find meaning in tragedy. In trying to convince himself that everything happens for a reason, Jeff insists on recording an episode of his show in which he explains death to children. He is trying to use his pain constructively, and for the greater good, as so many parents do in the aftermath of losing a child. (Just think of the number of foundations and charities set up under those circumstances.)\u003c/p>\n\u003cp>When Jeff's producer (and dad) refuses to air the death-themed episode, it's symbolic of America's discomfort in tackling this particular taboo. It's left to Jeff to explain why a societal shift is so badly needed. “The longer we take to deal with this,\" he says, \"the more we’re telling every child in America that when something catastrophic happens to them, they should just pretend it didn’t. When kids don’t talk about their dark feelings, they get quiet. It’s the quiet ones that make the news.”\u003c/p>\n\u003cp>\u003cem>Kidding\u003c/em>, then, is grounded in reality, remarkable in its scope, and breaking new ground because of it. In life, people are often woefully unprepared for the ravages of suddenly losing someone. \u003cem>Kidding\u003c/em> is opening up a space to examine the many different faces and directions grief can take, and doing it in a way that belies the standard graduation of tears, hugs and fond reminiscing that usually accompanies a death on television.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Based on previews, it's inevitable that, as the series moves forward, we are going to see Jeff Pickles spiral out of control. Hopefully, when he does, it will be made clear that it's not because he's managing his feelings incorrectly, but rather because some pain is simply too severe to handle in any kind of ordered, contained way. And that's a reality that is rarely touched on in either our entertainment \u003cem>or\u003c/em> our culture as a whole. As such, \u003cem>Kidding\u003c/em> is long overdue.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The 'Castle Rock' Finale is (Probably) Going to Disappoint Us All",
"title": "The 'Castle Rock' Finale is (Probably) Going to Disappoint Us All",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\u003cem>The following contains major spoilers for \u003c/em>Castle Rock\u003cem>, Season 1.\u003c/em>\u003c/p>\n\u003cp>It started with so much promise: a mysterious young man, secretly imprisoned in the basement of Shawshank Prison for 27 years; the violent suicide of the corrupt warden that held him there without charge; whispers that the strange man is — \u003cem>gasp \u003c/em>— the devil!\u003c/p>\n\u003cp>For the first half of its initial season, \u003ca href=\"https://www.imdb.com/title/tt6548228/?ref_=nv_sr_1\">\u003cem>Castle Rock\u003c/em>\u003c/a> was one of the most intriguing and entertaining things on television. And then, like so many mystery shows, it tied us up in knots, threw pointless curveballs at us and then introduced a parallel universe/alternate reality storyline. In Castle Rock, they call that a schism, but it's such a well-worn trope, we all know perfectly well what it means (the show got desperate). Unfortunately, the introduction of this second timeline contradicted everything we've learned so far about the mystery prisoner, previously known only as \"The Kid.\"\u003c/p>\n\u003cp>https://twitter.com/FreddyInSpace/status/1035001484071583744\u003c/p>\n\u003cp>In episode 9, we learned that The Kid is, in fact, Henry Deaver. Yes, folks, there is a parallel timeline when Henry isn't the adopted African American lawyer we've come to know these last couple of months, but rather the bug-eyed creepy dude who we thought might be Satan, but who, in another reality, is actually a very nice doctor and soon-to-be family man.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In white Henry's timeline, Ruth Deaver left her abusive husband Matthew when Henry was still a child and moved to Florida, followed by her Sheriff love, Alan Pangborn. When this Henry goes back to Castle Rock, as an adult, to deal with Matthew's suicide, he discovers young, original Henry in a cage in the basement of his childhood home and frees him. Young black Henry leads adult white Henry to the woods, where the schism moves white Henry to the past where he gets imprisoned by the warden, thereby becoming The Kid.\u003c/p>\n\u003cp>Clear as mud, right?\u003c/p>\n\u003cp>https://twitter.com/ayahstyles/status/1037154387532161025\u003c/p>\n\u003cp>Episode 9 basically asked us to forget everything we have so far learned about The Kid. If he started life with a relatively normal childhood and a loving family and went on to be a successful adult, how exactly have 27 years in a cage granted him all of those dark powers we've seen? How did this man end up with the ability to prompt perfectly nice prison guards to go on killing sprees, and hospital patients to set fire to their own beds? And, more importantly, why does he want to do those things? Also, crucially: Why hasn't he aged at all?\u003c/p>\n\u003cp>Further, where does all this new information leave our original Henry Deaver? Is \u003cem>he\u003c/em> the real devil? A lady police officer did suggest as much in episode 8, telling him that chaos and devastation have always followed him. It would also explain why childhood Molly felt propelled by her psychic connection to Henry to kill his father in the original timeline. This twist, however, would contradict everything we know about original Henry so far, not least of which his empathetic work with death row prisoners.\u003c/p>\n\u003cp>Of course, for most of us, this isn't our first split-timeline rodeo. Eight years after its finale, \u003ca href=\"https://theconcourse.deadspin.com/lost-was-the-best-before-it-was-the-worst-1635804502\">people are still furious\u003c/a> about how many questions \u003ca href=\"https://www.imdb.com/title/tt0411008/?ref_=nv_sr_1\">\u003cem>Lost\u003c/em>\u003c/a> left unanswered, not to mention that whole \"flash-sideways\" (yes, another parallel universe) storyline. The third season of \u003ca href=\"https://www.imdb.com/title/tt4093826/?ref_=nv_sr_2\">\u003cem>Twin Peaks\u003c/em>\u003c/a> surprised viewers by providing a truly satisfying close to all of the town's mysteries... only to muddy everything up again in the finale by introducing — you've guessed it! — a parallel universe in which Laura Palmer never even died! (Laura screaming in the street in the show's final moments was all of us.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=23p8RbnlRn4\u003c/p>\n\u003cp>The trick to getting parallel universes to work on television seems to be either to have them be darker, more surreal versions of reality (like the Upside Down in \u003ca href=\"https://www.imdb.com/title/tt4574334/?ref_=nv_sr_1\">\u003cem>Stranger Things\u003c/em>\u003c/a>, or the Black Lodge in \u003cem>Twin Peaks\u003c/em>), have them be a perfectly reasonable extension of a sci-fi universe (see: \u003ca href=\"https://www.imdb.com/title/tt0112167/?ref_=nv_sr_1\">\u003cem>Sliders\u003c/em>\u003c/a>, \u003ca href=\"https://www.imdb.com/title/tt0436992/?ref_=nv_sr_1\">\u003cem>Doctor Who\u003c/em>\u003c/a>) or to employ them purely for comedy, as animated shows like \u003ca href=\"https://www.youtube.com/watch?v=W0UkdFskwes\">\u003cem>Futurama\u003c/em>\u003c/a> and \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=PmPN7jZvMHc\">Rick and Morty\u003c/a> \u003c/em>have done. Comedy-wise, \u003cem>Community\u003c/em> proved the potential of alternate-timeline greatness in an episode titled \u003ca href=\"https://www.youtube.com/watch?v=f-jVbjtTKVM\">\"Remedial Chaos Theory.\"\u003c/a> In it, we saw the gang play out the exact same evening in six slightly different, increasingly entertaining ways. Perhaps if \u003cem>Castle Rock \u003c/em>had also split its attention evenly between its differing timelines, the second one would feel less tacked on.\u003c/p>\n\u003cp>In terms of how \u003cem>Castle Rock\u003c/em> is going to end tonight, it's worth noting that\u003cem> Lost\u003c/em> creator, \u003ca href=\"https://www.imdb.com/name/nm0009190/?ref_=tt_ov_wr\">JJ Abrams\u003c/a>, is an executive producer on the show. Abrams is \u003ca href=\"https://io9.gizmodo.com/5827048/jj-abrams-wants-your-ideas-for-how-lost-should-have-ended\">acutely aware\u003c/a> that people didn't like the ending of \u003cem>Lost\u003c/em>, so would he really be willing to leave viewers with a bunch of unanswered questions again?\u003c/p>\n\u003cp>Sadly for Abrams, \u003cem>Castle Rock\u003c/em> has made it almost impossible to finish out the series in a satisfying way. There are just too many unanswered questions to handle in one hour. Such as: What did the warden know about the schism? Why did he think The Kid was the devil? Is the voice of God, heard in the woods, really the voice of God? Why did alternate universe Matthew Deaver keep original Henry locked up in his basement? Is the warden's suicide related to Matthew's suicide? What does the schism have to do with all of the misfortune that repeatedly befalls Castle Rock residents? Why is Molly more psychic in one timeline than the other? What will happen to Ruth Deaver, now that she has accidentally killed Alan? What happened to white Henry's fiancé and baby after he disappeared into the schism? Is Ruth Deaver a time-traveler? Why was she so terrified of The Kid if, on some level, she recognized him as her alternate son? What the hell was the point of that side plot about the bed and breakfast owners?\u003c/p>\n\u003cp>Truthfully, if the show had kept things a little more simple, it would be infinitely easier to leave us with a more satisfying ending. An explanation for The Kid's evil deeds, preferably discovered by Henry Deaver, would be great. So would a detailed explanation about the warden's suicide. Some sort of answer as to why so much tragedy befalls this tiny town in Maine would be magnificent, not just for the show, but for the wider Stephen King universe that has been referenced throughout. An ending in which The Kid is sent back from whence he came would be nice too, especially if a risk is posed that he could come back and wreak havoc in subsequent seasons again.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As it stands, what we have, going into the finale, is a complicated mess with no hero, no villain, two dead characters we wish were still alive (Alan and prison guard, Dennis) and a schism in the woods to fruitlessly point at every time something doesn't make any sense. One can only hope that the Season 1 finale restores \u003cem>Castle Rock\u003c/em> to its former glory, but looking at the evidence of the last few weeks? Probably only in a parallel universe.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The following contains major spoilers for \u003c/em>Castle Rock\u003cem>, Season 1.\u003c/em>\u003c/p>\n\u003cp>It started with so much promise: a mysterious young man, secretly imprisoned in the basement of Shawshank Prison for 27 years; the violent suicide of the corrupt warden that held him there without charge; whispers that the strange man is — \u003cem>gasp \u003c/em>— the devil!\u003c/p>\n\u003cp>For the first half of its initial season, \u003ca href=\"https://www.imdb.com/title/tt6548228/?ref_=nv_sr_1\">\u003cem>Castle Rock\u003c/em>\u003c/a> was one of the most intriguing and entertaining things on television. And then, like so many mystery shows, it tied us up in knots, threw pointless curveballs at us and then introduced a parallel universe/alternate reality storyline. In Castle Rock, they call that a schism, but it's such a well-worn trope, we all know perfectly well what it means (the show got desperate). Unfortunately, the introduction of this second timeline contradicted everything we've learned so far about the mystery prisoner, previously known only as \"The Kid.\"\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In episode 9, we learned that The Kid is, in fact, Henry Deaver. Yes, folks, there is a parallel timeline when Henry isn't the adopted African American lawyer we've come to know these last couple of months, but rather the bug-eyed creepy dude who we thought might be Satan, but who, in another reality, is actually a very nice doctor and soon-to-be family man.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In white Henry's timeline, Ruth Deaver left her abusive husband Matthew when Henry was still a child and moved to Florida, followed by her Sheriff love, Alan Pangborn. When this Henry goes back to Castle Rock, as an adult, to deal with Matthew's suicide, he discovers young, original Henry in a cage in the basement of his childhood home and frees him. Young black Henry leads adult white Henry to the woods, where the schism moves white Henry to the past where he gets imprisoned by the warden, thereby becoming The Kid.\u003c/p>\n\u003cp>Clear as mud, right?\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Episode 9 basically asked us to forget everything we have so far learned about The Kid. If he started life with a relatively normal childhood and a loving family and went on to be a successful adult, how exactly have 27 years in a cage granted him all of those dark powers we've seen? How did this man end up with the ability to prompt perfectly nice prison guards to go on killing sprees, and hospital patients to set fire to their own beds? And, more importantly, why does he want to do those things? Also, crucially: Why hasn't he aged at all?\u003c/p>\n\u003cp>Further, where does all this new information leave our original Henry Deaver? Is \u003cem>he\u003c/em> the real devil? A lady police officer did suggest as much in episode 8, telling him that chaos and devastation have always followed him. It would also explain why childhood Molly felt propelled by her psychic connection to Henry to kill his father in the original timeline. This twist, however, would contradict everything we know about original Henry so far, not least of which his empathetic work with death row prisoners.\u003c/p>\n\u003cp>Of course, for most of us, this isn't our first split-timeline rodeo. Eight years after its finale, \u003ca href=\"https://theconcourse.deadspin.com/lost-was-the-best-before-it-was-the-worst-1635804502\">people are still furious\u003c/a> about how many questions \u003ca href=\"https://www.imdb.com/title/tt0411008/?ref_=nv_sr_1\">\u003cem>Lost\u003c/em>\u003c/a> left unanswered, not to mention that whole \"flash-sideways\" (yes, another parallel universe) storyline. The third season of \u003ca href=\"https://www.imdb.com/title/tt4093826/?ref_=nv_sr_2\">\u003cem>Twin Peaks\u003c/em>\u003c/a> surprised viewers by providing a truly satisfying close to all of the town's mysteries... only to muddy everything up again in the finale by introducing — you've guessed it! — a parallel universe in which Laura Palmer never even died! (Laura screaming in the street in the show's final moments was all of us.)