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"content": "\u003cp>\u003ca href=\"https://www.netflix.com/title/80095697\">\u003cem>Disenchantment\u003c/em>,\u003c/a> Matt Groening's new animated series that hits Netflix on Friday, August 17th, does for our mythical past what \u003cem>Futurama \u003c/em>did for our imagined future, but it does so in a manner so closely reminiscent of that other show's wryly cynical sci-fi hi-jinks that it could have just as easily been called \u003cem>Pastarama\u003c/em>, if that didn't sound quite so much like a seasonal promotion at Olive Garden.\u003c/p>\n\u003cp>Make no mistake — it looks \u003cem>great\u003c/em>. The world of the medieval kingdom of Dreamland, where we lay our scene, is richly realized: The cliffside castle towers over the bustling medieval town, the woods are gloomy and tangled, the mountains loom ominously, periodically backlit by bolts of lightning. Ogres and witches haunt the dark places of this world, while candy-making elves frolic in the sunlit glades.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gp_RnJcb8Ig\u003c/p>\n\u003cp>The backgrounds are lush with detail (and easter-egg jokes), the animation is fluid, and the character designs are ... familiarly Groeningian, let's say: googly eyes, overbites, etc. The voice work is consistently strong, featuring familiar names from the Groeningaverse (Billy West, Tress MacNeille, John DiMaggio and the great Maurice LaMarche) alongside newcomers like \u003cem>Broad City\u003c/em>'s Abbi Jacobson as the tough, hard-drinking princess Bean, Eric Andre as her personal pointy-tailed demon Luci and Nat Faxon as the soulful, smitten elf Elfo.\u003c/p>\n\u003cp>\u003cem>Disenchantment'\u003c/em>s status as a Netflix series colors its content and tone in small but perceptible ways. Episodes clock in at varying lengths and often end on cliffhangers engineered to encourage binge-watching. They contain stronger language and more graphic, if literally cartoony, gore than might make it past a broadcast network's standards-and-practices department, even today. Where both \u003cem>The Simpsons\u003c/em> and \u003cem>Futurama \u003c/em>share a jaundiced assessment of humanity, \u003cem>Disenchantment\u003c/em>'s take is, notably, even more caustic. With its depiction of a world ruled by ignorance, where death is swift and frequent, coupled with the utter lack of the kind of tenderheartedness that \u003cem>The Simpsons\u003c/em>, especially, traffics in, \u003cem>Disenchantment\u003c/em> often comes off as blithely mean, even cruel, to its characters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The first seven episodes of \u003cem>Disenchantment\u003c/em>'s ten-episode-season were made available to the press — it's possible, even likely, that some of the show's gleeful severity will modulate. It certainly took both \u003cem>Futurama \u003c/em>and \u003cem>The Simpsons\u003c/em> more than ten episodes to allow their characters to settle in, and deepen.\u003c/p>\n\u003cp>Here's hoping the same holds true for Groening's latest series — because a deepening, or more precisely a \u003cem>delineation\u003c/em>, is what \u003cem>Disenchantment\u003c/em>'s core characters still cry out for. At this writing, the series' central trio maps too neatly on that of\u003cem> Futurama\u003c/em>: There's the kickass warrior woman (Bean/Leela), the roguish chain-smoking lout/instigator (Luci/Bender) and the hapless lovelorn schmo (Elfo/Fry).\u003c/p>\n\u003cp>It's early yet, and there's every indication that these characters can and will grow beyond there archetypal, if too-familiar, starting positions. The world around them, as wide and rich and strange as it already is, will surely alter them, and their personal journeys. The high-fantasy genre, even in parody, leaves its protagonists irrevocably changed. They cross a threshold and enter the wider world in which they act, and get acted upon, in ways that alter their most basic selves.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>These first promising episodes of \u003cem>Disenchantment \u003c/em>can't help but feel like the woolgathering that happens just before the threshold is crossed, and the hero's journey truly begins.\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=In+Matt+Groening%27s+Fantasy+Series+%27Disenchantment%2C%27+The+Humor+Is+Elf-Referential&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.netflix.com/title/80095697\">\u003cem>Disenchantment\u003c/em>,\u003c/a> Matt Groening's new animated series that hits Netflix on Friday, August 17th, does for our mythical past what \u003cem>Futurama \u003c/em>did for our imagined future, but it does so in a manner so closely reminiscent of that other show's wryly cynical sci-fi hi-jinks that it could have just as easily been called \u003cem>Pastarama\u003c/em>, if that didn't sound quite so much like a seasonal promotion at Olive Garden.\u003c/p>\n\u003cp>Make no mistake — it looks \u003cem>great\u003c/em>. The world of the medieval kingdom of Dreamland, where we lay our scene, is richly realized: The cliffside castle towers over the bustling medieval town, the woods are gloomy and tangled, the mountains loom ominously, periodically backlit by bolts of lightning. Ogres and witches haunt the dark places of this world, while candy-making elves frolic in the sunlit glades.\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/Gp_RnJcb8Ig'\n title='//www.youtube.com/embed/Gp_RnJcb8Ig'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The backgrounds are lush with detail (and easter-egg jokes), the animation is fluid, and the character designs are ... familiarly Groeningian, let's say: googly eyes, overbites, etc. The voice work is consistently strong, featuring familiar names from the Groeningaverse (Billy West, Tress MacNeille, John DiMaggio and the great Maurice LaMarche) alongside newcomers like \u003cem>Broad City\u003c/em>'s Abbi Jacobson as the tough, hard-drinking princess Bean, Eric Andre as her personal pointy-tailed demon Luci and Nat Faxon as the soulful, smitten elf Elfo.\u003c/p>\n\u003cp>\u003cem>Disenchantment'\u003c/em>s status as a Netflix series colors its content and tone in small but perceptible ways. Episodes clock in at varying lengths and often end on cliffhangers engineered to encourage binge-watching. They contain stronger language and more graphic, if literally cartoony, gore than might make it past a broadcast network's standards-and-practices department, even today. Where both \u003cem>The Simpsons\u003c/em> and \u003cem>Futurama \u003c/em>share a jaundiced assessment of humanity, \u003cem>Disenchantment\u003c/em>'s take is, notably, even more caustic. With its depiction of a world ruled by ignorance, where death is swift and frequent, coupled with the utter lack of the kind of tenderheartedness that \u003cem>The Simpsons\u003c/em>, especially, traffics in, \u003cem>Disenchantment\u003c/em> often comes off as blithely mean, even cruel, to its characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The first seven episodes of \u003cem>Disenchantment\u003c/em>'s ten-episode-season were made available to the press — it's possible, even likely, that some of the show's gleeful severity will modulate. It certainly took both \u003cem>Futurama \u003c/em>and \u003cem>The Simpsons\u003c/em> more than ten episodes to allow their characters to settle in, and deepen.\u003c/p>\n\u003cp>Here's hoping the same holds true for Groening's latest series — because a deepening, or more precisely a \u003cem>delineation\u003c/em>, is what \u003cem>Disenchantment\u003c/em>'s core characters still cry out for. At this writing, the series' central trio maps too neatly on that of\u003cem> Futurama\u003c/em>: There's the kickass warrior woman (Bean/Leela), the roguish chain-smoking lout/instigator (Luci/Bender) and the hapless lovelorn schmo (Elfo/Fry).\u003c/p>\n\u003cp>It's early yet, and there's every indication that these characters can and will grow beyond there archetypal, if too-familiar, starting positions. The world around them, as wide and rich and strange as it already is, will surely alter them, and their personal journeys. The high-fantasy genre, even in parody, leaves its protagonists irrevocably changed. They cross a threshold and enter the wider world in which they act, and get acted upon, in ways that alter their most basic selves.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>These first promising episodes of \u003cem>Disenchantment \u003c/em>can't help but feel like the woolgathering that happens just before the threshold is crossed, and the hero's journey truly begins.\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=In+Matt+Groening%27s+Fantasy+Series+%27Disenchantment%2C%27+The+Humor+Is+Elf-Referential&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'Insatiable' Isn't As Bad As You Assumed—It's Much, Much Worse",
"title": "'Insatiable' Isn't As Bad As You Assumed—It's Much, Much Worse",
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"content": "\u003cp>If only the worst thing about Netflix's\u003ca href=\"https://www.imdb.com/title/tt6487482/?ref_=nv_sr_1\"> \u003cem>Insatiable\u003c/em> \u003c/a>were its lazy portrayals of fat people \u003cem>or \u003c/em>its tone-deaf deployment of sexual assault and abuse as comedy \u003cem>or\u003c/em> its embrace of racist tropes \u003cem>or \u003c/em>its portrayals of people with Southern accents as dumb hicks \u003cem>or \u003c/em>its white-hot conviction that same-sex attraction is either inherently hilarious or a teaching moment.\u003c/p>\n\u003cp>Oh, if only.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z-81WVD8xTs\u003c/p>\n\u003cp>Don't misunderstand: It deserves every word of the \u003ca href=\"https://variety.com/2018/tv/news/insatiable-fat-shaming-netflix-show-1202882565/\">early petitioning\u003c/a> after its trailer was released about how its fat-suit yuks come cheaply and at the expense of the already maligned. But the show on the whole — and I know, because I fruitlessly watched all 12 episodes like I was running deeper and deeper into a burning building in search of a swimming pool that would never materialize — is more to be puzzled over than despised. This is the purest evidence yet that Netflix has plenty of seasons of \u003cem>Friends \u003c/em>and a lot of cute avatar options but no quality control.\u003c/p>\n\u003cp>No, my friends, Netflix is a big old stuff bucket. And when the stuff poured from the bucket is good, it's not because it needed to be.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Insatiable \u003c/em>begins with a fat 17-year-old named Patty (Patty was not a popular name in 2001, but it rhymes with \"Fatty,\" so), who suddenly loses 70 pounds in three months. \"How?\" you might ask. And I would say, \"Well, naturally, it was because she had her jaw wired shut.\" Here, you might furrow your brow and say, \"Why was her jaw wired shut?\" And I would say, \"Because she was punched by a homeless man!