\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/23p8RbnlRn4'\n title='//www.youtube.com/embed/23p8RbnlRn4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The trick to getting parallel universes to work on television seems to be either to have them be darker, more surreal versions of reality (like the Upside Down in \u003ca href=\"https://www.imdb.com/title/tt4574334/?ref_=nv_sr_1\">\u003cem>Stranger Things\u003c/em>\u003c/a>, or the Black Lodge in \u003cem>Twin Peaks\u003c/em>), have them be a perfectly reasonable extension of a sci-fi universe (see: \u003ca href=\"https://www.imdb.com/title/tt0112167/?ref_=nv_sr_1\">\u003cem>Sliders\u003c/em>\u003c/a>, \u003ca href=\"https://www.imdb.com/title/tt0436992/?ref_=nv_sr_1\">\u003cem>Doctor Who\u003c/em>\u003c/a>) or to employ them purely for comedy, as animated shows like \u003ca href=\"https://www.youtube.com/watch?v=W0UkdFskwes\">\u003cem>Futurama\u003c/em>\u003c/a> and \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=PmPN7jZvMHc\">Rick and Morty\u003c/a> \u003c/em>have done. Comedy-wise, \u003cem>Community\u003c/em> proved the potential of alternate-timeline greatness in an episode titled \u003ca href=\"https://www.youtube.com/watch?v=f-jVbjtTKVM\">\"Remedial Chaos Theory.\"\u003c/a> In it, we saw the gang play out the exact same evening in six slightly different, increasingly entertaining ways. Perhaps if \u003cem>Castle Rock \u003c/em>had also split its attention evenly between its differing timelines, the second one would feel less tacked on.\u003c/p>\n\u003cp>In terms of how \u003cem>Castle Rock\u003c/em> is going to end tonight, it's worth noting that\u003cem> Lost\u003c/em> creator, \u003ca href=\"https://www.imdb.com/name/nm0009190/?ref_=tt_ov_wr\">JJ Abrams\u003c/a>, is an executive producer on the show. Abrams is \u003ca href=\"https://io9.gizmodo.com/5827048/jj-abrams-wants-your-ideas-for-how-lost-should-have-ended\">acutely aware\u003c/a> that people didn't like the ending of \u003cem>Lost\u003c/em>, so would he really be willing to leave viewers with a bunch of unanswered questions again?\u003c/p>\n\u003cp>Sadly for Abrams, \u003cem>Castle Rock\u003c/em> has made it almost impossible to finish out the series in a satisfying way. There are just too many unanswered questions to handle in one hour. Such as: What did the warden know about the schism? Why did he think The Kid was the devil? Is the voice of God, heard in the woods, really the voice of God? Why did alternate universe Matthew Deaver keep original Henry locked up in his basement? Is the warden's suicide related to Matthew's suicide? What does the schism have to do with all of the misfortune that repeatedly befalls Castle Rock residents? Why is Molly more psychic in one timeline than the other? What will happen to Ruth Deaver, now that she has accidentally killed Alan? What happened to white Henry's fiancé and baby after he disappeared into the schism? Is Ruth Deaver a time-traveler? Why was she so terrified of The Kid if, on some level, she recognized him as her alternate son? What the hell was the point of that side plot about the bed and breakfast owners?\u003c/p>\n\u003cp>Truthfully, if the show had kept things a little more simple, it would be infinitely easier to leave us with a more satisfying ending. An explanation for The Kid's evil deeds, preferably discovered by Henry Deaver, would be great. So would a detailed explanation about the warden's suicide. Some sort of answer as to why so much tragedy befalls this tiny town in Maine would be magnificent, not just for the show, but for the wider Stephen King universe that has been referenced throughout. An ending in which The Kid is sent back from whence he came would be nice too, especially if a risk is posed that he could come back and wreak havoc in subsequent seasons again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As it stands, what we have, going into the finale, is a complicated mess with no hero, no villain, two dead characters we wish were still alive (Alan and prison guard, Dennis) and a schism in the woods to fruitlessly point at every time something doesn't make any sense. One can only hope that the Season 1 finale restores \u003cem>Castle Rock\u003c/em> to its former glory, but looking at the evidence of the last few weeks? Probably only in a parallel universe.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Former Alabama U.S. Senate candidate Roy Moore has filed a $95 million defamation suit against comedian Sacha Baron Cohen, who pranked Moore on his television show by posing as an Israeli intelligence officer with an electronic device that he said could detect pedophiles.\u003c/p>\n\u003cp>Moore — who during last year's Senate race was dogged by accusations that he had pursued relationships with teens as young as 14 — is one of several politicians who have been lured unwittingly into embarrassing appearances on Cohen's Showtime TV program, \u003ca href=\"https://www.imdb.com/title/tt8679236/?ref_=nv_sr_1\">\u003cem>Who Is America? \u003c/em>\u003c/a>\u003c/p>\n\u003cp>In a July 29 episode, Cohen poses as an Israeli counterterrorism expert, Col. Erran Morad. In an interview with Moore, Cohen's Morad claims that Israel has discovered that pedophiles secrete a certain enzyme at higher levels than \"nonperverts.\"\u003c/p>\n\u003cp>Morad waves the device over himself and nothing happens, then near Moore, when a loud beep is heard. Cohen repeats the demonstration several times.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3kaJaDx51iw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moore finally says, \"I am simply cutting this conversation right now. Good night. I support Israel. I don't support this kind of stuff.\" He then walks out of the interview.\u003c/p>\n\u003cp>\u003ca href=\"https://www.washingtonpost.com/news/reliable-source/wp/2018/09/05/roy-moore-sues-sacha-baron-cohen-cbs-and-showtime-for-95-million-claiming-extreme-emotional-distress/?utm_term=.b36ef83e8a17\">Moore says\u003c/a> that he was flown to Washington, D.C., under false pretenses, believing he was to \"receive an award for my strong support of Israel.\"\u003c/p>\n\u003cp>According to The Associated Press, \"Larry Klayman, founder of the conservative group Freedom Watch, is representing Moore and his wife Kayla in the lawsuit. The complaint names CBS and Showtime as defendants in the case.\"\u003c/p>\n\u003cp>\"Sasha Baron Cohen, who is not only low class but also a fraudster, will now, along with Showtime and CBS, be held accountable for his outrageous and false, fraudulent and defamatory conduct which callously did great emotional and other damage to his great man and his wife and family,\" Klayman said in a statement, according to AP.\u003c/p>\n\u003cp>Besides Moore, former Vice President Dick Cheney, former vice presidential candidate Sarah Palin and several others have been punked by Cohen in character.\u003c/p>\n\u003cp>In July, Georgia state Rep. Jason Spencer, who bared his buttocks and shouted racial slurs in one episode, was forced to resign from the legislature.\u003c/p>\n\u003cp>In the show's premiere, Cohen's character Morad interviews gun-rights advocates and politicians, including former Sen. Majority Leader Trent Lott, former Rep. Joe Walsh, R-Ill., Rep. Joe Wilson, R-S.C., and Rep. Dana Rohrabacher, R-Calif., who voice support for a fake program to train toddlers in the use of firearms.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The AP says the defamation suit by Moore \"appears to be the first actually filed\" by one of Cohen's guests on the show.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Alabama%27s+Roy+Moore+Sues+Over+Embarrassing+Appearance+On+Sacha+Cohen+Series&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moore finally says, \"I am simply cutting this conversation right now. Good night. I support Israel. I don't support this kind of stuff.\" He then walks out of the interview.\u003c/p>\n\u003cp>\u003ca href=\"https://www.washingtonpost.com/news/reliable-source/wp/2018/09/05/roy-moore-sues-sacha-baron-cohen-cbs-and-showtime-for-95-million-claiming-extreme-emotional-distress/?utm_term=.b36ef83e8a17\">Moore says\u003c/a> that he was flown to Washington, D.C., under false pretenses, believing he was to \"receive an award for my strong support of Israel.\"\u003c/p>\n\u003cp>According to The Associated Press, \"Larry Klayman, founder of the conservative group Freedom Watch, is representing Moore and his wife Kayla in the lawsuit. The complaint names CBS and Showtime as defendants in the case.\"\u003c/p>\n\u003cp>\"Sasha Baron Cohen, who is not only low class but also a fraudster, will now, along with Showtime and CBS, be held accountable for his outrageous and false, fraudulent and defamatory conduct which callously did great emotional and other damage to his great man and his wife and family,\" Klayman said in a statement, according to AP.\u003c/p>\n\u003cp>Besides Moore, former Vice President Dick Cheney, former vice presidential candidate Sarah Palin and several others have been punked by Cohen in character.\u003c/p>\n\u003cp>In July, Georgia state Rep. Jason Spencer, who bared his buttocks and shouted racial slurs in one episode, was forced to resign from the legislature.\u003c/p>\n\u003cp>In the show's premiere, Cohen's character Morad interviews gun-rights advocates and politicians, including former Sen. Majority Leader Trent Lott, former Rep. Joe Walsh, R-Ill., Rep. Joe Wilson, R-S.C., and Rep. Dana Rohrabacher, R-Calif., who voice support for a fake program to train toddlers in the use of firearms.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The AP says the defamation suit by Moore \"appears to be the first actually filed\" by one of Cohen's guests on the show.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Alabama%27s+Roy+Moore+Sues+Over+Embarrassing+Appearance+On+Sacha+Cohen+Series&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\"I mean, I guess, if you want.\"\u003c/p>\n\u003cp>This is the review I threatened to write on Twitter the other day for a show I didn't name that is, in fact, \u003cem>Jack Ryan\u003c/em>. Officially,\u003ca href=\"https://www.imdb.com/title/tt5057054/?ref_=fn_al_tt_1\">\u003cem> Tom Clancy's Jack Ryan\u003c/em>\u003c/a>. More specifically, Amazon's\u003cem> Tom Clancy's Jack Ryan\u003c/em>. And, per some new corporate branding, Amazon's Prime Video's \u003cem>Tom Clancy's Jack Ryan\u003c/em>.\u003c/p>\n\u003cp>Ryan was created in \u003ca href=\"https://www.imdb.com/title/tt0099810/?ref_=nv_sr_1\">\u003cem>The Hunt For Red October\u003c/em>\u003c/a>, a Clancy novel released in 1984. He's been at it ever since, in novels and films, and even after Clancy died in 2013 and other writers carried on the franchise. He's had a zillion jobs — even President of the United States.\u003c/p>\n\u003cp>But in \u003cem>Jack Ryan \u003c/em>the TV show, Jack Ryan (John Krasinski) is an allegedly eggheaded CIA analyst whose new boss, Jim Greer (Wendell Pierce), was recently demoted because of Issues In His Past. Ryan also has Issues In His Past, but the two of them are thrown together to face a more urgent situation: Ryan believes he's found the financial resources of a terrorist leader (Ali Suliman) who's plotting a major attack.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1KsyZF590NM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oh, how I wish I could tell you that this show — which has two leads who have been quite beloved on \u003cem>The Office \u003c/em>and \u003cem>The Wire \u003c/em>respectively — finds a way to rise above the firefights and explosions and terrorism tropes that are part of the genre. I wish I could tell you it is character-driven, that it relies on its actors to make it more than it seems like it is.\u003c/p>\n\u003cp>But in fact, it is what it seems like it is. Men — and it is almost entirely men — have serious and important conversations in which they throw around national security lingo that you don't even need to understand, because they might as well be saying, \"Something bad is happening! We cannot wait for bureaucrats! We must handle it ourselves!\" Awful deaths of the innocent are used to ramp up the stakes. Jack meets a girl (and Abbie Cornish, as she's done in other roles, struggles to fix on any consistent accent), and she's in the security business, too. A troubled faraway drone pilot — similar to the troubled faraway drone pilots Hollywood has already shown us multiple times (in films including \u003ca href=\"https://www.imdb.com/title/tt3297330/?ref_=nv_sr_1\">\u003cem>Good Kill\u003c/em>,\u003c/a> starring Ethan Hawke, and \u003ca href=\"https://www.imdb.com/title/tt2057392/?ref_=fn_al_tt_1\">\u003cem>Eye in the Sky\u003c/em>,\u003c/a> starring Aaron Paul) — struggles with his responsibility for killing people at a distance. He frets and self-destructs and then starts doing things that just come off as silly.\u003c/p>\n\u003cp>It's ... fine. If you think what television needs is more things blowing up, more people getting mowed down by guns, more tense meetings in which the smart guys who have it all figured out try to get through to people who just don't get it? Then this might be for you. It certainly benefits from Pierce especially, who can take any scene, however underwritten, and transform it into one man's battle against idiots.\u003c/p>\n\u003cfigure id=\"attachment_105542\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-105542\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/tom-clancy-s-jack-ryan-jr_102_14202.1.fnl_.lg_rgb_wide-14e5b50869cf73bac89c422e97c5c343ec5efd18-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/08/tom-clancy-s-jack-ryan-jr_102_14202.1.fnl_.lg_rgb_wide-14e5b50869cf73bac89c422e97c5c343ec5efd18-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/tom-clancy-s-jack-ryan-jr_102_14202.1.fnl_.lg_rgb_wide-14e5b50869cf73bac89c422e97c5c343ec5efd18-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/tom-clancy-s-jack-ryan-jr_102_14202.1.fnl_.lg_rgb_wide-14e5b50869cf73bac89c422e97c5c343ec5efd18-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/tom-clancy-s-jack-ryan-jr_102_14202.1.fnl_.lg_rgb_wide-14e5b50869cf73bac89c422e97c5c343ec5efd18-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/tom-clancy-s-jack-ryan-jr_102_14202.1.fnl_.lg_rgb_wide-14e5b50869cf73bac89c422e97c5c343ec5efd18-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/tom-clancy-s-jack-ryan-jr_102_14202.1.fnl_.lg_rgb_wide-14e5b50869cf73bac89c422e97c5c343ec5efd18-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/tom-clancy-s-jack-ryan-jr_102_14202.1.fnl_.lg_rgb_wide-14e5b50869cf73bac89c422e97c5c343ec5efd18-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/tom-clancy-s-jack-ryan-jr_102_14202.1.fnl_.lg_rgb_wide-14e5b50869cf73bac89c422e97c5c343ec5efd18-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/tom-clancy-s-jack-ryan-jr_102_14202.1.fnl_.lg_rgb_wide-14e5b50869cf73bac89c422e97c5c343ec5efd18-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/tom-clancy-s-jack-ryan-jr_102_14202.1.fnl_.lg_rgb_wide-14e5b50869cf73bac89c422e97c5c343ec5efd18-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/tom-clancy-s-jack-ryan-jr_102_14202.1.fnl_.lg_rgb_wide-14e5b50869cf73bac89c422e97c5c343ec5efd18-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wendell Pierce and John Krasinski in 'Tom Clancy's Jack Ryan.' (Amazon)\u003c/figcaption>\u003c/figure>\n\u003cp>And while it's yet another piece of terrorism-oriented entertainment, the show tries not to lean too hard into \"USA! USA!