\" If you are not already doubled over with the sheer hilarity of it, you might say, \"Why did a homeless man punch her?\" And I would say, \"Because she punched him first!\"\u003c/p>\n\u003cp>Now here, you might reasonably ask me why Patty punched a homeless man, and I would warn you that once you heard the answer, you would feel the plunge of your once-vibrant soul into the depths of this very bad idea — the first sign that no matter how bad you have heard that \u003cem>Insatiable\u003c/em> is, no matter how bad the petitions have concluded that it is, it is worse.\u003c/p>\n\u003cp>Because the answer to why Patty punched a homeless man is: \u003cem>He tried to steal her candy bar.\u003c/em> Protecting candy to the point of violence is sort of the \"jump to light speed\" of ridiculing your fat characters — it shorthands their shameful appetites, their lack of rationality and discipline, their single-minded prey drive, and their infantile attachment to foods mostly associated with children. This is nothing more or less than the fastest (and, let me add, the most clichéd) way to dehumanize a teenage girl along this particular axis. It is the padded \u003ca href=\"https://www.youtube.com/watch?v=Biek0t1CuMA\">Jenna Maroney growling \"ME WANT FOOOOOD!\"\u003c/a> on \u003cem>30 Rock\u003c/em>, if that had been intended to develop a character you would later be expected to really care about.\u003c/p>\n\u003cfigure id=\"attachment_105046\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-105046\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-800x400.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-160x80.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-768x384.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-960x480.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-240x120.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-375x188.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-520x260.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">'Insatiable' (Netflix)\u003c/figcaption>\u003c/figure>\n\u003cp>Since all but the first few minutes of Patty's story involve Patty as a thin girl, these early scenes show star Debby Ryan, a very thin actress, in a fat suit. What that means is that her fat body is just a thin girl galumphing around strapped up in pillows she is not used to, meaning she can only appear graceless and unformed, like a guy on a street corner in a hot dog costume. To the degree a real fat girl might have a sway to her hips, a comfort in her stance or a center of gravity she has learned to navigate, you'll never get a look at it this way.\u003c/p>\n\u003cp>Given that Patty loses all this weight via having her jaw wired shut, they skip the process of having her body change — in other words, the actual transformation part of the transformation story. She just suddenly shows up in the same rail-thin body most actresses have, looking nothing whatsoever like people who lose a large amount of weight in a short time. In the world of \u003cem>Insatiable\u003c/em>, Patty lives the dream in which an external force simply peels weight off of her without her having any agency whatsoever, and she wakes up looking the way she has always wanted to look. And other than at a couple of highly emotional moments when she binge-eats in scenes portrayed as grotesque, her weight and her eating habits are never an issue again. This, it should go without saying, is generally not how it goes.\u003c/p>\n\u003cp>Patty meets Bob Armstrong (Dallas Roberts), a lawyer and former pageant coach who has been disgraced by a false accusation of sexual abuse (played for comedy as a screaming, scheming mother makes the accusation out of pure spite). Bob represents Patty when she is prosecuted for punching the candy-stealer, and Patty gets out of trouble by — what a coincidence! — falsely claiming that she punched the man because she feared a sexual assault. (If you're keeping score, that is two false accusations in the first episode.) Bob realizes that Patty's newly acceptable body is his ticket back into pageants. Before you know it, Bob and Patty are pursuing the title of Miss Magic Jesus (?), while Patty nurses a sudden, inexplicable, all-consuming crush on Bob.\u003c/p>\n\u003cp>\"But of course,\" you may protest as these absurdities accumulate, \"realism is beside the point! It is satire!\"\u003c/p>\n\u003cp>Let me assure you: It is not satire. \u003cem>Insatiable \u003c/em>is satire in the same way someone who screams profanities out a car window is a spoken-word poet. Satire requires a point of view; this has none. It generally requires some feel for humor, however dark; this has none. It requires a mastery of tone; this has none. It requires a sense that the actors are all part of the same project; this has none.\u003c/p>\n\u003cp>Eventually, a whole mess of characters inhabit this world: Patty's alcoholic, neglectful mother who begins feeling competitive with Patty the minute she gets thin; Coralee, Bob's narcissistic social-climber wife (Alyssa Milano, \u003cem>why are you here?\u003c/em>), who begins feeling competitive with Patty once Bob starts coaching her; Bob's often shirtless rival (Christopher Gorham, \u003cem>why\u003c/em>?), with whom Bob shares allegedly hilarious homoerotic energy in the early episodes; Patty's best friend Nonnie, the one person who loved her when she was fat ... let's see, who else, who else?\u003c/p>\n\u003cfigure id=\"attachment_105044\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-105044\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-520x292.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b.jpg 2038w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bob (Dallas Roberts) and Patty (Debby Ryan) in 'Insatiable' (Netflix).\u003c/figcaption>\u003c/figure>\n\u003cp>Oh, right: Bob and Coralee's teenage son, Brick, who is sleeping with one of the mothers of one of Patty's high school rivals. This story is treated as extremely funny, and the mother as gloriously trashy, and nobody seems too terribly concerned about the fact that it involves an adult having sex with a minor.\u003c/p>\n\u003cp>Looking from a distance at the plot description, it would be easy to wonder whether it's something genuinely daring, a look at the dark underbelly of ... something or other. Maybe it's inspired by the likes of \u003ca href=\"https://www.imdb.com/title/tt0114681/?ref_=nv_sr_1\">\u003cem>To Die For\u003c/em>\u003c/a>, or \u003ca href=\"https://www.imdb.com/title/tt0126886/?ref_=fn_al_tt_1\">\u003cem>Election\u003c/em>\u003c/a>, or ... something? Surely, some of this can be attributed to same kind of wackadoodle speed-plotting as, say, \u003ca href=\"https://www.imdb.com/title/tt3566726/?ref_=fn_al_tt_1\">\u003cem>Jane the Virgin\u003c/em>?\u003c/a>\u003c/p>\n\u003cp>No. No, no. Understand: The biggest problem with this show is not that it's crazy or offensive. It certainly is obnoxious in its treatment of all kinds of people — on top of the insulting fat-suit stuff, it contains other tropes and types best avoided: an awkward and unsexy Asian-American boy, a magical sassy godmother who is fat \u003cem>and \u003c/em>black \u003cem>and \u003c/em>a lesbian who exists only to educate thin white girls on how to live their best lives, and so forth.\u003c/p>\n\u003cp>But it's so much more than that. Story elements are introduced and then abandoned. Jokes fall flat, flatter, flattest. Patty swerves without reason or nuance from eye-narrowing, vengeance-swearing vixen to lip-quivering, damp-eyed waif. A character who loves someone in one scene will hate them in the next. Characters who have been kind will be cruel and vice versa, without any explanation or motive.\u003c/p>\n\u003cp>Perhaps nothing in \u003cem>Insatiable\u003c/em> is more bizarre than the attempts to hammer viewers with unearned emotional notes. You may recall that there were no deeply felt Very Special Episodes of \u003cem>Seinfeld \u003c/em>or \u003cem>30 Rock\u003c/em>, because they would have been so out of place — the way they are here.\u003c/p>\n\u003cp>While \u003cem>Insatiable \u003c/em>would like you to excuse its considerable meanness as satire or even \u003ca href=\"https://www.vanityfair.com/hollywood/2018/08/insatiable-netflix-controversy-fatty-patty-petition-creator-lauren-gussis\">good-doing\u003c/a>, the truth is that it's often tooth-tinglingly saccharine. Series creator Lauren Gussis and some of the members of the cast have claimed that the show is about revealing the negative effects of bullying and fat shaming, which may well have been the good-faith intent at one time, but which is nowhere in the final product. It's fair, though, to say the show isn't always shaming Patty, exactly, just as Alyssa Milano has said it isn't on Twitter. It is often \u003cem>pitying \u003c/em>Patty.\u003c/p>\n\u003cp>That's probably the one way in which the trailer that caused so much aggravation is, in fact, not representative of the show: The trailer focuses on the parts of the series where Patty is crazy and vengeful, and it doesn't address the parts where Patty is pathetic and miserable, which are also plentiful. For instance, we get to see Patty at one point, thin and looking precisely like a model in a magazine, weeping in a dressing room in a bikini because she's convinced that she's fat and ugly. She is assured by Nonnie that this is no longer the case. Certainly, misapprehending the reality of your own looks is a real thing worth addressing! But the buck-up-little-buddy message of this sequence is not \"love yourself no matter how you look\" or \"fat shaming is bad.\" It's \"even if you don't see it, you are in fact thin and pretty!\" Nothing here is challenging what categories of people deserve love; only whether Patty can learn to accept that she's been in the good category ever since they wired her jaw shut.\u003c/p>\n\u003cp>Maybe the intent is to say Patty always deserved love, but there is no way — none — around the fact that if what you want to demonstrate in a story is that someone deserves love in a particular state of being, you must show them being loved in that state. And if you, the storyteller, can't bring yourself to show it, you probably don't quite believe it.\u003c/p>\n\u003cp>The only way this show could have been saved would have been making it shorter by degrees of magnitude. \u003cem>Insatiable \u003c/em>might have made, with most of its extraneous plot elements and stereotypes excised, a passable if simplistic movie. A girl who suddenly becomes skinny and wrongly believes that it will fix everything? It probably would not have been good, and it sure would not have been new, but it would have been less bad than this. And very late in the game, there is a chunk of Bob's story — maybe 10 minutes or so of screen time — that's nicely done and worth watching, though not nearly as revolutionary as it thinks it is and not at all reconcilable with things that happened earlier. But still! It's something.