\" chants: In addition to the drone pilot's woes, there are efforts to nod at the suffering of refugees, though this is just about the most circuitous route that could have been taken to get to that issue. There are also efforts to remind viewers that terrorists, too, have families and reasons why they feel as they do.\u003c/p>\n\u003cp>Amazon expects a lot from this show: They renewed it for a second season back in April. But please know that this is not an example of streaming television taking the opportunity to expand what television looks like the way that Amazon — alongside Netflix and Hulu and others — has done in the past. This could be a CBS Wednesday night hour, except that it has more swearing and violence (and, admittedly, better-pedigreed actors) than you'd see there. So should you watch it?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I mean, I guess, if you want.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Tom+Clancy%27s+Jack+Ryan%27+Gets+An+%27A%27+For+Adequacy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\"I mean, I guess, if you want.\"\u003c/p>\n\u003cp>This is the review I threatened to write on Twitter the other day for a show I didn't name that is, in fact, \u003cem>Jack Ryan\u003c/em>. Officially,\u003ca href=\"https://www.imdb.com/title/tt5057054/?ref_=fn_al_tt_1\">\u003cem> Tom Clancy's Jack Ryan\u003c/em>\u003c/a>. More specifically, Amazon's\u003cem> Tom Clancy's Jack Ryan\u003c/em>. And, per some new corporate branding, Amazon's Prime Video's \u003cem>Tom Clancy's Jack Ryan\u003c/em>.\u003c/p>\n\u003cp>Ryan was created in \u003ca href=\"https://www.imdb.com/title/tt0099810/?ref_=nv_sr_1\">\u003cem>The Hunt For Red October\u003c/em>\u003c/a>, a Clancy novel released in 1984. He's been at it ever since, in novels and films, and even after Clancy died in 2013 and other writers carried on the franchise. He's had a zillion jobs — even President of the United States.\u003c/p>\n\u003cp>But in \u003cem>Jack Ryan \u003c/em>the TV show, Jack Ryan (John Krasinski) is an allegedly eggheaded CIA analyst whose new boss, Jim Greer (Wendell Pierce), was recently demoted because of Issues In His Past. Ryan also has Issues In His Past, but the two of them are thrown together to face a more urgent situation: Ryan believes he's found the financial resources of a terrorist leader (Ali Suliman) who's plotting a major attack.\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/1KsyZF590NM'\n title='//www.youtube.com/embed/1KsyZF590NM'\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>Oh, how I wish I could tell you that this show — which has two leads who have been quite beloved on \u003cem>The Office \u003c/em>and \u003cem>The Wire \u003c/em>respectively — finds a way to rise above the firefights and explosions and terrorism tropes that are part of the genre. I wish I could tell you it is character-driven, that it relies on its actors to make it more than it seems like it is.\u003c/p>\n\u003cp>But in fact, it is what it seems like it is. Men — and it is almost entirely men — have serious and important conversations in which they throw around national security lingo that you don't even need to understand, because they might as well be saying, \"Something bad is happening! We cannot wait for bureaucrats! We must handle it ourselves!\" Awful deaths of the innocent are used to ramp up the stakes. Jack meets a girl (and Abbie Cornish, as she's done in other roles, struggles to fix on any consistent accent), and she's in the security business, too. A troubled faraway drone pilot — similar to the troubled faraway drone pilots Hollywood has already shown us multiple times (in films including \u003ca href=\"https://www.imdb.com/title/tt3297330/?ref_=nv_sr_1\">\u003cem>Good Kill\u003c/em>,\u003c/a> starring Ethan Hawke, and \u003ca href=\"https://www.imdb.com/title/tt2057392/?ref_=fn_al_tt_1\">\u003cem>Eye in the Sky\u003c/em>,\u003c/a> starring Aaron Paul) — struggles with his responsibility for killing people at a distance. He frets and self-destructs and then starts doing things that just come off as silly.\u003c/p>\n\u003cp>It's ... fine. If you think what television needs is more things blowing up, more people getting mowed down by guns, more tense meetings in which the smart guys who have it all figured out try to get through to people who just don't get it? Then this might be for you. It certainly benefits from Pierce especially, who can take any scene, however underwritten, and transform it into one man's battle against idiots.\u003c/p>\n\u003cfigure id=\"attachment_105542\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-105542\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/tom-clancy-s-jack-ryan-jr_102_14202.1.fnl_.lg_rgb_wide-14e5b50869cf73bac89c422e97c5c343ec5efd18-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/08/tom-clancy-s-jack-ryan-jr_102_14202.1.fnl_.lg_rgb_wide-14e5b50869cf73bac89c422e97c5c343ec5efd18-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/tom-clancy-s-jack-ryan-jr_102_14202.1.fnl_.lg_rgb_wide-14e5b50869cf73bac89c422e97c5c343ec5efd18-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/tom-clancy-s-jack-ryan-jr_102_14202.1.fnl_.lg_rgb_wide-14e5b50869cf73bac89c422e97c5c343ec5efd18-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/tom-clancy-s-jack-ryan-jr_102_14202.1.fnl_.lg_rgb_wide-14e5b50869cf73bac89c422e97c5c343ec5efd18-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/tom-clancy-s-jack-ryan-jr_102_14202.1.fnl_.lg_rgb_wide-14e5b50869cf73bac89c422e97c5c343ec5efd18-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/tom-clancy-s-jack-ryan-jr_102_14202.1.fnl_.lg_rgb_wide-14e5b50869cf73bac89c422e97c5c343ec5efd18-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/tom-clancy-s-jack-ryan-jr_102_14202.1.fnl_.lg_rgb_wide-14e5b50869cf73bac89c422e97c5c343ec5efd18-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/tom-clancy-s-jack-ryan-jr_102_14202.1.fnl_.lg_rgb_wide-14e5b50869cf73bac89c422e97c5c343ec5efd18-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/tom-clancy-s-jack-ryan-jr_102_14202.1.fnl_.lg_rgb_wide-14e5b50869cf73bac89c422e97c5c343ec5efd18-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/tom-clancy-s-jack-ryan-jr_102_14202.1.fnl_.lg_rgb_wide-14e5b50869cf73bac89c422e97c5c343ec5efd18-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/tom-clancy-s-jack-ryan-jr_102_14202.1.fnl_.lg_rgb_wide-14e5b50869cf73bac89c422e97c5c343ec5efd18-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wendell Pierce and John Krasinski in 'Tom Clancy's Jack Ryan.' (Amazon)\u003c/figcaption>\u003c/figure>\n\u003cp>And while it's yet another piece of terrorism-oriented entertainment, the show tries not to lean too hard into \"USA! USA!\" chants: In addition to the drone pilot's woes, there are efforts to nod at the suffering of refugees, though this is just about the most circuitous route that could have been taken to get to that issue. There are also efforts to remind viewers that terrorists, too, have families and reasons why they feel as they do.\u003c/p>\n\u003cp>Amazon expects a lot from this show: They renewed it for a second season back in April. But please know that this is not an example of streaming television taking the opportunity to expand what television looks like the way that Amazon — alongside Netflix and Hulu and others — has done in the past. This could be a CBS Wednesday night hour, except that it has more swearing and violence (and, admittedly, better-pedigreed actors) than you'd see there. So should you watch it?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I mean, I guess, if you want.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Tom+Clancy%27s+Jack+Ryan%27+Gets+An+%27A%27+For+Adequacy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Following the 'Queer Eye' Fab 5 on Instagram Might Just Fix Your Life",
"title": "Following the 'Queer Eye' Fab 5 on Instagram Might Just Fix Your Life",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>For those of us who long to have \u003cem>\u003ca href=\"https://www.imdb.com/title/tt7259746/?ref_=nv_sr_1\">Queer Eye\u003c/a>'\u003c/em>s current Fab 5 march into our lives, give us new furniture and generally make us better, the fact that they currently only do missions on the other side of the country can be frustrating. But there is a solution that's as speedy as Antoni's meal prep and as pretty as Tan's silver coif: Instagram.\u003c/p>\n\u003cp>The social media delights on offer from Karamo, Tan, Jonathan, Antoni and Bobby can often make you feel like you're starring in your very own episode.\u003c/p>\n\u003cp>Let's start with grooming expert, Jonathan Van Ness (\u003ca href=\"https://www.kqed.org/pop/102783/queer-eyes-jonathan-van-ness-on-turning-red-states-pink-one-makeover-at-a-time\">who was a guest on our very own podcast, \u003cem>The Cooler\u003c/em>, a few months ago\u003c/a>). Honestly, we should just make a general rule that everything in the world should \u003cem>always\u003c/em> start with Jonathan. 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"title": "All the ‘Friends‘ Outfits We Should Bring Back",
"headTitle": "All the ‘Friends‘ Outfits We Should Bring Back | KQED",
"content": "\u003cp>A new \u003ca href=\"https://www.thisisinsider.com/balenciaga-oversized-layered-parka-coat-2018-8\" target=\"_blank\" rel=\"noopener noreferrer\">$9000 Balenciaga coat\u003c/a> is currently causing a stir on Twitter, due to its striking resemblance to that time Joey put on all of Chandler’s clothes on \u003cem>Friends\u003c/em>.\u003c/p>\n\u003cp>It’s pretty uncanny:\u003c/p>\n\u003cp>https://twitter.com/c_illidge/status/1034786822826745856\u003c/p>\n\u003cp>Which got us thinking: What else did they wear on \u003cem>Friends\u003c/em> that could still work a couple of decades later? In the interest of filtering, we’re sticking to Ross’ fashion rules from when he goes shopping with Rachel and Phoebe and specifies: “Nothing silver, nothing with hair and nothing with padlocks on it.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Phoebe’s Santa Pants\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-105506 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/14ccc81ca35d792bcfb19ce7c518525f-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/14ccc81ca35d792bcfb19ce7c518525f-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/14ccc81ca35d792bcfb19ce7c518525f-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/14ccc81ca35d792bcfb19ce7c518525f-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/14ccc81ca35d792bcfb19ce7c518525f-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/14ccc81ca35d792bcfb19ce7c518525f-1200x675.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/14ccc81ca35d792bcfb19ce7c518525f-1180x663.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/14ccc81ca35d792bcfb19ce7c518525f-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/14ccc81ca35d792bcfb19ce7c518525f-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/14ccc81ca35d792bcfb19ce7c518525f-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/14ccc81ca35d792bcfb19ce7c518525f-520x292.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/14ccc81ca35d792bcfb19ce7c518525f.png 1334w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe (Lisa Kudrow) and her legendary Santa pants.\u003c/figcaption>\u003c/figure>\n\u003cp>Whether you’re pregnant, or just in need of what Joey would refer to as “eatin’ pants,” Phoebe’s Santa trousers offer comfort, warmth \u003cem>and\u003c/em> style! Also, wearing holiday-based clothing year round is sustainability in action—and that’s totally now!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Ross’ Ladies Shirt\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105514\" class=\"wp-caption aligncenter\" style=\"max-width: 625px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-105514\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/enhanced-21682-1426175887-10.jpg\" alt=\"\" width=\"625\" height=\"416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/enhanced-21682-1426175887-10.jpg 625w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/enhanced-21682-1426175887-10-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/enhanced-21682-1426175887-10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/enhanced-21682-1426175887-10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/enhanced-21682-1426175887-10-520x346.jpg 520w\" sizes=\"(max-width: 625px) 100vw, 625px\">\u003cfigcaption class=\"wp-caption-text\">Ross (David Schwimmer) wearing Rachel’s pink shirt on a date.\u003c/figcaption>\u003c/figure>\n\u003cp>In a Season 10 episode, Ross accidentally takes one of Rachel’s shopping bags and winds up wearing her new pink shirt on a date, mistakenly thinking she bought it for him. It’s played for laughs because \u003cem>Friends\u003c/em> had a tendency to make fun of men ever wandering outside of the tight bonds of traditional masculinity. But in Gen Z’s gender fluid, unisex-embracing times? Men donning women’s clothes to elevate their style is definitely to be encouraged! (Also, did this episode start the deep-V neckline trend for men?)\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Rachel’s \u003cem>Clueless\u003c/em> Get-Up\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-105502\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/rachel-skirt-800x742.jpg\" alt=\"\" width=\"800\" height=\"742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/rachel-skirt-800x742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/rachel-skirt-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/rachel-skirt-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/rachel-skirt-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/rachel-skirt-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/rachel-skirt-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/rachel-skirt-1180x1095.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/rachel-skirt-960x891.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/rachel-skirt-240x223.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/rachel-skirt-375x348.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/rachel-skirt-520x483.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel (Jennifer Aniston) in Season 1.\u003c/figcaption>\u003c/figure>\n\u003cp>“The One Where the Monkey Gets Away” aired in March 1995, and \u003cem>Clueless\u003c/em> came out four months later. Truly, it was the year of super-short A-line tartan paired with cute knee-high socks—and we’re still totally buggin’ over it 20+ years later. Which is why the hosts of \u003cem>The Cooler\u003c/em> recently tried to \u003ca href=\"https://www.kqed.org/pop/102931/slumber-partying-like-its-1999-with-bob-the-drag-queen\" target=\"_blank\" rel=\"noopener noreferrer\">revive this look\u003c/a>:\u003c/p>\n\u003cfigure id=\"attachment_105503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-105503\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/The-Cooler-cast-dress-up-as-characters-from-Clueless-02-1180x787-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/The-Cooler-cast-dress-up-as-characters-from-Clueless-02-1180x787-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/The-Cooler-cast-dress-up-as-characters-from-Clueless-02-1180x787-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/The-Cooler-cast-dress-up-as-characters-from-Clueless-02-1180x787-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/The-Cooler-cast-dress-up-as-characters-from-Clueless-02-1180x787-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/The-Cooler-cast-dress-up-as-characters-from-Clueless-02-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/The-Cooler-cast-dress-up-as-characters-from-Clueless-02-1180x787-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/The-Cooler-cast-dress-up-as-characters-from-Clueless-02-1180x787-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/The-Cooler-cast-dress-up-as-characters-from-Clueless-02-1180x787-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/The-Cooler-cast-dress-up-as-characters-from-Clueless-02-1180x787-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emmanuel, Jamedra and Carly of KQED Pop’s ‘The Cooler’ podcast know what’s up.