\u003c/p>\n\u003cp>But oh, it is a slog. There are 12 episodes, some as long as 51 or 52 minutes long. There's just way, way too much of it. As with a Minnesota winter or an oral surgery, \u003cem>Insatiable\u003c/em>'s duration is almost more punishing than the experience itself. Filler follows filler, blind alley follows blind alley. There's a paternity test! There's an exorcism! None of it is relevant!\u003c/p>\n\u003cp>What's funny — what took me several long episodes to realize — is that I could have forgiven \u003cem>Insatiable\u003c/em> for the insulting premise identifiable from its trailer. I would have. I know, because I've done it, over and over, more times than I can count. I gave it all 12 episodes to change my mind — or to change \u003cem>its \u003c/em>mind about Patty. I've forgiven fat jokes and insulting portrayals and ignorant caricatures and donuts and candy and \"ME WANT FOOOOD\" in probably half the movies and TV shows I've ever loved. Fat Monica and \u003cem>Parks and Rec\u003c/em>'s obesity jokes and monologue jokes by comics I think are brilliant. I've done it with funny movies when it's not until I rewatch them that I even remember that they have That Moment, That Fat Guy, That Gluttonous Slob. I seal memories of moments into capsules and bury them, just so I can watch the same things everybody else does. Mostly, it's fine.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Insatiable \u003c/em>doesn't deserve the second chance I would have extended it if it had become good after that dehumanizing opening sequence. So perhaps it's just as well that it didn't.\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=%27Insatiable%27+Is+Lazy+And+Dull%2C+But+At+Least+It%27s+Insulting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Fat suits, fat-shaming, false sexual assault accusations, racist tropes and more—'Insatiable' is truly awful.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If only the worst thing about Netflix's\u003ca href=\"https://www.imdb.com/title/tt6487482/?ref_=nv_sr_1\"> \u003cem>Insatiable\u003c/em> \u003c/a>were its lazy portrayals of fat people \u003cem>or \u003c/em>its tone-deaf deployment of sexual assault and abuse as comedy \u003cem>or\u003c/em> its embrace of racist tropes \u003cem>or \u003c/em>its portrayals of people with Southern accents as dumb hicks \u003cem>or \u003c/em>its white-hot conviction that same-sex attraction is either inherently hilarious or a teaching moment.\u003c/p>\n\u003cp>Oh, if only.\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/z-81WVD8xTs'\n title='//www.youtube.com/embed/z-81WVD8xTs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Don't misunderstand: It deserves every word of the \u003ca href=\"https://variety.com/2018/tv/news/insatiable-fat-shaming-netflix-show-1202882565/\">early petitioning\u003c/a> after its trailer was released about how its fat-suit yuks come cheaply and at the expense of the already maligned. But the show on the whole — and I know, because I fruitlessly watched all 12 episodes like I was running deeper and deeper into a burning building in search of a swimming pool that would never materialize — is more to be puzzled over than despised. This is the purest evidence yet that Netflix has plenty of seasons of \u003cem>Friends \u003c/em>and a lot of cute avatar options but no quality control.\u003c/p>\n\u003cp>No, my friends, Netflix is a big old stuff bucket. And when the stuff poured from the bucket is good, it's not because it needed to be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Insatiable \u003c/em>begins with a fat 17-year-old named Patty (Patty was not a popular name in 2001, but it rhymes with \"Fatty,\" so), who suddenly loses 70 pounds in three months. \"How?\" you might ask. And I would say, \"Well, naturally, it was because she had her jaw wired shut.\" Here, you might furrow your brow and say, \"Why was her jaw wired shut?\" And I would say, \"Because she was punched by a homeless man!\" If you are not already doubled over with the sheer hilarity of it, you might say, \"Why did a homeless man punch her?\" And I would say, \"Because she punched him first!\"\u003c/p>\n\u003cp>Now here, you might reasonably ask me why Patty punched a homeless man, and I would warn you that once you heard the answer, you would feel the plunge of your once-vibrant soul into the depths of this very bad idea — the first sign that no matter how bad you have heard that \u003cem>Insatiable\u003c/em> is, no matter how bad the petitions have concluded that it is, it is worse.\u003c/p>\n\u003cp>Because the answer to why Patty punched a homeless man is: \u003cem>He tried to steal her candy bar.\u003c/em> Protecting candy to the point of violence is sort of the \"jump to light speed\" of ridiculing your fat characters — it shorthands their shameful appetites, their lack of rationality and discipline, their single-minded prey drive, and their infantile attachment to foods mostly associated with children. This is nothing more or less than the fastest (and, let me add, the most clichéd) way to dehumanize a teenage girl along this particular axis. It is the padded \u003ca href=\"https://www.youtube.com/watch?v=Biek0t1CuMA\">Jenna Maroney growling \"ME WANT FOOOOOD!\"\u003c/a> on \u003cem>30 Rock\u003c/em>, if that had been intended to develop a character you would later be expected to really care about.\u003c/p>\n\u003cfigure id=\"attachment_105046\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-105046\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-800x400.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-160x80.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-768x384.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-960x480.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-240x120.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-375x188.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-520x260.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">'Insatiable' (Netflix)\u003c/figcaption>\u003c/figure>\n\u003cp>Since all but the first few minutes of Patty's story involve Patty as a thin girl, these early scenes show star Debby Ryan, a very thin actress, in a fat suit. What that means is that her fat body is just a thin girl galumphing around strapped up in pillows she is not used to, meaning she can only appear graceless and unformed, like a guy on a street corner in a hot dog costume. To the degree a real fat girl might have a sway to her hips, a comfort in her stance or a center of gravity she has learned to navigate, you'll never get a look at it this way.\u003c/p>\n\u003cp>Given that Patty loses all this weight via having her jaw wired shut, they skip the process of having her body change — in other words, the actual transformation part of the transformation story. She just suddenly shows up in the same rail-thin body most actresses have, looking nothing whatsoever like people who lose a large amount of weight in a short time. In the world of \u003cem>Insatiable\u003c/em>, Patty lives the dream in which an external force simply peels weight off of her without her having any agency whatsoever, and she wakes up looking the way she has always wanted to look. And other than at a couple of highly emotional moments when she binge-eats in scenes portrayed as grotesque, her weight and her eating habits are never an issue again. This, it should go without saying, is generally not how it goes.\u003c/p>\n\u003cp>Patty meets Bob Armstrong (Dallas Roberts), a lawyer and former pageant coach who has been disgraced by a false accusation of sexual abuse (played for comedy as a screaming, scheming mother makes the accusation out of pure spite). Bob represents Patty when she is prosecuted for punching the candy-stealer, and Patty gets out of trouble by — what a coincidence! — falsely claiming that she punched the man because she feared a sexual assault. (If you're keeping score, that is two false accusations in the first episode.) Bob realizes that Patty's newly acceptable body is his ticket back into pageants. Before you know it, Bob and Patty are pursuing the title of Miss Magic Jesus (?), while Patty nurses a sudden, inexplicable, all-consuming crush on Bob.\u003c/p>\n\u003cp>\"But of course,\" you may protest as these absurdities accumulate, \"realism is beside the point! It is satire!\"\u003c/p>\n\u003cp>Let me assure you: It is not satire. \u003cem>Insatiable \u003c/em>is satire in the same way someone who screams profanities out a car window is a spoken-word poet. Satire requires a point of view; this has none. It generally requires some feel for humor, however dark; this has none. It requires a mastery of tone; this has none. It requires a sense that the actors are all part of the same project; this has none.\u003c/p>\n\u003cp>Eventually, a whole mess of characters inhabit this world: Patty's alcoholic, neglectful mother who begins feeling competitive with Patty the minute she gets thin; Coralee, Bob's narcissistic social-climber wife (Alyssa Milano, \u003cem>why are you here?\u003c/em>), who begins feeling competitive with Patty once Bob starts coaching her; Bob's often shirtless rival (Christopher Gorham, \u003cem>why\u003c/em>?), with whom Bob shares allegedly hilarious homoerotic energy in the early episodes; Patty's best friend Nonnie, the one person who loved her when she was fat ... let's see, who else, who else?\u003c/p>\n\u003cfigure id=\"attachment_105044\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-105044\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-520x292.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b.jpg 2038w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bob (Dallas Roberts) and Patty (Debby Ryan) in 'Insatiable' (Netflix).\u003c/figcaption>\u003c/figure>\n\u003cp>Oh, right: Bob and Coralee's teenage son, Brick, who is sleeping with one of the mothers of one of Patty's high school rivals. This story is treated as extremely funny, and the mother as gloriously trashy, and nobody seems too terribly concerned about the fact that it involves an adult having sex with a minor.\u003c/p>\n\u003cp>Looking from a distance at the plot description, it would be easy to wonder whether it's something genuinely daring, a look at the dark underbelly of ... something or other. Maybe it's inspired by the likes of \u003ca href=\"https://www.imdb.com/title/tt0114681/?ref_=nv_sr_1\">\u003cem>To Die For\u003c/em>\u003c/a>, or \u003ca href=\"https://www.imdb.com/title/tt0126886/?ref_=fn_al_tt_1\">\u003cem>Election\u003c/em>\u003c/a>, or ... something? Surely, some of this can be attributed to same kind of wackadoodle speed-plotting as, say, \u003ca href=\"https://www.imdb.com/title/tt3566726/?ref_=fn_al_tt_1\">\u003cem>Jane the Virgin\u003c/em>?