\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>Joey’s Man Bag\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105509\" class=\"wp-caption aligncenter\" style=\"max-width: 690px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-105509 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/5422006e3278851a04b135e0_Friends_Fashion_Joey_Bag.png\" alt=\"\" width=\"690\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/5422006e3278851a04b135e0_Friends_Fashion_Joey_Bag.png 690w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/5422006e3278851a04b135e0_Friends_Fashion_Joey_Bag-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/5422006e3278851a04b135e0_Friends_Fashion_Joey_Bag-240x160.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/5422006e3278851a04b135e0_Friends_Fashion_Joey_Bag-375x250.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/5422006e3278851a04b135e0_Friends_Fashion_Joey_Bag-520x347.png 520w\" sizes=\"(max-width: 690px) 100vw, 690px\">\u003cfigcaption class=\"wp-caption-text\">Joey (Matt LeBlanc) and his beautiful, doomed man bag.\u003c/figcaption>\u003c/figure>\n\u003cp>“The One With Joey’s Bag” aired in 1999, during the fifth season of \u003cem>Friends\u003c/em>. After Rachel persuades Joey the “man’s bag” is “sexy,” Chandler and Ross literally stop in their tracks when they see him carrying his new accessory. Even after Joey tells them, “It’s as handy as it is becoming,” Chandler and Ross can’t stop making jokes about carrying makeup and going on dates with men. Eventually, Joey even loses out on a job because of it. “I don’t know if the world is ready for you and your bag,” Rachel sighs. It wasn’t in 1999, but ain’t nobody got time for this kind of homophobia and toxic masculinity anymore! Man bags for everyone!\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Gunther’s Color Blocking\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-105515\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/gunther-800x742.jpg\" alt=\"\" width=\"800\" height=\"742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/gunther-800x742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/gunther-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/gunther-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/gunther-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/gunther-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/gunther-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/gunther-1180x1095.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/gunther-960x891.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/gunther-240x223.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/gunther-375x348.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/gunther-520x483.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gunther (James Michael Tyler) and his bold tie choices.\u003c/figcaption>\u003c/figure>\n\u003cp>People just don’t use color the way they used to in the ’90s. Just look at grumpy Central Perk barista, Gunther, with his “hair brighter than the sun,” as Rachel once noted. His face may have stayed sour, but his shirts were always sweet, and the only thing he loved more than Rachel were primary colors and slightly unhinged neckties. In the age of doomscrolling, we could always use more color.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Monica and Rachel’s ‘Girls’ Shirts\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-105507 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/girls-800x742.jpg\" alt=\"\" width=\"800\" height=\"742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/girls-800x742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/girls-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/girls-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/girls-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/girls-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/girls-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/girls-1180x1095.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/girls-960x891.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/girls-240x223.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/girls-375x348.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/girls-520x483.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel (Jennifer Aniston) & Monica (Courteney Cox), ’90s feminists.\u003c/figcaption>\u003c/figure>\n\u003cp>Who run the world? Girls! But Queen Beyoncé didn’t even tell us that until seven years after \u003cem>Friends\u003c/em> ended. No wonder these shirts have been in demand for so many years; they are still \u003ca href=\"https://www.etsy.com/au/listing/471033928/friends-tv-show-girls-sweater-tshirt\" target=\"_blank\" rel=\"noopener noreferrer\">available to buy\u003c/a>!\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Chandler No Pants\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105510\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-105510 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/f63.jpg\" alt=\"\" width=\"500\" height=\"629\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/f63.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/f63-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/f63-240x302.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/f63-375x472.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Chandler (Matthew Perry) in his accidental man dress.\u003c/figcaption>\u003c/figure>\n\u003cp>These days, it’s considered fashion-forward for men to wear oversized shirts with nothing else at all. \u003cem>Queer Eye\u003c/em>‘s \u003ca href=\"https://www.youtube.com/watch?v=ROAzMwtopMk\" target=\"_blank\" rel=\"noopener noreferrer\">Jonathan Van Ness even pairs his with heels\u003c/a>. But it was Chandler who accidentally invented this bold new look in Season 4, when Rachel’s boss left him handcuffed to a chair, and then a filing cabinet, mid-seduction. Sexy!\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Phoebe’s Boho Chic\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105512\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-105512\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/boho-800x742.jpg\" alt=\"\" width=\"800\" height=\"742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/boho-800x742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/boho-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/boho-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/boho-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/boho-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/boho-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/boho-1180x1095.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/boho-960x891.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/boho-240x223.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/boho-375x348.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/boho-520x483.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe (Lisa Kudrow) in Season 1.\u003c/figcaption>\u003c/figure>\n\u003cp>When \u003cem>Friends\u003c/em> started, Phoebe’s wardrobe was designed very explicitly to demonstrate her kooky boho-chic style. But what was fringe back then is now an annual Coachella practice. Phoebe’s groovy wardrobe—especially in Season 1—was a wealth of hippie-dippie, desert-ready coolness. All she was missing was a flower crown. (Oh, and while we’re on Phoebe, let’s bring back black and white striped tights; they used to work outside of Halloween and still could!)\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Ross’s Frankie Shirt\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-105504\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/B8XPARCIAAICsv8-800x545.jpg\" alt=\"\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/B8XPARCIAAICsv8-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/B8XPARCIAAICsv8-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/B8XPARCIAAICsv8-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/B8XPARCIAAICsv8-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/B8XPARCIAAICsv8-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/B8XPARCIAAICsv8-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/B8XPARCIAAICsv8-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/B8XPARCIAAICsv8-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/B8XPARCIAAICsv8.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frankie Say Relax!\u003c/figcaption>\u003c/figure>\n\u003cp>When \u003cem>Friends\u003c/em> featured an old Frankie Goes to Hollywood shirt during a fight between Ross and Rachel, it was used as a vaguely amusing relic of the ’80s. In 2018, that shirt is a beautiful reminder of a simpler time, when a song containing zero curse words and some pretty tame sexual innuendos could still get \u003ca href=\"https://en.wikipedia.org/wiki/Relax_(song)\" target=\"_blank\" rel=\"noopener noreferrer\">banned on the radio\u003c/a>. Also, it goes without saying, but those Frankie shirts were legitimately righteous. Ironic bold prints last forever.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Estelle’s Suits\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-105511\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/estelles-suits-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Estelle (June Gable) and a variety of her amazing shoulder pads.\u003c/figcaption>\u003c/figure>\n\u003cp>With her wild, yet somehow perfectly coordinated prints, oversized accessories and always sharp manicures, Estelle was easily the most underrated fashion icon in \u003cem>Friends\u003c/em>. You couldn’t really get away with those \u003ca href=\"https://www.imdb.com/title/tt0096463/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Working Girl\u003c/em>\u003c/a> shoulder pads at any point during the ’90s, but these days? Have at it! That yellow suit/blue phone combo is fire whichever way you look at it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See? They \u003cem>are\u003c/em> all still there for us!\u003c/p>\n\n",
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"excerpt": "The world wasn't ready for Joey's man bag or Phoebe's Santa pants back in the '90s. Now's the time!",
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"description": "The world wasn't ready for Joey's man bag or Phoebe's Santa pants back in the '90s. Now's the time!",
"title": "All the ‘Friends‘ Outfits We Should Bring Back | KQED",
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"headline": "All the ‘Friends‘ Outfits We Should Bring Back",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new \u003ca href=\"https://www.thisisinsider.com/balenciaga-oversized-layered-parka-coat-2018-8\" target=\"_blank\" rel=\"noopener noreferrer\">$9000 Balenciaga coat\u003c/a> is currently causing a stir on Twitter, due to its striking resemblance to that time Joey put on all of Chandler’s clothes on \u003cem>Friends\u003c/em>.\u003c/p>\n\u003cp>It’s pretty uncanny:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Which got us thinking: What else did they wear on \u003cem>Friends\u003c/em> that could still work a couple of decades later? In the interest of filtering, we’re sticking to Ross’ fashion rules from when he goes shopping with Rachel and Phoebe and specifies: “Nothing silver, nothing with hair and nothing with padlocks on it.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Phoebe’s Santa Pants\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-105506 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/14ccc81ca35d792bcfb19ce7c518525f-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/14ccc81ca35d792bcfb19ce7c518525f-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/14ccc81ca35d792bcfb19ce7c518525f-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/14ccc81ca35d792bcfb19ce7c518525f-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/14ccc81ca35d792bcfb19ce7c518525f-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/14ccc81ca35d792bcfb19ce7c518525f-1200x675.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/14ccc81ca35d792bcfb19ce7c518525f-1180x663.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/14ccc81ca35d792bcfb19ce7c518525f-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/14ccc81ca35d792bcfb19ce7c518525f-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/14ccc81ca35d792bcfb19ce7c518525f-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/14ccc81ca35d792bcfb19ce7c518525f-520x292.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/14ccc81ca35d792bcfb19ce7c518525f.png 1334w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe (Lisa Kudrow) and her legendary Santa pants.\u003c/figcaption>\u003c/figure>\n\u003cp>Whether you’re pregnant, or just in need of what Joey would refer to as “eatin’ pants,” Phoebe’s Santa trousers offer comfort, warmth \u003cem>and\u003c/em> style! Also, wearing holiday-based clothing year round is sustainability in action—and that’s totally now!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Ross’ Ladies Shirt\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105514\" class=\"wp-caption aligncenter\" style=\"max-width: 625px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-105514\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/enhanced-21682-1426175887-10.jpg\" alt=\"\" width=\"625\" height=\"416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/enhanced-21682-1426175887-10.jpg 625w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/enhanced-21682-1426175887-10-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/enhanced-21682-1426175887-10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/enhanced-21682-1426175887-10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/enhanced-21682-1426175887-10-520x346.jpg 520w\" sizes=\"(max-width: 625px) 100vw, 625px\">\u003cfigcaption class=\"wp-caption-text\">Ross (David Schwimmer) wearing Rachel’s pink shirt on a date.\u003c/figcaption>\u003c/figure>\n\u003cp>In a Season 10 episode, Ross accidentally takes one of Rachel’s shopping bags and winds up wearing her new pink shirt on a date, mistakenly thinking she bought it for him. It’s played for laughs because \u003cem>Friends\u003c/em> had a tendency to make fun of men ever wandering outside of the tight bonds of traditional masculinity. But in Gen Z’s gender fluid, unisex-embracing times? Men donning women’s clothes to elevate their style is definitely to be encouraged! (Also, did this episode start the deep-V neckline trend for men?)