\u003c/a>\u003c/p>\n\u003cp>No. No, no. Understand: The biggest problem with this show is not that it's crazy or offensive. It certainly is obnoxious in its treatment of all kinds of people — on top of the insulting fat-suit stuff, it contains other tropes and types best avoided: an awkward and unsexy Asian-American boy, a magical sassy godmother who is fat \u003cem>and \u003c/em>black \u003cem>and \u003c/em>a lesbian who exists only to educate thin white girls on how to live their best lives, and so forth.\u003c/p>\n\u003cp>But it's so much more than that. Story elements are introduced and then abandoned. Jokes fall flat, flatter, flattest. Patty swerves without reason or nuance from eye-narrowing, vengeance-swearing vixen to lip-quivering, damp-eyed waif. A character who loves someone in one scene will hate them in the next. Characters who have been kind will be cruel and vice versa, without any explanation or motive.\u003c/p>\n\u003cp>Perhaps nothing in \u003cem>Insatiable\u003c/em> is more bizarre than the attempts to hammer viewers with unearned emotional notes. You may recall that there were no deeply felt Very Special Episodes of \u003cem>Seinfeld \u003c/em>or \u003cem>30 Rock\u003c/em>, because they would have been so out of place — the way they are here.\u003c/p>\n\u003cp>While \u003cem>Insatiable \u003c/em>would like you to excuse its considerable meanness as satire or even \u003ca href=\"https://www.vanityfair.com/hollywood/2018/08/insatiable-netflix-controversy-fatty-patty-petition-creator-lauren-gussis\">good-doing\u003c/a>, the truth is that it's often tooth-tinglingly saccharine. Series creator Lauren Gussis and some of the members of the cast have claimed that the show is about revealing the negative effects of bullying and fat shaming, which may well have been the good-faith intent at one time, but which is nowhere in the final product. It's fair, though, to say the show isn't always shaming Patty, exactly, just as Alyssa Milano has said it isn't on Twitter. It is often \u003cem>pitying \u003c/em>Patty.\u003c/p>\n\u003cp>That's probably the one way in which the trailer that caused so much aggravation is, in fact, not representative of the show: The trailer focuses on the parts of the series where Patty is crazy and vengeful, and it doesn't address the parts where Patty is pathetic and miserable, which are also plentiful. For instance, we get to see Patty at one point, thin and looking precisely like a model in a magazine, weeping in a dressing room in a bikini because she's convinced that she's fat and ugly. She is assured by Nonnie that this is no longer the case. Certainly, misapprehending the reality of your own looks is a real thing worth addressing! But the buck-up-little-buddy message of this sequence is not \"love yourself no matter how you look\" or \"fat shaming is bad.\" It's \"even if you don't see it, you are in fact thin and pretty!\" Nothing here is challenging what categories of people deserve love; only whether Patty can learn to accept that she's been in the good category ever since they wired her jaw shut.\u003c/p>\n\u003cp>Maybe the intent is to say Patty always deserved love, but there is no way — none — around the fact that if what you want to demonstrate in a story is that someone deserves love in a particular state of being, you must show them being loved in that state. And if you, the storyteller, can't bring yourself to show it, you probably don't quite believe it.\u003c/p>\n\u003cp>The only way this show could have been saved would have been making it shorter by degrees of magnitude. \u003cem>Insatiable \u003c/em>might have made, with most of its extraneous plot elements and stereotypes excised, a passable if simplistic movie. A girl who suddenly becomes skinny and wrongly believes that it will fix everything? It probably would not have been good, and it sure would not have been new, but it would have been less bad than this. And very late in the game, there is a chunk of Bob's story — maybe 10 minutes or so of screen time — that's nicely done and worth watching, though not nearly as revolutionary as it thinks it is and not at all reconcilable with things that happened earlier. But still! It's something.\u003c/p>\n\u003cp>But oh, it is a slog. There are 12 episodes, some as long as 51 or 52 minutes long. There's just way, way too much of it. As with a Minnesota winter or an oral surgery, \u003cem>Insatiable\u003c/em>'s duration is almost more punishing than the experience itself. Filler follows filler, blind alley follows blind alley. There's a paternity test! There's an exorcism! None of it is relevant!\u003c/p>\n\u003cp>What's funny — what took me several long episodes to realize — is that I could have forgiven \u003cem>Insatiable\u003c/em> for the insulting premise identifiable from its trailer. I would have. I know, because I've done it, over and over, more times than I can count. I gave it all 12 episodes to change my mind — or to change \u003cem>its \u003c/em>mind about Patty. I've forgiven fat jokes and insulting portrayals and ignorant caricatures and donuts and candy and \"ME WANT FOOOOD\" in probably half the movies and TV shows I've ever loved. Fat Monica and \u003cem>Parks and Rec\u003c/em>'s obesity jokes and monologue jokes by comics I think are brilliant. I've done it with funny movies when it's not until I rewatch them that I even remember that they have That Moment, That Fat Guy, That Gluttonous Slob. I seal memories of moments into capsules and bury them, just so I can watch the same things everybody else does. Mostly, it's fine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Insatiable \u003c/em>doesn't deserve the second chance I would have extended it if it had become good after that dehumanizing opening sequence. So perhaps it's just as well that it didn't.\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=%27Insatiable%27+Is+Lazy+And+Dull%2C+But+At+Least+It%27s+Insulting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Is 'The Bachelor' Franchise's Popularity Rooted in Fear of Social Progress?",
"title": "Is 'The Bachelor' Franchise's Popularity Rooted in Fear of Social Progress?",
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"content": "\u003cp>If the wealth of recent headlines about Becca, Blake and Garrett are to be believed, \u003ca href=\"https://abc.go.com/shows/the-bachelorette/cast\">\u003cem>The Bachelorette\u003c/em>\u003c/a> and \u003ca href=\"https://abc.go.com/shows/the-bachelor/cast\">\u003cem>The Bachelor\u003c/em>\u003c/a> are still, over 16 years after the latter first premiered, still pop culture staples. The franchise has collectively produced 28 failed relationships and eight successful ones (only one of which came together via \u003cem>The Bachelor\u003c/em>), over the span of 389 episodes. There have also been four \u003cem>Bachelor\u003c/em> spin-off shows, one of which -- \u003ca href=\"https://abc.go.com/shows/bachelor-in-paradise/news/updates/bachelor-in-paradise-2018-cast-revealed\">\u003cem>Bachelor in Paradise\u003c/em>\u003c/a> -- briefly halted production last year after \u003ca href=\"https://deadline.com/2017/06/bachelor-in-paradise-corinne-olympios-investigation-1202122270/\">a consent-related controversy.\u003c/a>\u003c/p>\n\u003cp>Back in March, \u003cem>The Bachelor\u003c/em>'s Season 22 finale was also roundly criticized after showing the winner (Becca) getting dumped by bachelor Arie in an \u003ca href=\"https://www.youtube.com/watch?v=B0w0EScuZlE&t=42s\">excruciatingly uncut scene,\u003c/a> so he could instead go back to his second choice, Lauren. The break up was presented in split screen, lest we miss out on anyone's discomfort. It was so horrifying to watch, it even garnered an \u003cem>SNL\u003c/em> parody.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=2&v=2CKGA9w-B6A\u003c/p>\n\u003cp>The three-hour finale of \u003cem>The Bachelorette\u003c/em>'s fourteenth season also made no bones about reveling in the misfortune of at least one of its contestants. In his introduction to the live show, Chris Harrison, who so closely resembled \u003ca href=\"https://www.youtube.com/watch?v=WbCCJS9KKO8\">Caesar Flickerman from \u003cem>The Hunger Games \u003c/em>\u003c/a>that it was borderline disturbing, proudly declared, \"One man will walk away with Becca, while the other will leave so broken-hearted, so devastated, we really haven't witnessed anything like this before. This is an absolute tear-jerker.\"\u003c/p>\n\u003cp>\u003cem>The Bachelor\u003c/em> and \u003cem>Bachelorette\u003c/em> have had their appeal dissected by multiple outlets over the years, almost all of whom have cited the compelling combination of reality show, game show and fairytale as the reason for the franchise's longevity. A couple of years ago, \u003ca href=\"https://www.glamour.com/story/why-are-we-still-watching-the-bachelor\">\u003cem>Glamour\u003c/em> also suggested\u003c/a> that women were still watching \u003cem>The Bachelor\u003c/em> because \"women ultimately emerge the heroes of a story that was originally about a man looking for love\" -- a bit of a stretch, given how the show so obviously pits women against each other.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.huffingtonpost.com/alice-zhao/the-data-behind-the-bachelor--the-bachelorette_b_6744288.html\">One \u003cem>Huffington Post\u003c/em> blogger\u003c/a> cited her primary reason for watching as: \"the hope of a happy ending.\" Talking \u003ca href=\"http://adage.com/article/media/business-bachelor/300852/\">to AdAge in 2015\u003c/a>, Robert Mills of ABC Entertainment said he thought fan influence over the shows was a major popularity factor. \"The audience has become a silent producer,\" he said. \"They help decide who the leads should be, the kind of dates they want to see; it really makes them feel they are on the journey together.\"\u003c/p>\n\u003cp>There's no doubt that all of the above contribute to the \u003cem>Bachelor/ette\u003c/em>'s appeal, but there may be more significant societal factors at play as well. Neither show has ever shifted from its original format, despite the myriad ways the world has drastically changed since the show first premiered. Tinder came along in 2012 and radically transformed American dating. #BlackLivesMatter has shone a light on everyday inequalities faced by people of color since it started in 2013. Marriage equality was achieved in 2015. Birthrates reached their \u003ca href=\"https://www.vox.com/science-and-health/2018/5/22/17376536/fertility-rate-united-states-births-women\">lowest point ever\u003c/a> in 2017. The post-Women's March feminist swell has been unstoppable since the day after President Trump's election. The gender spectrum is no longer a fringe conversation. Polyamory is no longer considered an obscure lifestyle.\u003c/p>\n\u003cp>And yet, \u003cem>The Bachelor/ette\u003c/em> continues to be a strictly heterosexual world, in which lifelong, licensed monogamy is the ultimate end goal. It's a bubble in which old-fashioned courtship is still standard practice, and traditional gender roles remain firmly intact (it's the man's job to propose, even on \u003cem>The Bachelorette\u003c/em>). There are always discussions amongst contestants about future children. And overwhelmingly, most of the people involved are white. The few people of color who do get included don't generally last long. (In 2016, \u003ca href=\"https://splinternews.com/a-history-of-black-contestants-on-the-bachelor-and-the-1793854495\">\u003cem>Splinter News\u003c/em> reported\u003c/a> that: “In the history of the franchise, on both \u003cem>The Bachelor\u003c/em> and \u003cem>The Bachelorette\u003c/em>, a black contestant has never lasted longer than five weeks. In fact, more than half -- 59% -- of black \u003cem>Bachelor\u003c/em> and \u003cem>Bachelorette\u003c/em> contestants leave the shows within two weeks.”) \u003cem>The Bachelorette\u003c/em> may have cast their first African-American lead in 2017, but \u003cem>The Bachelor\u003c/em> has yet to do so.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WJ4n8-90NFQ\u003c/p>\n\u003cp>The majority of \u003cem>The Bachelor/ette\u003c/em>'s viewers have always been women. In 2013, BroadcastingCable.com presented viewer statistics to prove it: \"\u003cem>The Bachelor\u003c/em> averages a 2.7 in the 18-49 demo, but among women in the demo averages a 4.0.\" In 2015, \u003ca href=\"http://www.showbuzzdaily.com/articles/audience-map-abc-primetime.html\">ShowBuzzDaily reported:\u003c/a> \"\u003cem>The Bachelor\u003c/em> is one of the youngest-skewing shows on ABC, delivering substantial numbers of females 12-34 (quite rare for ABC).\"\u003c/p>\n\u003cp>One can presume that many of these women are seeking an escape from the complexities of modern dating, with all of its swiping, unsolicited photos and lack of resemblance to what girls were told to expect from dating, growing up. The men watching might enjoy the old-fashioned gender roles for entirely different reasons. But there is also likely a significant element here of using \u003cem>The Bachelor/ette\u003c/em> as a means to hang onto the idea of a bygone America in general.\u003c/p>\n\u003cp>In 2015, Nielsen ratings listed \u003cem>The Bachelor\u003c/em> as Number 1 in a chart titled \u003ca href=\"https://deadline.com/2014/06/tv-series-most-watched-rich-educated-viewers-787403/\">\"What the Young & Rich Watch.\"\u003c/a> At the time, \u003ca href=\"https://deadline.com/2014/06/tv-series-most-watched-rich-educated-viewers-787403/\">\u003cem>Deadline\u003c/em> explained\u003c/a> that the show did \"a 111% higher rating in 150K+ homes than it [did] in regular demo ratings.” Given the fact that the \u003ca href=\"https://www.huffingtonpost.com/sean-mcelwee/new-evidence-that-the-ric_b_7153396.html\">\u003cem>Huffington Post\u003c/em> cited data\u003c/a> in 2016 from the American National Elections Studies to demonstrate that \"the rich tend to be far more conservative than the average American,\" it makes sense that wealthy people, in particular, would love these shows. It's one of the only things left on primetime TV in 2018 that continues to present so many old-fashioned American values as still the norm.\u003c/p>\n\u003cp>It's true that the ratings of both shows have dropped, but that's mostly because \u003ca href=\"https://www.thewrap.com/broadcast-tv-ratings-nbc-cbs-abc-fox-cw/\">TV ratings have been dropping\u003c/a> across the board. \u003cem>The Bachelorette\u003c/em> started in 2003 with an average viewership of 16.65 million. By 2017, that number had dropped to 5.89 million. \u003cem>The Bachelor\u003c/em> has fared better, having fluctuated between an average of roughly 8 and 13 million viewers throughout its history. In 2016, \u003ca href=\"https://variety.com/2017/tv/news/tv-ratings-the-bachelor-wins-odd-couple-finale-1201974307/\">\u003cem>Variety\u003c/em> reported:\u003c/a> \"\u003cem>The Bachelor\u003c/em> continues to stomp the competition,\" and 2018's Season 22 finale brought in ABC's best figures of the season.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>With all that in mind, it's hard not to wonder if the continued popularity of \u003cem>The Bachelor\u003c/em> and \u003cem>The Bachelorette\u003c/em> in 2018 speaks to a longing at the heart of white, wealthy America to hang onto The Good Old Days. As culture rapidly changes, accelerated by the internet, and thanks to a strength in grassroots social movements not seen in this country in decades, \u003cem>The Bachelor/ette \u003c/em>refuses steadfastly to acknowledge that anything has changed. Maybe these shows aren't popular \u003cem>despite\u003c/em> their white, heteronormative, sexist structure, but \u003cem>because\u003c/em> of it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If the wealth of recent headlines about Becca, Blake and Garrett are to be believed, \u003ca href=\"https://abc.go.com/shows/the-bachelorette/cast\">\u003cem>The Bachelorette\u003c/em>\u003c/a> and \u003ca href=\"https://abc.go.com/shows/the-bachelor/cast\">\u003cem>The Bachelor\u003c/em>\u003c/a> are still, over 16 years after the latter first premiered, still pop culture staples. The franchise has collectively produced 28 failed relationships and eight successful ones (only one of which came together via \u003cem>The Bachelor\u003c/em>), over the span of 389 episodes. There have also been four \u003cem>Bachelor\u003c/em> spin-off shows, one of which -- \u003ca href=\"https://abc.go.com/shows/bachelor-in-paradise/news/updates/bachelor-in-paradise-2018-cast-revealed\">\u003cem>Bachelor in Paradise\u003c/em>\u003c/a> -- briefly halted production last year after \u003ca href=\"https://deadline.com/2017/06/bachelor-in-paradise-corinne-olympios-investigation-1202122270/\">a consent-related controversy.\u003c/a>\u003c/p>\n\u003cp>Back in March, \u003cem>The Bachelor\u003c/em>'s Season 22 finale was also roundly criticized after showing the winner (Becca) getting dumped by bachelor Arie in an \u003ca href=\"https://www.youtube.com/watch?v=B0w0EScuZlE&t=42s\">excruciatingly uncut scene,\u003c/a> so he could instead go back to his second choice, Lauren. The break up was presented in split screen, lest we miss out on anyone's discomfort. It was so horrifying to watch, it even garnered an \u003cem>SNL\u003c/em> parody.\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/2CKGA9w-B6A'\n title='//www.youtube.com/embed/2CKGA9w-B6A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The three-hour finale of \u003cem>The Bachelorette\u003c/em>'s fourteenth season also made no bones about reveling in the misfortune of at least one of its contestants. In his introduction to the live show, Chris Harrison, who so closely resembled \u003ca href=\"https://www.youtube.com/watch?v=WbCCJS9KKO8\">Caesar Flickerman from \u003cem>The Hunger Games \u003c/em>\u003c/a>that it was borderline disturbing, proudly declared, \"One man will walk away with Becca, while the other will leave so broken-hearted, so devastated, we really haven't witnessed anything like this before. This is an absolute tear-jerker.\"\u003c/p>\n\u003cp>\u003cem>The Bachelor\u003c/em> and \u003cem>Bachelorette\u003c/em> have had their appeal dissected by multiple outlets over the years, almost all of whom have cited the compelling combination of reality show, game show and fairytale as the reason for the franchise's longevity. A couple of years ago, \u003ca href=\"https://www.glamour.com/story/why-are-we-still-watching-the-bachelor\">\u003cem>Glamour\u003c/em> also suggested\u003c/a> that women were still watching \u003cem>The Bachelor\u003c/em> because \"women ultimately emerge the heroes of a story that was originally about a man looking for love\" -- a bit of a stretch, given how the show so obviously pits women against each other.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.huffingtonpost.com/alice-zhao/the-data-behind-the-bachelor--the-bachelorette_b_6744288.html\">One \u003cem>Huffington Post\u003c/em> blogger\u003c/a> cited her primary reason for watching as: \"the hope of a happy ending.\" Talking \u003ca href=\"http://adage.com/article/media/business-bachelor/300852/\">to AdAge in 2015\u003c/a>, Robert Mills of ABC Entertainment said he thought fan influence over the shows was a major popularity factor. \"The audience has become a silent producer,\" he said. \"They help decide who the leads should be, the kind of dates they want to see; it really makes them feel they are on the journey together.\"\u003c/p>\n\u003cp>There's no doubt that all of the above contribute to the \u003cem>Bachelor/ette\u003c/em>'s appeal, but there may be more significant societal factors at play as well. Neither show has ever shifted from its original format, despite the myriad ways the world has drastically changed since the show first premiered. Tinder came along in 2012 and radically transformed American dating. #BlackLivesMatter has shone a light on everyday inequalities faced by people of color since it started in 2013. Marriage equality was achieved in 2015. Birthrates reached their \u003ca href=\"https://www.vox.com/science-and-health/2018/5/22/17376536/fertility-rate-united-states-births-women\">lowest point ever\u003c/a> in 2017. The post-Women's March feminist swell has been unstoppable since the day after President Trump's election. The gender spectrum is no longer a fringe conversation. Polyamory is no longer considered an obscure lifestyle.\u003c/p>\n\u003cp>And yet, \u003cem>The Bachelor/ette\u003c/em> continues to be a strictly heterosexual world, in which lifelong, licensed monogamy is the ultimate end goal. It's a bubble in which old-fashioned courtship is still standard practice, and traditional gender roles remain firmly intact (it's the man's job to propose, even on \u003cem>The Bachelorette\u003c/em>). There are always discussions amongst contestants about future children. And overwhelmingly, most of the people involved are white. The few people of color who do get included don't generally last long. (In 2016, \u003ca href=\"https://splinternews.com/a-history-of-black-contestants-on-the-bachelor-and-the-1793854495\">\u003cem>Splinter News\u003c/em> reported\u003c/a> that: “In the history of the franchise, on both \u003cem>The Bachelor\u003c/em> and \u003cem>The Bachelorette\u003c/em>, a black contestant has never lasted longer than five weeks. In fact, more than half -- 59% -- of black \u003cem>Bachelor\u003c/em> and \u003cem>Bachelorette\u003c/em> contestants leave the shows within two weeks.”) \u003cem>The Bachelorette\u003c/em> may have cast their first African-American lead in 2017, but \u003cem>The Bachelor\u003c/em> has yet to do so.\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/WJ4n8-90NFQ'\n title='//www.youtube.com/embed/WJ4n8-90NFQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The majority of \u003cem>The Bachelor/ette\u003c/em>'s viewers have always been women. In 2013, BroadcastingCable.com presented viewer statistics to prove it: \"\u003cem>The Bachelor\u003c/em> averages a 2.7 in the 18-49 demo, but among women in the demo averages a 4.0.