\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Rachel’s \u003cem>Clueless\u003c/em> Get-Up\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-105502\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/rachel-skirt-800x742.jpg\" alt=\"\" width=\"800\" height=\"742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/rachel-skirt-800x742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/rachel-skirt-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/rachel-skirt-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/rachel-skirt-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/rachel-skirt-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/rachel-skirt-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/rachel-skirt-1180x1095.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/rachel-skirt-960x891.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/rachel-skirt-240x223.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/rachel-skirt-375x348.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/rachel-skirt-520x483.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel (Jennifer Aniston) in Season 1.\u003c/figcaption>\u003c/figure>\n\u003cp>“The One Where the Monkey Gets Away” aired in March 1995, and \u003cem>Clueless\u003c/em> came out four months later. Truly, it was the year of super-short A-line tartan paired with cute knee-high socks—and we’re still totally buggin’ over it 20+ years later. Which is why the hosts of \u003cem>The Cooler\u003c/em> recently tried to \u003ca href=\"https://www.kqed.org/pop/102931/slumber-partying-like-its-1999-with-bob-the-drag-queen\" target=\"_blank\" rel=\"noopener noreferrer\">revive this look\u003c/a>:\u003c/p>\n\u003cfigure id=\"attachment_105503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-105503\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/The-Cooler-cast-dress-up-as-characters-from-Clueless-02-1180x787-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/The-Cooler-cast-dress-up-as-characters-from-Clueless-02-1180x787-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/The-Cooler-cast-dress-up-as-characters-from-Clueless-02-1180x787-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/The-Cooler-cast-dress-up-as-characters-from-Clueless-02-1180x787-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/The-Cooler-cast-dress-up-as-characters-from-Clueless-02-1180x787-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/The-Cooler-cast-dress-up-as-characters-from-Clueless-02-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/The-Cooler-cast-dress-up-as-characters-from-Clueless-02-1180x787-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/The-Cooler-cast-dress-up-as-characters-from-Clueless-02-1180x787-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/The-Cooler-cast-dress-up-as-characters-from-Clueless-02-1180x787-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/The-Cooler-cast-dress-up-as-characters-from-Clueless-02-1180x787-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emmanuel, Jamedra and Carly of KQED Pop’s ‘The Cooler’ podcast know what’s up.\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>Joey’s Man Bag\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105509\" class=\"wp-caption aligncenter\" style=\"max-width: 690px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-105509 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/5422006e3278851a04b135e0_Friends_Fashion_Joey_Bag.png\" alt=\"\" width=\"690\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/5422006e3278851a04b135e0_Friends_Fashion_Joey_Bag.png 690w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/5422006e3278851a04b135e0_Friends_Fashion_Joey_Bag-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/5422006e3278851a04b135e0_Friends_Fashion_Joey_Bag-240x160.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/5422006e3278851a04b135e0_Friends_Fashion_Joey_Bag-375x250.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/5422006e3278851a04b135e0_Friends_Fashion_Joey_Bag-520x347.png 520w\" sizes=\"(max-width: 690px) 100vw, 690px\">\u003cfigcaption class=\"wp-caption-text\">Joey (Matt LeBlanc) and his beautiful, doomed man bag.\u003c/figcaption>\u003c/figure>\n\u003cp>“The One With Joey’s Bag” aired in 1999, during the fifth season of \u003cem>Friends\u003c/em>. After Rachel persuades Joey the “man’s bag” is “sexy,” Chandler and Ross literally stop in their tracks when they see him carrying his new accessory. Even after Joey tells them, “It’s as handy as it is becoming,” Chandler and Ross can’t stop making jokes about carrying makeup and going on dates with men. Eventually, Joey even loses out on a job because of it. “I don’t know if the world is ready for you and your bag,” Rachel sighs. It wasn’t in 1999, but ain’t nobody got time for this kind of homophobia and toxic masculinity anymore! Man bags for everyone!\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Gunther’s Color Blocking\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-105515\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/gunther-800x742.jpg\" alt=\"\" width=\"800\" height=\"742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/gunther-800x742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/gunther-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/gunther-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/gunther-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/gunther-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/gunther-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/gunther-1180x1095.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/gunther-960x891.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/gunther-240x223.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/gunther-375x348.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/gunther-520x483.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gunther (James Michael Tyler) and his bold tie choices.\u003c/figcaption>\u003c/figure>\n\u003cp>People just don’t use color the way they used to in the ’90s. Just look at grumpy Central Perk barista, Gunther, with his “hair brighter than the sun,” as Rachel once noted. His face may have stayed sour, but his shirts were always sweet, and the only thing he loved more than Rachel were primary colors and slightly unhinged neckties. In the age of doomscrolling, we could always use more color.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Monica and Rachel’s ‘Girls’ Shirts\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-105507 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/girls-800x742.jpg\" alt=\"\" width=\"800\" height=\"742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/girls-800x742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/girls-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/girls-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/girls-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/girls-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/girls-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/girls-1180x1095.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/girls-960x891.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/girls-240x223.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/girls-375x348.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/girls-520x483.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel (Jennifer Aniston) & Monica (Courteney Cox), ’90s feminists.\u003c/figcaption>\u003c/figure>\n\u003cp>Who run the world? Girls! But Queen Beyoncé didn’t even tell us that until seven years after \u003cem>Friends\u003c/em> ended. No wonder these shirts have been in demand for so many years; they are still \u003ca href=\"https://www.etsy.com/au/listing/471033928/friends-tv-show-girls-sweater-tshirt\" target=\"_blank\" rel=\"noopener noreferrer\">available to buy\u003c/a>!\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Chandler No Pants\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105510\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-105510 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/f63.jpg\" alt=\"\" width=\"500\" height=\"629\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/f63.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/f63-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/f63-240x302.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/f63-375x472.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Chandler (Matthew Perry) in his accidental man dress.\u003c/figcaption>\u003c/figure>\n\u003cp>These days, it’s considered fashion-forward for men to wear oversized shirts with nothing else at all. \u003cem>Queer Eye\u003c/em>‘s \u003ca href=\"https://www.youtube.com/watch?v=ROAzMwtopMk\" target=\"_blank\" rel=\"noopener noreferrer\">Jonathan Van Ness even pairs his with heels\u003c/a>. But it was Chandler who accidentally invented this bold new look in Season 4, when Rachel’s boss left him handcuffed to a chair, and then a filing cabinet, mid-seduction. Sexy!\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Phoebe’s Boho Chic\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105512\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-105512\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/boho-800x742.jpg\" alt=\"\" width=\"800\" height=\"742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/boho-800x742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/boho-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/boho-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/boho-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/boho-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/boho-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/boho-1180x1095.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/boho-960x891.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/boho-240x223.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/boho-375x348.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/boho-520x483.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe (Lisa Kudrow) in Season 1.\u003c/figcaption>\u003c/figure>\n\u003cp>When \u003cem>Friends\u003c/em> started, Phoebe’s wardrobe was designed very explicitly to demonstrate her kooky boho-chic style. But what was fringe back then is now an annual Coachella practice. Phoebe’s groovy wardrobe—especially in Season 1—was a wealth of hippie-dippie, desert-ready coolness. All she was missing was a flower crown. (Oh, and while we’re on Phoebe, let’s bring back black and white striped tights; they used to work outside of Halloween and still could!)\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Ross’s Frankie Shirt\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-105504\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/B8XPARCIAAICsv8-800x545.jpg\" alt=\"\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/B8XPARCIAAICsv8-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/B8XPARCIAAICsv8-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/B8XPARCIAAICsv8-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/B8XPARCIAAICsv8-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/B8XPARCIAAICsv8-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/B8XPARCIAAICsv8-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/B8XPARCIAAICsv8-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/B8XPARCIAAICsv8-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/B8XPARCIAAICsv8.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frankie Say Relax!\u003c/figcaption>\u003c/figure>\n\u003cp>When \u003cem>Friends\u003c/em> featured an old Frankie Goes to Hollywood shirt during a fight between Ross and Rachel, it was used as a vaguely amusing relic of the ’80s. In 2018, that shirt is a beautiful reminder of a simpler time, when a song containing zero curse words and some pretty tame sexual innuendos could still get \u003ca href=\"https://en.wikipedia.org/wiki/Relax_(song)\" target=\"_blank\" rel=\"noopener noreferrer\">banned on the radio\u003c/a>. Also, it goes without saying, but those Frankie shirts were legitimately righteous. Ironic bold prints last forever.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Estelle’s Suits\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-105511\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/estelles-suits-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/12/2018/08/estelles-suits-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Estelle (June Gable) and a variety of her amazing shoulder pads.\u003c/figcaption>\u003c/figure>\n\u003cp>With her wild, yet somehow perfectly coordinated prints, oversized accessories and always sharp manicures, Estelle was easily the most underrated fashion icon in \u003cem>Friends\u003c/em>. You couldn’t really get away with those \u003ca href=\"https://www.imdb.com/title/tt0096463/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Working Girl\u003c/em>\u003c/a> shoulder pads at any point during the ’90s, but these days? Have at it! That yellow suit/blue phone combo is fire whichever way you look at it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See? They \u003cem>are\u003c/em> all still there for us!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "NPR's Fall TV Preview: 20 Shows to Watch Out For",