\" In 2015, \u003ca href=\"http://www.showbuzzdaily.com/articles/audience-map-abc-primetime.html\">ShowBuzzDaily reported:\u003c/a> \"\u003cem>The Bachelor\u003c/em> is one of the youngest-skewing shows on ABC, delivering substantial numbers of females 12-34 (quite rare for ABC).\"\u003c/p>\n\u003cp>One can presume that many of these women are seeking an escape from the complexities of modern dating, with all of its swiping, unsolicited photos and lack of resemblance to what girls were told to expect from dating, growing up. The men watching might enjoy the old-fashioned gender roles for entirely different reasons. But there is also likely a significant element here of using \u003cem>The Bachelor/ette\u003c/em> as a means to hang onto the idea of a bygone America in general.\u003c/p>\n\u003cp>In 2015, Nielsen ratings listed \u003cem>The Bachelor\u003c/em> as Number 1 in a chart titled \u003ca href=\"https://deadline.com/2014/06/tv-series-most-watched-rich-educated-viewers-787403/\">\"What the Young & Rich Watch.\"\u003c/a> At the time, \u003ca href=\"https://deadline.com/2014/06/tv-series-most-watched-rich-educated-viewers-787403/\">\u003cem>Deadline\u003c/em> explained\u003c/a> that the show did \"a 111% higher rating in 150K+ homes than it [did] in regular demo ratings.” Given the fact that the \u003ca href=\"https://www.huffingtonpost.com/sean-mcelwee/new-evidence-that-the-ric_b_7153396.html\">\u003cem>Huffington Post\u003c/em> cited data\u003c/a> in 2016 from the American National Elections Studies to demonstrate that \"the rich tend to be far more conservative than the average American,\" it makes sense that wealthy people, in particular, would love these shows. It's one of the only things left on primetime TV in 2018 that continues to present so many old-fashioned American values as still the norm.\u003c/p>\n\u003cp>It's true that the ratings of both shows have dropped, but that's mostly because \u003ca href=\"https://www.thewrap.com/broadcast-tv-ratings-nbc-cbs-abc-fox-cw/\">TV ratings have been dropping\u003c/a> across the board. \u003cem>The Bachelorette\u003c/em> started in 2003 with an average viewership of 16.65 million. By 2017, that number had dropped to 5.89 million. \u003cem>The Bachelor\u003c/em> has fared better, having fluctuated between an average of roughly 8 and 13 million viewers throughout its history. In 2016, \u003ca href=\"https://variety.com/2017/tv/news/tv-ratings-the-bachelor-wins-odd-couple-finale-1201974307/\">\u003cem>Variety\u003c/em> reported:\u003c/a> \"\u003cem>The Bachelor\u003c/em> continues to stomp the competition,\" and 2018's Season 22 finale brought in ABC's best figures of the season.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With all that in mind, it's hard not to wonder if the continued popularity of \u003cem>The Bachelor\u003c/em> and \u003cem>The Bachelorette\u003c/em> in 2018 speaks to a longing at the heart of white, wealthy America to hang onto The Good Old Days. As culture rapidly changes, accelerated by the internet, and thanks to a strength in grassroots social movements not seen in this country in decades, \u003cem>The Bachelor/ette \u003c/em>refuses steadfastly to acknowledge that anything has changed. Maybe these shows aren't popular \u003cem>despite\u003c/em> their white, heteronormative, sexist structure, but \u003cem>because\u003c/em> of it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For fans who have dreamed about the return of Captain Jean-Luc Picard to Star Trek, actor Patrick Stewart might as well borrow his character's classic catchphrase and say, \"Make it so.\"\u003c/p>\n\u003cp>It's a role that he hasn't stepped into since 2002, and fans are elated.\u003c/p>\n\u003cp>Stewart said in a statement that it is \"an unexpected but delightful surprise to find myself excited and invigorated to be returning to Jean-Luc Picard and to explore new dimensions within him. Seeking out new life for him, when I thought that life was over.\"\u003c/p>\n\u003cp>https://twitter.com/SirPatStew/status/1025840545216823296\u003c/p>\n\u003cp>He surprised fans at a Star Trek convention in Las Vegas when he appeared on-stage with Alex Kurtzman, executive producer of CBS All Access' \u003cem>\u003ca href=\"https://www.imdb.com/title/tt5171438/?ref_=fn_al_tt_1\">Star Trek: Discovery\u003c/a>, \u003c/em>to announce the new series.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Gradually it became clearer and clearer to me that the power of that show, the success of that show, the benefits that it gave ... I have never grown tired of hearing from people ... who say to me, 'Your show changed my life,'\" Stewart told the cheering crowd.\u003c/p>\n\u003cp>\"And that lies at the very center of what I have to tell you now,\" he said. \"Jean-Luc Picard is back.\"\u003c/p>\n\u003cp>Watch the happy moment here:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9jPFtLRgjVc\u003c/p>\n\u003cp>Stewart started playing Captain Picard in 1987, on the TV series \u003ca href=\"https://www.imdb.com/title/tt0092455/?ref_=fn_al_tt_1\">\u003cem>Star Trek: The Next Generation\u003c/em>.\u003c/a> He was also featured in four Star Trek movies: \u003cem> Star Trek Generations, Star Trek: First Contact, Star Trek: Insurrection, and Star Trek: Nemesis. \u003c/em>\u003c/p>\n\u003cp>\"With overwhelming joy, it's a privilege to welcome Sir Patrick Stewart back to the \u003cem>Star Trek\u003c/em> fold. For over 20 years, fans have hoped for the return of Captain Jean-Luc Picard and that day is finally here. We can't wait to forge new ground, surprise people, and honor generations both new and old,\" Kurtzman \u003ca href=\"https://www.hollywoodreporter.com/live-feed/patrick-stewart-reprise-star-trek-role-new-cbs-all-access-series-1132262\">said in a statement\u003c/a> to \u003cem>The Hollywood Reporter.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.nytimes.com/2018/08/04/arts/star-trek-patrick-stewart-picard.html\">The New York Times\u003c/a> \u003c/em>reminds us where we left Picard in 2002:\u003c/p>\n\u003cblockquote>\u003cp>\"The last time we saw Picard, he was saying a farewell of sorts to crew members of the Starship Enterprise E. For the first time in years, he had a new first officer, since William Riker, Picard's longtime deputy, and Deanna Troi, Riker's wife and the ship's counselor, \u003ca href=\"https://www.youtube.com/watch?v=x26RZetMdek\">were heading to the U.S.S. Titan\u003c/a>. It was after Data, the trustworthy android, had \u003ca href=\"https://www.youtube.com/watch?v=9K9PxI4KU7k\">died to save the ship\u003c/a>.\"\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>CBS has not yet released details about what the focus of the new series will be, or when it will premiere.\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=Patrick+Stewart+Is+Reprising+His+Role+As+Captain+Picard+In+New+%27Star+Trek%27+Series&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>He surprised fans at a Star Trek convention in Las Vegas when he appeared on-stage with Alex Kurtzman, executive producer of CBS All Access' \u003cem>\u003ca href=\"https://www.imdb.com/title/tt5171438/?ref_=fn_al_tt_1\">Star Trek: Discovery\u003c/a>, \u003c/em>to announce the new series.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Gradually it became clearer and clearer to me that the power of that show, the success of that show, the benefits that it gave ... I have never grown tired of hearing from people ... who say to me, 'Your show changed my life,'\" Stewart told the cheering crowd.\u003c/p>\n\u003cp>\"And that lies at the very center of what I have to tell you now,\" he said. \"Jean-Luc Picard is back.\"\u003c/p>\n\u003cp>Watch the happy moment here:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9jPFtLRgjVc'\n title='//www.youtube.com/embed/9jPFtLRgjVc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Stewart started playing Captain Picard in 1987, on the TV series \u003ca href=\"https://www.imdb.com/title/tt0092455/?ref_=fn_al_tt_1\">\u003cem>Star Trek: The Next Generation\u003c/em>.\u003c/a> He was also featured in four Star Trek movies: \u003cem> Star Trek Generations, Star Trek: First Contact, Star Trek: Insurrection, and Star Trek: Nemesis. \u003c/em>\u003c/p>\n\u003cp>\"With overwhelming joy, it's a privilege to welcome Sir Patrick Stewart back to the \u003cem>Star Trek\u003c/em> fold. For over 20 years, fans have hoped for the return of Captain Jean-Luc Picard and that day is finally here. We can't wait to forge new ground, surprise people, and honor generations both new and old,\" Kurtzman \u003ca href=\"https://www.hollywoodreporter.com/live-feed/patrick-stewart-reprise-star-trek-role-new-cbs-all-access-series-1132262\">said in a statement\u003c/a> to \u003cem>The Hollywood Reporter.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.nytimes.com/2018/08/04/arts/star-trek-patrick-stewart-picard.html\">The New York Times\u003c/a> \u003c/em>reminds us where we left Picard in 2002:\u003c/p>\n\u003cblockquote>\u003cp>\"The last time we saw Picard, he was saying a farewell of sorts to crew members of the Starship Enterprise E. For the first time in years, he had a new first officer, since William Riker, Picard's longtime deputy, and Deanna Troi, Riker's wife and the ship's counselor, \u003ca href=\"https://www.youtube.com/watch?v=x26RZetMdek\">were heading to the U.S.S. Titan\u003c/a>. It was after Data, the trustworthy android, had \u003ca href=\"https://www.youtube.com/watch?v=9K9PxI4KU7k\">died to save the ship\u003c/a>.\"\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>CBS has not yet released details about what the focus of the new series will be, or when it will premiere.\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=Patrick+Stewart+Is+Reprising+His+Role+As+Captain+Picard+In+New+%27Star+Trek%27+Series&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The new NBC series \u003cem>\u003ca href=\"https://www.imdb.com/title/tt6874206/?ref_=nv_sr_1\">Making It\u003c/a> \u003c/em>has two reasons for being.\u003c/p>\n\u003cp>One is to grab a little of the upbeat, you-can-do-it energy generated by competitive cooking shows – \u003ca href=\"https://www.imdb.com/title/tt1877368/?ref_=nv_sr_1\">\u003cem>The Great British Baking Show\u003c/em>\u003c/a> especially – and expand it to other areas of crafting. The other is to give viewers some solid hangout time with the stupendously amiable hosting pair that is Amy Poehler and Nick Offerman. All put together with some staples and glue, it's a lovely, if very low-key, summer watch.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wXmPp0AfUZc\u003c/p>\n\u003cp>The series is a brisk six episodes, premiering July 31\u003csup>st\u003c/sup>, and it begins with eight crafters who do everything from sewing to woodworking to paper crafts and more. The real-life Offerman is \u003ca href=\"https://www.npr.org/2016/11/17/502476216/nick-offerman-shares-his-love-of-woodworking-in-good-clean-fun\">an accomplished woodworker\u003c/a>, so he takes the role of the knowledgeable host, while Poehler is the bright-eyed newbie with lots to learn. Each episode has a theme and follows the contestants through a shorter challenge and then a longer one. They make a variety of projects from a variety of materials, and at the end, they're judged. The judges are Simon Doonan, a sort of all-around Fashion Person who's designed store windows at Barney's, and Dayna Isom Johnson, who's a \"trend expert\" at Etsy. And yes, every week, someone has to go home.\u003c/p>\n\u003cp>The format – two hosts, two judges, even the layout of the main craft room in an alleged outbuilding – recalls \u003cem>The Great British Baking Show. \u003c/em>But \u003cem>Making It \u003c/em>lacks that show's technical focus and close scrutiny of actual skills. When you see 10 efforts at making precisely the same cake, for instance, and they're judged on fine details like the size of the crumb or the thickness of the frosting, you really do feel like you're learning something about some fairly technical aspects of baking, and the authority of the judges is never in question.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But when ten people build Halloween costumes from household junk, the critiques are far more vague and subjective, not getting much more concrete than originality and neatness. If you've ever seen a judging panel on \u003ca href=\"https://www.imdb.com/title/tt0437741/?ref_=nv_sr_1\">\u003cem>Project Runway\u003c/em>,\u003c/a> Doonan and Johnson both feel a little more like guest judges, perhaps actors or athletes who can say intelligently what they like and don't like, than they do like the professional designers who can analyze precisely what went right or wrong.\u003c/p>\n\u003cp>That's not to say it's not a lot of fun to watch people invent projects to meet briefs like a stadium-shaped snack server or, yes, a Halloween costume made of household junk. The crafters are creative and unendingly good-natured, even if it would be nice to know a little more about the details of the techniques they're using.\u003c/p>\n\u003cfigure id=\"attachment_104839\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-104839\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/07/nup_179896_0919_wide-573471984eb6b15d66cde621c6ff059a824470ff-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/07/nup_179896_0919_wide-573471984eb6b15d66cde621c6ff059a824470ff-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/nup_179896_0919_wide-573471984eb6b15d66cde621c6ff059a824470ff-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/nup_179896_0919_wide-573471984eb6b15d66cde621c6ff059a824470ff-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/nup_179896_0919_wide-573471984eb6b15d66cde621c6ff059a824470ff-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/nup_179896_0919_wide-573471984eb6b15d66cde621c6ff059a824470ff-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/nup_179896_0919_wide-573471984eb6b15d66cde621c6ff059a824470ff-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/nup_179896_0919_wide-573471984eb6b15d66cde621c6ff059a824470ff-520x292.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/nup_179896_0919_wide-573471984eb6b15d66cde621c6ff059a824470ff.jpg 996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amy Poehler and Nick Offerman hosting NBC's new craft competition, 'Making It'.\u003c/figcaption>\u003c/figure>\n\u003cp>Whatever the show lacks in technical precision may not matter much to people who just want a piece of summer TV that offers good company and a gentle, family-friendly tone headed up by super-charming hosts. For fans of the departed comedy \u003cem>\u003ca href=\"https://www.imdb.com/title/tt1266020/?ref_=nv_sr_1\">Parks and Recreation\u003c/a> \u003c/em>on which Poehler and Offerman co-starred, it's a thrill to see them goofing around and cracking each other up again. But for other viewers, this might be a chance to discover them as themselves, and the structure of \u003cem>Making It \u003c/em>leaves a ton of space for them to do their thing. They make puns, they hurl silly jokes back and forth, and they will, as intended, take your mind off your troubles. While that might seem like a modest aspiration, when it's done very well, it recalls the best variety shows and other host-driven entertainment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Making It \u003c/em>is part of the newer trend of competitions that are never mean, always upbeat, and dominated by people who support each other in the spirit of friendly competition. Plus, you get to hear Nick Offerman's extremely surprising giggle in just about every episode. Taken on those terms, it's a treat.\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=Crafts+Get+The+Competitive+Treatment+In+NBC%27s+%27Making+It%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new NBC series \u003cem>\u003ca href=\"https://www.imdb.com/title/tt6874206/?ref_=nv_sr_1\">Making It\u003c/a> \u003c/em>has two reasons for being.\u003c/p>\n\u003cp>One is to grab a little of the upbeat, you-can-do-it energy generated by competitive cooking shows – \u003ca href=\"https://www.imdb.com/title/tt1877368/?ref_=nv_sr_1\">\u003cem>The Great British Baking Show\u003c/em>\u003c/a> especially – and expand it to other areas of crafting. The other is to give viewers some solid hangout time with the stupendously amiable hosting pair that is Amy Poehler and Nick Offerman. All put together with some staples and glue, it's a lovely, if very low-key, summer watch.\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/wXmPp0AfUZc'\n title='//www.youtube.com/embed/wXmPp0AfUZc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The series is a brisk six episodes, premiering July 31\u003csup>st\u003c/sup>, and it begins with eight crafters who do everything from sewing to woodworking to paper crafts and more. The real-life Offerman is \u003ca href=\"https://www.npr.org/2016/11/17/502476216/nick-offerman-shares-his-love-of-woodworking-in-good-clean-fun\">an accomplished woodworker\u003c/a>, so he takes the role of the knowledgeable host, while Poehler is the bright-eyed newbie with lots to learn. Each episode has a theme and follows the contestants through a shorter challenge and then a longer one. They make a variety of projects from a variety of materials, and at the end, they're judged. The judges are Simon Doonan, a sort of all-around Fashion Person who's designed store windows at Barney's, and Dayna Isom Johnson, who's a \"trend expert\" at Etsy. And yes, every week, someone has to go home.\u003c/p>\n\u003cp>The format – two hosts, two judges, even the layout of the main craft room in an alleged outbuilding – recalls \u003cem>The Great British Baking Show. \u003c/em>But \u003cem>Making It \u003c/em>lacks that show's technical focus and close scrutiny of actual skills. When you see 10 efforts at making precisely the same cake, for instance, and they're judged on fine details like the size of the crumb or the thickness of the frosting, you really do feel like you're learning something about some fairly technical aspects of baking, and the authority of the judges is never in question.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But when ten people build Halloween costumes from household junk, the critiques are far more vague and subjective, not getting much more concrete than originality and neatness. If you've ever seen a judging panel on \u003ca href=\"https://www.imdb.com/title/tt0437741/?ref_=nv_sr_1\">\u003cem>Project Runway\u003c/em>,\u003c/a> Doonan and Johnson both feel a little more like guest judges, perhaps actors or athletes who can say intelligently what they like and don't like, than they do like the professional designers who can analyze precisely what went right or wrong.\u003c/p>\n\u003cp>That's not to say it's not a lot of fun to watch people invent projects to meet briefs like a stadium-shaped snack server or, yes, a Halloween costume made of household junk. The crafters are creative and unendingly good-natured, even if it would be nice to know a little more about the details of the techniques they're using.\u003c/p>\n\u003cfigure id=\"attachment_104839\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-104839\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/07/nup_179896_0919_wide-573471984eb6b15d66cde621c6ff059a824470ff-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/07/nup_179896_0919_wide-573471984eb6b15d66cde621c6ff059a824470ff-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/nup_179896_0919_wide-573471984eb6b15d66cde621c6ff059a824470ff-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/nup_179896_0919_wide-573471984eb6b15d66cde621c6ff059a824470ff-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/nup_179896_0919_wide-573471984eb6b15d66cde621c6ff059a824470ff-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/nup_179896_0919_wide-573471984eb6b15d66cde621c6ff059a824470ff-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/nup_179896_0919_wide-573471984eb6b15d66cde621c6ff059a824470ff-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/nup_179896_0919_wide-573471984eb6b15d66cde621c6ff059a824470ff-520x292.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/nup_179896_0919_wide-573471984eb6b15d66cde621c6ff059a824470ff.jpg 996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amy Poehler and Nick Offerman hosting NBC's new craft competition, 'Making It'.\u003c/figcaption>\u003c/figure>\n\u003cp>Whatever the show lacks in technical precision may not matter much to people who just want a piece of summer TV that offers good company and a gentle, family-friendly tone headed up by super-charming hosts. For fans of the departed comedy \u003cem>\u003ca href=\"https://www.imdb.com/title/tt1266020/?ref_=nv_sr_1\">Parks and Recreation\u003c/a> \u003c/em>on which Poehler and Offerman co-starred, it's a thrill to see them goofing around and cracking each other up again. But for other viewers, this might be a chance to discover them as themselves, and the structure of \u003cem>Making It \u003c/em>leaves a ton of space for them to do their thing. They make puns, they hurl silly jokes back and forth, and they will, as intended, take your mind off your troubles. While that might seem like a modest aspiration, when it's done very well, it recalls the best variety shows and other host-driven entertainment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Making It \u003c/em>is part of the newer trend of competitions that are never mean, always upbeat, and dominated by people who support each other in the spirit of friendly competition. Plus, you get to hear Nick Offerman's extremely surprising giggle in just about every episode. Taken on those terms, it's a treat.\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=Crafts+Get+The+Competitive+Treatment+In+NBC%27s+%27Making+It%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'Supergirl' Casts First Transgender Superhero on Television",