"title": "NPR's Fall TV Preview: 20 Shows to Watch Out For",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Television is more year-round than it used to be, but fall is still a time when broadcast, cable and streaming services drop a lot of premieres. How to keep track of it all? NPR's television and pop culture team has assembled a handy list of shows to keep an eye on. Some of these aren't available for us to watch yet — but we've included shows that look promising.\u003c/p>\n\u003cp>So from broadcast prime time to bingeing Netflix in your jammies, here's our take on the most intriguing shows coming to you this fall:\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Tom Clancy's Jack Ryan\u003c/em>\u003c/strong>\u003cstrong>, Amazon (Friday, Aug. 31)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1KsyZF590NM\u003c/p>\n\u003cp>TV producers often claim their shows are like movies stretched over episodes, and this one lives up to that hype. \u003ca href=\"https://www.imdb.com/name/nm1024677/?ref_=tt_cl_t1\">John Krasinski\u003c/a> (NBC's \u003cem>The Office)\u003c/em> shines as idealistic intelligence analyst Jack Ryan — an action hero in the making much younger than Harrison Ford's film version. \u003ca href=\"https://www.imdb.com/name/nm0682495/?ref_=tt_cl_t2\">Wendell Pierce\u003c/a> also impresses as James Greer. In films, he is Ryan's paternalistic buddy, but Pierce's Greer is a prickly superior who can barely stand his subordinate's impractical morals. Together, Greer and Ryan are an appealing odd couple teamed up to track a terrorist. The effects are spectacular, while the villain is humanized and complex. It's a perfectly modernized thriller for the streaming age.\u003cbr>\n— \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Kidding\u003c/em>\u003c/strong>\u003cstrong>, Showtime (Sunday, Sept. 9)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OzwU7dbmAyY\u003c/p>\n\u003cp>What if they made a TV drama about Mister Rogers having a nervous breakdown and he was played by an actor who often seems to be living in his own public meltdown? That's the intriguing backstory powering \u003ca href=\"https://www.imdb.com/name/nm0000120/?ref_=fn_al_nm_1\">Jim Carrey\u003c/a>'s first lead TV series role in decades. He plays Jeff Pickles, a beloved kids TV host coping with an unbearable personal tragedy. Surrounded by friends and family lost in their own trauma, Carrey's Mr. Pickles is an icon whose dark personal journey is at odds with the happy-go-lucky public persona he has maintained for decades. Sound familiar?\u003cbr>\n\u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>REL\u003c/strong>\u003c/em>\u003cstrong>, Fox (Sunday, Sept. 9)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xsUa5ObfCMs\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/name/nm2577076/?ref_=fn_al_nm_1\">Lil Rel Howery\u003c/a> was a regular on Jerrod Carmichael's \u003cem>The Carmichael Show\u003c/em>, a critically adored multicamera comedy that also featured Tiffany Haddish just before her rise to superstardom. Now, Carmichael is a producer for a comedy that spotlights Howery as a man whose divorce costs him the perfectly good barber his ex-wife was sleeping with and drives him to start over. \u003ca href=\"https://www.imdb.com/name/nm0005435/?ref_=fn_al_nm_1\">Sinbad\u003c/a> stars as Howery's dad. This team has sharp and interesting ideas about how to make sitcoms work; it's worth watching out for them.\u003cbr>\n— \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Forever\u003c/em>\u003c/strong>\u003cstrong>, Amazon (Friday, Sept. 14)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MoQ3RU-I1Qo\u003c/p>\n\u003cp>The trailer for this comedy series starring \u003ca href=\"https://www.imdb.com/name/nm0748973/?ref_=fn_al_nm_1\">Maya Rudolph\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm0035488/?ref_=fn_al_nm_1\">Fred Armisen\u003c/a> is less than forthcoming — it's basically a lovely series of shots of a married couple who seem happy, though stuck in a rut. Those shots of a knife and a bonfire and Rudolph looking — depressed? drugged? drunk? all of the above? — intimate a dark undercurrent, because it's a comedy on a streaming service and that's the law. But what has got me excited about this is the roster of names attached — Rudolph and Armisen of course, but also \u003ca href=\"https://www.imdb.com/name/nm0001416/?ref_=fn_al_nm_1\">Catherine Keener\u003c/a> Who Is Great In Everything™, and writer/producers Alan Yang (\u003cem>Master of None\u003c/em>) and Matt Hubbard (\u003cem>30 Rock\u003c/em>).\u003cbr>\n— \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The First\u003c/em>\u003c/strong>\u003cstrong>, Hulu (Friday, Sept. 14)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UFWaKqGmyT0\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/name/nm0000576/?ref_=fn_al_nm_1\">Sean Penn\u003c/a> puts his surly, muscular presence to good use playing Tom Hagerty, taciturn commander of the first manned mission to Mars. It's a super-slow journey, courtesy of Beau Willimon, who also created Netflix's \u003cem>House of Cards\u003c/em>. Hagerty is a weathered soul balancing an addict daughter, an uber-repressed boss and a tremendous tragedy, while attempting a second launch when the first one goes off the rails.\u003cbr>\n— \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Maniac\u003c/em>\u003c/strong>\u003cstrong>, Netflix (Friday, Sept. 21)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=L6cDDmk-O5A\u003c/p>\n\u003cp>This 10-episode limited series directed by Cary Joji Fukunaga is giving off strong \u003cem>Eternal Sunshine of the Spotless Mind \u003c/em>vibes, but that is by no means a complaint. Based on a Norwegian television series, \u003cem>Maniac \u003c/em>stars \u003ca href=\"https://www.imdb.com/name/nm1297015/?ref_=fn_al_nm_1\">Emma Stone\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm1706767/?ref_=fn_al_nm_1\">Jonah Hill\u003c/a> as subjects of a mysterious three-day pharmaceutical trial, led by \u003ca href=\"https://www.imdb.com/name/nm0857620/?ref_=fn_al_nm_1\">Justin Theroux\u003c/a>'s magnificently coiffed researcher. Billed as a dark comedy, the series promises trippy visuals, questions about the nature of identity, and just really a lot — a LOT — of very bad wigs\u003cem>.\u003cbr>\n— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Manifest, \u003c/em>\u003c/strong>\u003cstrong>NBC (Monday, Sept. 24)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BhKmfJrnrw0\u003c/p>\n\u003cp>Let's be honest: When a show starts out with a big mystery, it's hard to make bets on how things will turn out. It could be really satisfying! Or ... not. \u003cem>Manifest \u003c/em>starts when a plane lands and the passengers learn that five years passed while they were on board — and presumed dead. It's the kind of high concept that often winds up canceled so fast that it writes its own jokes about whether it really happened at all. But! When they work, weird mysteries are a lot of fun. Be an optimist!\u003cbr>\n\u003cem>— Linda Holmes \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>A Million Little Things\u003c/em>\u003c/strong>\u003cstrong>, ABC (Wednesday, Sept. 26)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x0aB4nA5MOQ\u003c/p>\n\u003cp>Blame sentimental network TV hits like \u003cem>This Is Us\u003c/em> and \u003cem>The Good Doctor \u003c/em>for this drama. \u003cem>A Million Little Things\u003c/em> is a \u003cem>Big Chill\u003c/em>-style look at a group of friends struggling to cope when their most successful pal, played by \u003ca href=\"https://www.imdb.com/name/nm0515296/?ref_=fn_al_nm_1\">Ron Livingston\u003c/a>, kills himself. The pilot is more than a little sentimental, with twists you'll see coming miles away. But the cast is strong, making this one of the network TV shows most likely to transcend its first episode.\u003cbr>\n— \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Murphy Brown\u003c/em>\u003c/strong>\u003cstrong>, CBS (Thursday, Sept. 27)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wvqSr0cqbZ4\u003c/p>\n\u003cp>Yes, it's another classic sitcom revival. But this premise is delicious: \u003ca href=\"https://www.imdb.com/name/nm0000298/?ref_=fn_al_nm_1\">Candice Bergen\u003c/a> returns as the groundbreaking title character, who is now an anchor on a cable news channel. Her son works for a rival, Fox News-style conservative outlet. Written by the show's creator, Diane English, this revival promises to unleash the women who faced down Dan Quayle's out-of-touch, 1990s-era moralizing on a new target: the chaos created by our current reality TV star-turned-president. Popcorn, please.\u003cbr>\n— \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>I Feel Bad\u003c/em>\u003c/strong>\u003cstrong>, NBC (Thursday, Oct. 4)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SxyUGKsnWW0\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/name/nm0710605/?ref_=fn_al_nm_1\">Sarayu Blue\u003c/a>, who had a funny turn in \u003cem>Blockers \u003c/em>earlier this year as the level-headed wife of a husband who was losing it, gets her own spotlight in this comedy about a working mother who, well, feels bad all the time about the obligations she is trying to balance. Amy Poehler's production company helped bring it to the screen, and creator Aseem Batra has solid comedy credits as a writer going back to \u003cem>Scrubs\u003c/em>.\u003cbr>\n— \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Dancing Queen, \u003c/em>\u003c/strong>\u003cstrong>Netflix (Friday, Oct. 5)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jQJTrBWqb8s\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2016/12/03/503906372/pop-culture-advent-calendar-day-3-two-of-rupauls-drag-race-all-stars-bring-it\">Alyssa Edwards\u003c/a> may or may not be your favorite queen in the storied herstory of \u003cem>RuPaul's Drag Race\u003c/em>. But you can't deny she's an All-Star, a vivid and vital presence, a tongue-popping force of (something approaching) nature. This Netflix series follows her life as the head of a dance company in Mesquite, Texas, features cameo appearances from some of her fellow \u003cem>Drag Race\u003c/em> queens, and promises – or threatens, depending on your personal point of view – \"All Tears, All Shade.\"\u003cbr>\n— \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Flight of the Conchords: Live at the London Apollo\u003c/em>\u003c/strong>\u003cstrong>, HBO (Saturday, Oct. 6)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xz_-9PlcouE\u003c/p>\n\u003cp>It has been almost a decade since their beloved HBO series ended, and \u003ca href=\"https://www.imdb.com/name/nm1318596/?ref_=fn_al_nm_1\">Jemaine Clement\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm1235366/?ref_=fn_al_nm_1\">Bret McKenzie\u003c/a> have kept busy. In this special, filmed as part of their 2018 U.K./Ireland tour – during which McKenzie injured his hand, causing several dates to be rescheduled – the deadpan duo from New Zealand will feature their greatest hits, if the title of the tour (\"Flight of the Conchords Sing Flight of the Conchords\" tour) is any indication.\u003cbr>\n\u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>All American\u003c/em>\u003c/strong>\u003cstrong>, The CW (Wednesday, Oct. 10)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=60nXrkQltvM\u003c/p>\n\u003cp>Based on the true story of the NFL's Spencer Paysinger, this drama follows a high school football player from Compton who is brought to play football at Beverly Hills High — which turns out to mean moving in with his coach. Not every high school football show can be \u003cem>Friday Night Lights\u003c/em>, but even an effort at a thoughtful drama about teenagers without superpowers can only be welcome. Veteran of many canceled series \u003ca href=\"https://www.imdb.com/name/nm0004875/?ref_=fn_al_nm_1\">Taye Diggs\u003c/a> plays the coach.\u003cbr>\n\u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Romanoffs\u003c/em>\u003c/strong>\u003cstrong>, Amazon (Friday, Oct. 12)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_Eman2n3kDs\u003c/p>\n\u003cp>Matthew Weiner follows up \u003cem>Mad Men\u003c/em> with this eight-episode anthology series about people who believe themselves to be modern-day descendants of Russia's Romanov family. Each episode will feature a different location, a different story and a different cast – though Weiner favorites \u003ca href=\"https://www.imdb.com/name/nm0805476/?ref_=fn_al_nm_1\">John Slattery\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm0376716/?ref_=fn_al_nm_1\">Christina Hendricks\u003c/a> will turn up, alongside actors like Diane Lane, Amanda Peet, Corey Stoll, Aaron Eckhart, Andrew Rannells and more. Weiner says the show is about how \"we're all questioning who we are and who we say we are.\"\u003cbr>\n— \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Salt Fat Acid Heat\u003c/em>\u003c/strong>\u003cstrong>, Netflix (Friday, Oct. 19)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JVfJu-2bs5I\u003c/p>\n\u003cp>Netflix continues its full-court press of cooking television, which has included both the highbrow beauty-of-food stuff and the lowbrow food-competition stuff. \u003cem>Salt Fat Acid Heat \u003c/em>adapts Samin Nosrat's \u003ca href=\"https://www.npr.org/sections/thesalt/2017/05/30/529699099/-salt-fat-acid-heat-a-guide-to-the-elements-of-cooking\">well-received book\u003c/a> about the building blocks of flavor into a docuseries hosted by Nosrat herself. She travels, she talks to people, she learns. This might be the kind of carefully produced hybrid of food and travel television that will hit a real high note for a big chunk of viewers.\u003cbr>\n— \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Chilling Adventures of Sabrina\u003c/em>\u003c/strong>\u003cstrong>, Netflix (Friday, Oct. 26)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NVMmB28dT3E\u003c/p>\n\u003cp>The CW gave us \u003cem>Riverdale\u003c/em>, the dark, twisty \"Hot Archie\" take on the world of the bright, sunlit comics. But there's dark and then there's DARK, and while \u003cem>Riverdale \u003c/em>goes to some intensely soapy places, that show's creators seem to be pushing the truly trippy and horrific stuff onto this Netflix series, which is set just across the river, in the town of Greendale. Don't expect \u003ca href=\"https://www.imdb.com/name/nm0004997/?ref_=fn_al_nm_1\">Melissa Joan Hart\u003c/a> or a cat puppet to show up – at least not right away. The first 10-episode season deals with Sabrina's (\u003cem>Mad Men\u003c/em>'s \u003ca href=\"https://www.imdb.com/name/nm2215143/?ref_=fn_al_nm_1\">Kiernan Shipka\u003c/a>) struggling to accept her destiny as a half-human, half-teenage-witch. It has already been picked up for a second season, so Netflix, at least, believes in magic.\u003cbr>\n\u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Patriot Act with Hasan Minhaj\u003c/em>\u003c/strong>\u003cstrong>, Netflix (Sunday, Oct. 28)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105434\" class=\"wp-caption alignnone\" style=\"max-width: 633px\">\u003cimg class=\"size-full wp-image-105434\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/hasan-minhaj-homecoming-king-main.jpg\" alt=\"\" width=\"633\" height=\"356\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/08/hasan-minhaj-homecoming-king-main.jpg 633w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/hasan-minhaj-homecoming-king-main-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/hasan-minhaj-homecoming-king-main-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/hasan-minhaj-homecoming-king-main-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/hasan-minhaj-homecoming-king-main-520x292.jpg 520w\" sizes=\"(max-width: 633px) 100vw, 633px\">\u003cfigcaption class=\"wp-caption-text\">Hasan Minhaj in 'Homecoming King' (Netflix).\u003c/figcaption>\u003c/figure>\n\u003cp>Selecting this as a show worth watching, long before critics actually get a look at it, is a gamble. Netflix has struggled recently with talk and variety shows, deep-sixing efforts by Chelsea Handler, Joel McHale and Michelle Wolf without much fanfare. Still, Minhaj's one-man show \u003cem>Homecoming King\u003c/em> is an amazing story of immigration and identity that won a Peabody Award. If anybody can create a talk show on Netflix that survives longer than a season or two, he's the one.\u003cbr>\n— \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Homecoming\u003c/em>\u003c/strong>\u003cstrong>, Amazon (Friday, Nov. 2)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qsUfdJ7eZ3w\u003c/p>\n\u003cp>They've kept a pretty tight lid on this adaptation of the \u003ca href=\"https://www.gimletmedia.com/homecoming\">Gimlet podcast\u003c/a> about a caseworker handling traumatized soldiers being held at some sort of compound, although there are two big reasons it's getting attention. The first is \u003ca href=\"https://www.imdb.com/name/nm0000210/?ref_=fn_al_nm_1\">Julia Roberts\u003c/a>, appearing in the leading role. The second is director and producer Sam Esmail, whose last effort, \u003cem>Mr. Robot\u003c/em>, showed a flair for weirdness that might be just right for this highly unusual story that's all about strange secrets.\u003cbr>\n— \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Kominsky Method\u003c/em>\u003c/strong>\u003cstrong>, Netflix (Friday, Nov. 16)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105430\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-105430\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/kominsky_method_wide-912ee0d6a13be23b99ef00bc4d129df252f644c5-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/08/kominsky_method_wide-912ee0d6a13be23b99ef00bc4d129df252f644c5-2-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/kominsky_method_wide-912ee0d6a13be23b99ef00bc4d129df252f644c5-2-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/kominsky_method_wide-912ee0d6a13be23b99ef00bc4d129df252f644c5-2-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/kominsky_method_wide-912ee0d6a13be23b99ef00bc4d129df252f644c5-2-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/kominsky_method_wide-912ee0d6a13be23b99ef00bc4d129df252f644c5-2-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/kominsky_method_wide-912ee0d6a13be23b99ef00bc4d129df252f644c5-2-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/kominsky_method_wide-912ee0d6a13be23b99ef00bc4d129df252f644c5-2-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/kominsky_method_wide-912ee0d6a13be23b99ef00bc4d129df252f644c5-2-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/kominsky_method_wide-912ee0d6a13be23b99ef00bc4d129df252f644c5-2-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/kominsky_method_wide-912ee0d6a13be23b99ef00bc4d129df252f644c5-2-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/kominsky_method_wide-912ee0d6a13be23b99ef00bc4d129df252f644c5-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hollywood agent Norman Newlander (Alan Arkin) and acting coach Sandy Kominksy (Michael Douglas) are longtime friends dealing with growing older.\u003c/figcaption>\u003c/figure>\n\u003cp>Producer Chuck Lorre is known for broad, cheeky multicamera comedies like \u003cem>Two and a Half Men\u003c/em> and \u003cem>The Big Bang Theory\u003c/em>. He is the last guy you would expect to create an authentic, personal and — yes, often smart-alecky — comedic drama about the bittersweet process of getting old. Lorre casts \u003ca href=\"https://www.imdb.com/name/nm0000140/?ref_=fn_al_nm_2\">Michael Douglas\u003c/a> as revered acting coach Sandy Kominsky, a 70-something guy struggling to date while helping his oldest friend, played with a curmudgeonly grace by \u003ca href=\"https://www.imdb.com/name/nm0000273/?ref_=fn_al_nm_1\">Alan Arkin\u003c/a>, handle the biggest loss of his life.\u003cbr>\n— \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Escape at Dannemora\u003c/em>\u003c/strong>\u003cstrong>, Showtime (Sunday, Nov. 18)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0b7CSQqf3Bc\u003c/p>\n\u003cp>It's almost beyond cliché: stylish actors seeking serious cred by playing homely working stiffs. But this limited series about a real story transcends that trope. \u003ca href=\"https://www.imdb.com/name/nm0001125/?ref_=fn_al_nm_1\">Benicio Del Toro\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm0200452/?ref_=fn_al_nm_1\">Paul Dano\u003c/a> star as inmates who escaped from Dannemora's lockup in 2015. \u003ca href=\"https://www.imdb.com/name/nm0000099/?ref_=fn_al_nm_1\">Patricia Arquette\u003c/a> is the married prison worker who helped them. Directed by Ben Stiller, it explores how desperate, depressed people in an unforgiving environment can make the worst decisions. And that's just the people who \u003cem>work\u003c/em> at the prison.\u003cbr>\n— \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Jessica Reedy produced this story for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR%27s+Fall+TV+Preview%3A+20+Shows+To+Watch+Out+For&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Television is more year-round than it used to be, but fall is still a time when broadcast, cable and streaming services drop a lot of premieres. How to keep track of it all? NPR's television and pop culture team has assembled a handy list of shows to keep an eye on. Some of these aren't available for us to watch yet — but we've included shows that look promising.\u003c/p>\n\u003cp>So from broadcast prime time to bingeing Netflix in your jammies, here's our take on the most intriguing shows coming to you this fall:\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Tom Clancy's Jack Ryan\u003c/em>\u003c/strong>\u003cstrong>, Amazon (Friday, Aug. 31)\u003c/strong>\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/1KsyZF590NM'\n title='//www.youtube.com/embed/1KsyZF590NM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>TV producers often claim their shows are like movies stretched over episodes, and this one lives up to that hype. \u003ca href=\"https://www.imdb.com/name/nm1024677/?ref_=tt_cl_t1\">John Krasinski\u003c/a> (NBC's \u003cem>The Office)\u003c/em> shines as idealistic intelligence analyst Jack Ryan — an action hero in the making much younger than Harrison Ford's film version. \u003ca href=\"https://www.imdb.com/name/nm0682495/?ref_=tt_cl_t2\">Wendell Pierce\u003c/a> also impresses as James Greer. In films, he is Ryan's paternalistic buddy, but Pierce's Greer is a prickly superior who can barely stand his subordinate's impractical morals. Together, Greer and Ryan are an appealing odd couple teamed up to track a terrorist. The effects are spectacular, while the villain is humanized and complex. It's a perfectly modernized thriller for the streaming age.\u003cbr>\n— \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Kidding\u003c/em>\u003c/strong>\u003cstrong>, Showtime (Sunday, Sept. 9)\u003c/strong>\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/OzwU7dbmAyY'\n title='//www.youtube.com/embed/OzwU7dbmAyY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What if they made a TV drama about Mister Rogers having a nervous breakdown and he was played by an actor who often seems to be living in his own public meltdown? That's the intriguing backstory powering \u003ca href=\"https://www.imdb.com/name/nm0000120/?ref_=fn_al_nm_1\">Jim Carrey\u003c/a>'s first lead TV series role in decades. He plays Jeff Pickles, a beloved kids TV host coping with an unbearable personal tragedy. Surrounded by friends and family lost in their own trauma, Carrey's Mr. Pickles is an icon whose dark personal journey is at odds with the happy-go-lucky public persona he has maintained for decades. Sound familiar?\u003cbr>\n\u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>REL\u003c/strong>\u003c/em>\u003cstrong>, Fox (Sunday, Sept. 9)\u003c/strong>\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/xsUa5ObfCMs'\n title='//www.youtube.com/embed/xsUa5ObfCMs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.imdb.com/name/nm2577076/?ref_=fn_al_nm_1\">Lil Rel Howery\u003c/a> was a regular on Jerrod Carmichael's \u003cem>The Carmichael Show\u003c/em>, a critically adored multicamera comedy that also featured Tiffany Haddish just before her rise to superstardom. Now, Carmichael is a producer for a comedy that spotlights Howery as a man whose divorce costs him the perfectly good barber his ex-wife was sleeping with and drives him to start over. \u003ca href=\"https://www.imdb.com/name/nm0005435/?ref_=fn_al_nm_1\">Sinbad\u003c/a> stars as Howery's dad. This team has sharp and interesting ideas about how to make sitcoms work; it's worth watching out for them.\u003cbr>\n— \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Forever\u003c/em>\u003c/strong>\u003cstrong>, Amazon (Friday, Sept. 14)\u003c/strong>\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/MoQ3RU-I1Qo'\n title='//www.youtube.com/embed/MoQ3RU-I1Qo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The trailer for this comedy series starring \u003ca href=\"https://www.imdb.com/name/nm0748973/?ref_=fn_al_nm_1\">Maya Rudolph\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm0035488/?ref_=fn_al_nm_1\">Fred Armisen\u003c/a> is less than forthcoming — it's basically a lovely series of shots of a married couple who seem happy, though stuck in a rut. Those shots of a knife and a bonfire and Rudolph looking — depressed? drugged? drunk? all of the above? — intimate a dark undercurrent, because it's a comedy on a streaming service and that's the law. But what has got me excited about this is the roster of names attached — Rudolph and Armisen of course, but also \u003ca href=\"https://www.imdb.com/name/nm0001416/?ref_=fn_al_nm_1\">Catherine Keener\u003c/a> Who Is Great In Everything™, and writer/producers Alan Yang (\u003cem>Master of None\u003c/em>) and Matt Hubbard (\u003cem>30 Rock\u003c/em>).\u003cbr>\n— \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The First\u003c/em>\u003c/strong>\u003cstrong>, Hulu (Friday, Sept. 14)\u003c/strong>\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/UFWaKqGmyT0'\n title='//www.youtube.com/embed/UFWaKqGmyT0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.imdb.com/name/nm0000576/?ref_=fn_al_nm_1\">Sean Penn\u003c/a> puts his surly, muscular presence to good use playing Tom Hagerty, taciturn commander of the first manned mission to Mars. It's a super-slow journey, courtesy of Beau Willimon, who also created Netflix's \u003cem>House of Cards\u003c/em>. Hagerty is a weathered soul balancing an addict daughter, an uber-repressed boss and a tremendous tragedy, while attempting a second launch when the first one goes off the rails.\u003cbr>\n— \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Maniac\u003c/em>\u003c/strong>\u003cstrong>, Netflix (Friday, Sept. 21)\u003c/strong>\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/L6cDDmk-O5A'\n title='//www.youtube.com/embed/L6cDDmk-O5A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This 10-episode limited series directed by Cary Joji Fukunaga is giving off strong \u003cem>Eternal Sunshine of the Spotless Mind \u003c/em>vibes, but that is by no means a complaint. Based on a Norwegian television series, \u003cem>Maniac \u003c/em>stars \u003ca href=\"https://www.imdb.com/name/nm1297015/?ref_=fn_al_nm_1\">Emma Stone\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm1706767/?ref_=fn_al_nm_1\">Jonah Hill\u003c/a> as subjects of a mysterious three-day pharmaceutical trial, led by \u003ca href=\"https://www.imdb.com/name/nm0857620/?ref_=fn_al_nm_1\">Justin Theroux\u003c/a>'s magnificently coiffed researcher. Billed as a dark comedy, the series promises trippy visuals, questions about the nature of identity, and just really a lot — a LOT — of very bad wigs\u003cem>.\u003cbr>\n— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Manifest, \u003c/em>\u003c/strong>\u003cstrong>NBC (Monday, Sept. 24)\u003c/strong>\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/BhKmfJrnrw0'\n title='//www.youtube.com/embed/BhKmfJrnrw0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Let's be honest: When a show starts out with a big mystery, it's hard to make bets on how things will turn out. It could be really satisfying! Or ... not. \u003cem>Manifest \u003c/em>starts when a plane lands and the passengers learn that five years passed while they were on board — and presumed dead. It's the kind of high concept that often winds up canceled so fast that it writes its own jokes about whether it really happened at all. But! When they work, weird mysteries are a lot of fun. Be an optimist!\u003cbr>\n\u003cem>— Linda Holmes \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>A Million Little Things\u003c/em>\u003c/strong>\u003cstrong>, ABC (Wednesday, Sept. 26)\u003c/strong>\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/x0aB4nA5MOQ'\n title='//www.youtube.com/embed/x0aB4nA5MOQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Blame sentimental network TV hits like \u003cem>This Is Us\u003c/em> and \u003cem>The Good Doctor \u003c/em>for this drama. \u003cem>A Million Little Things\u003c/em> is a \u003cem>Big Chill\u003c/em>-style look at a group of friends struggling to cope when their most successful pal, played by \u003ca href=\"https://www.imdb.com/name/nm0515296/?ref_=fn_al_nm_1\">Ron Livingston\u003c/a>, kills himself. The pilot is more than a little sentimental, with twists you'll see coming miles away. But the cast is strong, making this one of the network TV shows most likely to transcend its first episode.\u003cbr>\n— \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Murphy Brown\u003c/em>\u003c/strong>\u003cstrong>, CBS (Thursday, Sept. 27)\u003c/strong>\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/wvqSr0cqbZ4'\n title='//www.youtube.com/embed/wvqSr0cqbZ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yes, it's another classic sitcom revival. But this premise is delicious: \u003ca href=\"https://www.imdb.com/name/nm0000298/?ref_=fn_al_nm_1\">Candice Bergen\u003c/a> returns as the groundbreaking title character, who is now an anchor on a cable news channel. Her son works for a rival, Fox News-style conservative outlet. Written by the show's creator, Diane English, this revival promises to unleash the women who faced down Dan Quayle's out-of-touch, 1990s-era moralizing on a new target: the chaos created by our current reality TV star-turned-president. Popcorn, please.\u003cbr>\n— \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>I Feel Bad\u003c/em>\u003c/strong>\u003cstrong>, NBC (Thursday, Oct. 4)\u003c/strong>\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/SxyUGKsnWW0'\n title='//www.youtube.com/embed/SxyUGKsnWW0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.imdb.com/name/nm0710605/?ref_=fn_al_nm_1\">Sarayu Blue\u003c/a>, who had a funny turn in \u003cem>Blockers \u003c/em>earlier this year as the level-headed wife of a husband who was losing it, gets her own spotlight in this comedy about a working mother who, well, feels bad all the time about the obligations she is trying to balance. Amy Poehler's production company helped bring it to the screen, and creator Aseem Batra has solid comedy credits as a writer going back to \u003cem>Scrubs\u003c/em>.\u003cbr>\n— \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Dancing Queen, \u003c/em>\u003c/strong>\u003cstrong>Netflix (Friday, Oct. 5)\u003c/strong>\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/jQJTrBWqb8s'\n title='//www.youtube.com/embed/jQJTrBWqb8s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/2016/12/03/503906372/pop-culture-advent-calendar-day-3-two-of-rupauls-drag-race-all-stars-bring-it\">Alyssa Edwards\u003c/a> may or may not be your favorite queen in the storied herstory of \u003cem>RuPaul's Drag Race\u003c/em>. But you can't deny she's an All-Star, a vivid and vital presence, a tongue-popping force of (something approaching) nature. This Netflix series follows her life as the head of a dance company in Mesquite, Texas, features cameo appearances from some of her fellow \u003cem>Drag Race\u003c/em> queens, and promises – or threatens, depending on your personal point of view – \"All Tears, All Shade.\"\u003cbr>\n— \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Flight of the Conchords: Live at the London Apollo\u003c/em>\u003c/strong>\u003cstrong>, HBO (Saturday, Oct. 6)\u003c/strong>\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/xz_-9PlcouE'\n title='//www.youtube.com/embed/xz_-9PlcouE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It has been almost a decade since their beloved HBO series ended, and \u003ca href=\"https://www.imdb.com/name/nm1318596/?ref_=fn_al_nm_1\">Jemaine Clement\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm1235366/?ref_=fn_al_nm_1\">Bret McKenzie\u003c/a> have kept busy. In this special, filmed as part of their 2018 U.K./Ireland tour – during which McKenzie injured his hand, causing several dates to be rescheduled – the deadpan duo from New Zealand will feature their greatest hits, if the title of the tour (\"Flight of the Conchords Sing Flight of the Conchords\" tour) is any indication.\u003cbr>\n\u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>All American\u003c/em>\u003c/strong>\u003cstrong>, The CW (Wednesday, Oct. 10)\u003c/strong>\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/60nXrkQltvM'\n title='//www.youtube.com/embed/60nXrkQltvM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Based on the true story of the NFL's Spencer Paysinger, this drama follows a high school football player from Compton who is brought to play football at Beverly Hills High — which turns out to mean moving in with his coach. Not every high school football show can be \u003cem>Friday Night Lights\u003c/em>, but even an effort at a thoughtful drama about teenagers without superpowers can only be welcome. Veteran of many canceled series \u003ca href=\"https://www.imdb.com/name/nm0004875/?ref_=fn_al_nm_1\">Taye Diggs\u003c/a> plays the coach.\u003cbr>\n\u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Romanoffs\u003c/em>\u003c/strong>\u003cstrong>, Amazon (Friday, Oct. 12)\u003c/strong>\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/_Eman2n3kDs'\n title='//www.youtube.com/embed/_Eman2n3kDs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Matthew Weiner follows up \u003cem>Mad Men\u003c/em> with this eight-episode anthology series about people who believe themselves to be modern-day descendants of Russia's Romanov family. Each episode will feature a different location, a different story and a different cast – though Weiner favorites \u003ca href=\"https://www.imdb.com/name/nm0805476/?ref_=fn_al_nm_1\">John Slattery\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm0376716/?ref_=fn_al_nm_1\">Christina Hendricks\u003c/a> will turn up, alongside actors like Diane Lane, Amanda Peet, Corey Stoll, Aaron Eckhart, Andrew Rannells and more. Weiner says the show is about how \"we're all questioning who we are and who we say we are.\"\u003cbr>\n— \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Salt Fat Acid Heat\u003c/em>\u003c/strong>\u003cstrong>, Netflix (Friday, Oct. 19)\u003c/strong>\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/JVfJu-2bs5I'\n title='//www.youtube.com/embed/JVfJu-2bs5I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Netflix continues its full-court press of cooking television, which has included both the highbrow beauty-of-food stuff and the lowbrow food-competition stuff. \u003cem>Salt Fat Acid Heat \u003c/em>adapts Samin Nosrat's \u003ca href=\"https://www.npr.org/sections/thesalt/2017/05/30/529699099/-salt-fat-acid-heat-a-guide-to-the-elements-of-cooking\">well-received book\u003c/a> about the building blocks of flavor into a docuseries hosted by Nosrat herself. She travels, she talks to people, she learns. This might be the kind of carefully produced hybrid of food and travel television that will hit a real high note for a big chunk of viewers.\u003cbr>\n— \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Chilling Adventures of Sabrina\u003c/em>\u003c/strong>\u003cstrong>, Netflix (Friday, Oct. 26)\u003c/strong>\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/NVMmB28dT3E'\n title='//www.youtube.com/embed/NVMmB28dT3E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The CW gave us \u003cem>Riverdale\u003c/em>, the dark, twisty \"Hot Archie\" take on the world of the bright, sunlit comics. But there's dark and then there's DARK, and while \u003cem>Riverdale \u003c/em>goes to some intensely soapy places, that show's creators seem to be pushing the truly trippy and horrific stuff onto this Netflix series, which is set just across the river, in the town of Greendale. Don't expect \u003ca href=\"https://www.imdb.com/name/nm0004997/?ref_=fn_al_nm_1\">Melissa Joan Hart\u003c/a> or a cat puppet to show up – at least not right away. The first 10-episode season deals with Sabrina's (\u003cem>Mad Men\u003c/em>'s \u003ca href=\"https://www.imdb.com/name/nm2215143/?ref_=fn_al_nm_1\">Kiernan Shipka\u003c/a>) struggling to accept her destiny as a half-human, half-teenage-witch. It has already been picked up for a second season, so Netflix, at least, believes in magic.\u003cbr>\n\u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Patriot Act with Hasan Minhaj\u003c/em>\u003c/strong>\u003cstrong>, Netflix (Sunday, Oct. 28)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105434\" class=\"wp-caption alignnone\" style=\"max-width: 633px\">\u003cimg class=\"size-full wp-image-105434\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/hasan-minhaj-homecoming-king-main.jpg\" alt=\"\" width=\"633\" height=\"356\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/08/hasan-minhaj-homecoming-king-main.jpg 633w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/hasan-minhaj-homecoming-king-main-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/hasan-minhaj-homecoming-king-main-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/hasan-minhaj-homecoming-king-main-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/hasan-minhaj-homecoming-king-main-520x292.jpg 520w\" sizes=\"(max-width: 633px) 100vw, 633px\">\u003cfigcaption class=\"wp-caption-text\">Hasan Minhaj in 'Homecoming King' (Netflix).\u003c/figcaption>\u003c/figure>\n\u003cp>Selecting this as a show worth watching, long before critics actually get a look at it, is a gamble. Netflix has struggled recently with talk and variety shows, deep-sixing efforts by Chelsea Handler, Joel McHale and Michelle Wolf without much fanfare. Still, Minhaj's one-man show \u003cem>Homecoming King\u003c/em> is an amazing story of immigration and identity that won a Peabody Award. If anybody can create a talk show on Netflix that survives longer than a season or two, he's the one.\u003cbr>\n— \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Homecoming\u003c/em>\u003c/strong>\u003cstrong>, Amazon (Friday, Nov. 2)\u003c/strong>\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/qsUfdJ7eZ3w'\n title='//www.youtube.com/embed/qsUfdJ7eZ3w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>They've kept a pretty tight lid on this adaptation of the \u003ca href=\"https://www.gimletmedia.com/homecoming\">Gimlet podcast\u003c/a> about a caseworker handling traumatized soldiers being held at some sort of compound, although there are two big reasons it's getting attention. The first is \u003ca href=\"https://www.imdb.com/name/nm0000210/?ref_=fn_al_nm_1\">Julia Roberts\u003c/a>, appearing in the leading role. The second is director and producer Sam Esmail, whose last effort, \u003cem>Mr. Robot\u003c/em>, showed a flair for weirdness that might be just right for this highly unusual story that's all about strange secrets.\u003cbr>\n— \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Kominsky Method\u003c/em>\u003c/strong>\u003cstrong>, Netflix (Friday, Nov. 16)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105430\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-105430\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/kominsky_method_wide-912ee0d6a13be23b99ef00bc4d129df252f644c5-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/08/kominsky_method_wide-912ee0d6a13be23b99ef00bc4d129df252f644c5-2-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/kominsky_method_wide-912ee0d6a13be23b99ef00bc4d129df252f644c5-2-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/kominsky_method_wide-912ee0d6a13be23b99ef00bc4d129df252f644c5-2-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/kominsky_method_wide-912ee0d6a13be23b99ef00bc4d129df252f644c5-2-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/kominsky_method_wide-912ee0d6a13be23b99ef00bc4d129df252f644c5-2-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/kominsky_method_wide-912ee0d6a13be23b99ef00bc4d129df252f644c5-2-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/kominsky_method_wide-912ee0d6a13be23b99ef00bc4d129df252f644c5-2-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/kominsky_method_wide-912ee0d6a13be23b99ef00bc4d129df252f644c5-2-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/kominsky_method_wide-912ee0d6a13be23b99ef00bc4d129df252f644c5-2-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/kominsky_method_wide-912ee0d6a13be23b99ef00bc4d129df252f644c5-2-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/kominsky_method_wide-912ee0d6a13be23b99ef00bc4d129df252f644c5-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hollywood agent Norman Newlander (Alan Arkin) and acting coach Sandy Kominksy (Michael Douglas) are longtime friends dealing with growing older.\u003c/figcaption>\u003c/figure>\n\u003cp>Producer Chuck Lorre is known for broad, cheeky multicamera comedies like \u003cem>Two and a Half Men\u003c/em> and \u003cem>The Big Bang Theory\u003c/em>. He is the last guy you would expect to create an authentic, personal and — yes, often smart-alecky — comedic drama about the bittersweet process of getting old. 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But this limited series about a real story transcends that trope. \u003ca href=\"https://www.imdb.com/name/nm0001125/?ref_=fn_al_nm_1\">Benicio Del Toro\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm0200452/?ref_=fn_al_nm_1\">Paul Dano\u003c/a> star as inmates who escaped from Dannemora's lockup in 2015. \u003ca href=\"https://www.imdb.com/name/nm0000099/?ref_=fn_al_nm_1\">Patricia Arquette\u003c/a> is the married prison worker who helped them. Directed by Ben Stiller, it explores how desperate, depressed people in an unforgiving environment can make the worst decisions. And that's just the people who \u003cem>work\u003c/em> at the prison.\u003cbr>\n— \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Childish Gambino's \"\u003ca href=\"https://www.youtube.com/watch?v=VYOjWnS4cMY\">This Is America\u003c/a>\" and The Carters' \"\u003ca href=\"https://www.youtube.com/watch?v=kbMqWXnpXcA\">APES***\u003c/a>\" were the most talked-about videos of the last year, at least if the metric you use involves thinkpieces and social-media chatter. But by the time Madonna announced the video of the year winner on Monday night's MTV Video Music Awards, the two had been largely relegated to afterthoughts. Instead, the two biggest prizes of the evening — artist and video of the year — went to Camila Cabello and her frothily charming smash \"\u003ca href=\"https://www.youtube.com/watch?v=BQ0mxQXmLsk\">Havana (feat. Young Thug)\u003c/a>.\"\u003c/p>\n\u003cp>https://twitter.com/vmas/status/1031730049777582080\u003c/p>\n\u003cp>Sure, \"This Is America\" won for best choreography, best direction and best video with a message, while \"APES***\" took home prizes for cinematography and art direction. But throughout the telecast, the biggest awards went to less elaborately staged, more commercial fare like Post Malone's \"\u003ca href=\"https://www.youtube.com/watch?v=UceaB4D0jpo\">rockstar (feat. 21 Savage)\u003c/a>\" for song of the year, Jennifer Lopez's \"\u003ca href=\"https://www.youtube.com/watch?v=aEM2kOrrNJI\">Dinero (feat. DJ Khaled and Cardi B)\u003c/a>\" for best collaboration, Ariana Grande's \"\u003ca href=\"https://www.youtube.com/watch?v=ffxKSjUwKdU\">No Tears Left to Cry\u003c/a>\" for best pop and Nicki Minaj's \"\u003ca href=\"https://www.youtube.com/watch?v=Wpm07-BGJnE\">Chun-Li\u003c/a>\" for best hip-hop.\u003c/p>\n\u003cp>Cardi B, who opened the night by introducing a Shawn Mendes performance, was another big winner, taking home trophies for the Lopez collaboration, best new artist and song of the summer for \"\u003ca href=\"https://www.youtube.com/watch?v=xTlNMmZKwpA\">I Like It\u003c/a>,\" which she'd recorded alongside Bad Bunny and J Balvin. On a night that showcased several high-profile performances by Latin artists — including a grabby spot by Colombian superstar Maluma — Balvin and Willy William also won in the category of best Latin for \"\u003ca href=\"https://www.youtube.com/watch?v=wnJ6LuUFpMo\">Mi Gente\u003c/a>,\" which has been streamed nearly 2 billion times on YouTube.\u003c/p>\n\u003cp>https://twitter.com/Dxrryl2Times/status/1031735911938174978\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This year's VMAs telecast was notable for its high-profile no-shows, including The Carters (that'd be Beyoncé and Jay-Z), Drake, Childish Gambino, Bruno Mars and Ed Sheeran — all of whom were shut out of the night's biggest prizes. (Of the awards given out on air, only J Balvin and Gambino weren't there to claim their trophies.) Hayley Kiyoko took a well-deserved prize for the cryptically named Push artist of the year, and got to perform \"\u003ca href=\"https://www.youtube.com/watch?v=YXTzMOmmEfE\">Curious\u003c/a>\" briefly, but the night's remaining winners — Imagine Dragons for Best Rock, the late Avicii (feat. Rita Ora) for best dance, N.E.R.D. & Rihanna for best editing, Kendrick Lamar & SZA for best visual effects — went mostly unmentioned.\u003c/p>\n\u003cp>Of course, the VMAs have always been about \"moments\" as much as awards themselves, and, as was the case last year, these didn't offer a flashpoint like \u003ca href=\"https://www.youtube.com/watch?v=YFLv9Ns1EuQ\">Miley Cyrus twerking\u003c/a> or \u003ca href=\"https://www.youtube.com/watch?v=1z8gCZ7zpsQ\">Kanye West barging into a Taylor Swift speech\u003c/a> with the immortal words, \"I'ma let you finish.\" The closest thing we got was a makeshift tribute to Aretha Franklin — who died Thursday, just four days before the VMAs — by Madonna, who stood before a giant photo of the late icon and... told a lengthy story about herself. She talked about an audition, very early in her career, in which she sang \"(You Make Me Feel Like) A Natural Woman\" — a song Franklin popularized but didn't write — and, was pleased to report, did very well for herself. It was, in a word, baffling: An Aretha Franklin tribute in which the big takeaway was that Madonna once sang the same song she did... well, let's just say the optics weren't great.\u003c/p>\n\u003cp>https://twitter.com/KenzyVinco/status/1031752125389434885?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1031752125389434885&ref_url=https%3A%2F%2Fwww.rollingstone.com%2Fmusic%2Fmusic-news%2Fvmas-2018-madonna-tribute-aretha-franklin-713594%2F\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But then again, that's kind of the VMAs in a nutshell, right? No matter how long or indulgent or inscrutably intentioned they are, what matters most — to organizers, anyway — is that we're still talking about them in the morning.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+MTV+VMAs+Celebrate+Camila+Cabello+And+Cardi+B%2C+While+Madonna+Celebrates+Madonna&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"hidden-brain": {
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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