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"content": "\u003cp>The transgender activist behind a landmark case that set a precedent for allowing trans people to use the restroom of their choice, is marking another historic first. This time on television.\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/name/nm7414233/?ref_=fn_al_nm_1\">Nicole Maines,\u003c/a> has been cast as the first transgender superhero to be featured on a television show. The announcement was made at San Diego Comic-Con on Saturday.\u003c/p>\n\u003cp>She will join the upcoming fourth season of the CW's \u003cem>\u003ca href=\"https://www.imdb.com/title/tt4016454/?ref_=fn_al_tt_1\">Supergirl\u003c/a> \u003c/em>as Nia Nal, a young reporter who eventually fulfills her destiny, transitioning into a superhero called Dreamer.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RyZ0MI1ytPM\u003c/p>\n\u003cp>\"It feels fitting to say with great power, comes great responsibility,\" she \u003ca href=\"https://variety.com/2018/tv/news/nicole-maines-on-being-the-first-trans-superhero-im-nervous-because-i-want-to-do-it-right-1202880477/\">told Variety\u003c/a>, in a nod to the well-known \u003cem>Spider-Man \u003c/em>line.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"I'm nervous because I want to do it right,\" she added.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hollywoodreporter.com/live-feed/supergirl-taps-transgender-activist-nicole-maines-as-tvs-first-trans-superhero-1128979\">\u003cem>The Hollywood Reporter \u003c/em>\u003c/a>described the new DC Comics-based character as \"a soulful young transgender woman with a fierce drive to protect others.\"\u003c/p>\n\u003cp>\"She has this ferocious drive to protect people and to fight against discrimination and hatred,\" Maines \u003ca href=\"https://www.nytimes.com/2018/07/22/arts/television/transgender-superhero-supergirl.html\">said at the show's Comic-Con panel\u003c/a>.\u003c/p>\n\u003cp>The 20-year-old actress noted the moment feels like a turning point as writers and show creators are seeking out trans actors to accurately portray the trans experience.\u003c/p>\n\u003cp>\"I've been doing a lot of auditions lately because a lot of different shows have been really eager to tell the story of transgender people,\" Maines told the audience. \"It seems only fitting that we have a trans superhero for trans kids to look up to. I wish there was a trans superhero when I was little.\"\u003c/p>\n\u003cp>\"Our show is all about inclusion and representation,\" Jessica Queller, an executive producer, said in an \u003ca href=\"https://www.youtube.com/watch?v=kWeZuqkwmyo\">interview\u003c/a> with Clevver News. \"It seems the perfect moment in our culture to introduce a trans female superhero.\"\u003c/p>\n\u003cp>In 2014 Maines \u003ca href=\"https://www.npr.org/sections/thetwo-way/2014/01/30/268954731/maines-high-court-rules-in-favor-of-transgendered-student\">won a discrimination lawsuit\u003c/a> against her school district in Maine, after officials barred her from using the girls' bathroom. The Maine Supreme Judicial Court ruled the school district had violated the Maine Human Rights Act.\u003c/p>\n\u003cp>Two years later, in an \u003ca href=\"https://www.npr.org/2016/12/05/504428457/11-transgender-americans-share-their-stories-in-hbos-the-trans-list\">interview on NPR's Fresh Air\u003c/a>, Maines told Terry Gross that the school had hired a bodyguard to ensure she only used the staff bathroom, which had been set aside especially for her.\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>\"\u003c/strong>My parents, they knew that what was happening wasn't right, and something had to be done about it. ... I felt great about it. It finally felt like people were doing something. For the past two years — using staff and gender-neutral, private, just-for-Nicole bathrooms and having a bodyguard follow you around all the time — [it] felt really, really good to know that people were finally doing something about it.\u003c/p>\n\u003cp>\"It was annoying; I would get up to go to class to just go to the bathroom and my teacher would have to stop me in front of everybody and tell me to wait for whoever was following me that day. It was really, really humiliating, so it felt really good to know that my parents recognized what was happening and knew that it was wrong.\"\u003c/p>\u003c/blockquote>\n\u003cp>Maines and her family were also the subject of a book by Pulitzer-Prize-winning journalist Amy Ellis, called \u003ca href=\"https://www.npr.org/sections/health-shots/2015/10/19/449937765/becoming-nicole-recounts-one-familys-acceptance-of-their-transgender-child\">\u003cem>Becoming Nicole: The Transformation of an American Family\u003c/em>\u003c/a>, after which she was featured in the HBO documentary, \u003cem>The Trans List.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GIegiwYeX-A\u003c/p>\n\u003cp>The casting announcement comes just weeks after a public backlash compelled actress Scarlett Johansson to \u003ca href=\"https://www.npr.org/2018/07/13/628983136/amid-backlash-scarlett-johansson-drops-transgender-role\">drop the starring role\u003c/a> in the upcoming film \u003cem>Rub & Tug\u003c/em>, about a transgender man who built a small empire of illicit massage parlors in 1970s Pittsburgh.\u003c/p>\n\u003cp>\"I think that cis gender actors don't take roles out of malice, it's just a failure to realize the context of having cis gender people play trans gender characters,\" Maines told \u003cem>Variety\u003c/em>.\u003c/p>\n\u003cp>Cisgender is the term for people whose gender identity matches the sex that they were assigned at birth.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"We don't see the same issue with sexuality, we see straight people play gay all the time,\" Maines continued. \"With trans folks we have a lot of people accusing us of just playing dress up for whatever reasons and that's just not true. Having trans people play trans roles show that we are valid in our identities and we exist.\"\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=%27Supergirl%27+Casts+First+Transgender+Superhero+On+Television&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"description": "Transgender activist Nicole Maines plays Nia Nal, a reporter who fulfills her destiny by transitioning into a superhero called Dreamer.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The transgender activist behind a landmark case that set a precedent for allowing trans people to use the restroom of their choice, is marking another historic first. This time on television.\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/name/nm7414233/?ref_=fn_al_nm_1\">Nicole Maines,\u003c/a> has been cast as the first transgender superhero to be featured on a television show. The announcement was made at San Diego Comic-Con on Saturday.\u003c/p>\n\u003cp>She will join the upcoming fourth season of the CW's \u003cem>\u003ca href=\"https://www.imdb.com/title/tt4016454/?ref_=fn_al_tt_1\">Supergirl\u003c/a> \u003c/em>as Nia Nal, a young reporter who eventually fulfills her destiny, transitioning into a superhero called Dreamer.\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/RyZ0MI1ytPM'\n title='//www.youtube.com/embed/RyZ0MI1ytPM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"It feels fitting to say with great power, comes great responsibility,\" she \u003ca href=\"https://variety.com/2018/tv/news/nicole-maines-on-being-the-first-trans-superhero-im-nervous-because-i-want-to-do-it-right-1202880477/\">told Variety\u003c/a>, in a nod to the well-known \u003cem>Spider-Man \u003c/em>line.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"I'm nervous because I want to do it right,\" she added.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hollywoodreporter.com/live-feed/supergirl-taps-transgender-activist-nicole-maines-as-tvs-first-trans-superhero-1128979\">\u003cem>The Hollywood Reporter \u003c/em>\u003c/a>described the new DC Comics-based character as \"a soulful young transgender woman with a fierce drive to protect others.\"\u003c/p>\n\u003cp>\"She has this ferocious drive to protect people and to fight against discrimination and hatred,\" Maines \u003ca href=\"https://www.nytimes.com/2018/07/22/arts/television/transgender-superhero-supergirl.html\">said at the show's Comic-Con panel\u003c/a>.\u003c/p>\n\u003cp>The 20-year-old actress noted the moment feels like a turning point as writers and show creators are seeking out trans actors to accurately portray the trans experience.\u003c/p>\n\u003cp>\"I've been doing a lot of auditions lately because a lot of different shows have been really eager to tell the story of transgender people,\" Maines told the audience. \"It seems only fitting that we have a trans superhero for trans kids to look up to. I wish there was a trans superhero when I was little.\"\u003c/p>\n\u003cp>\"Our show is all about inclusion and representation,\" Jessica Queller, an executive producer, said in an \u003ca href=\"https://www.youtube.com/watch?v=kWeZuqkwmyo\">interview\u003c/a> with Clevver News. \"It seems the perfect moment in our culture to introduce a trans female superhero.\"\u003c/p>\n\u003cp>In 2014 Maines \u003ca href=\"https://www.npr.org/sections/thetwo-way/2014/01/30/268954731/maines-high-court-rules-in-favor-of-transgendered-student\">won a discrimination lawsuit\u003c/a> against her school district in Maine, after officials barred her from using the girls' bathroom. The Maine Supreme Judicial Court ruled the school district had violated the Maine Human Rights Act.\u003c/p>\n\u003cp>Two years later, in an \u003ca href=\"https://www.npr.org/2016/12/05/504428457/11-transgender-americans-share-their-stories-in-hbos-the-trans-list\">interview on NPR's Fresh Air\u003c/a>, Maines told Terry Gross that the school had hired a bodyguard to ensure she only used the staff bathroom, which had been set aside especially for her.\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>\"\u003c/strong>My parents, they knew that what was happening wasn't right, and something had to be done about it. ... I felt great about it. It finally felt like people were doing something. For the past two years — using staff and gender-neutral, private, just-for-Nicole bathrooms and having a bodyguard follow you around all the time — [it] felt really, really good to know that people were finally doing something about it.\u003c/p>\n\u003cp>\"It was annoying; I would get up to go to class to just go to the bathroom and my teacher would have to stop me in front of everybody and tell me to wait for whoever was following me that day. It was really, really humiliating, so it felt really good to know that my parents recognized what was happening and knew that it was wrong.\"\u003c/p>\u003c/blockquote>\n\u003cp>Maines and her family were also the subject of a book by Pulitzer-Prize-winning journalist Amy Ellis, called \u003ca href=\"https://www.npr.org/sections/health-shots/2015/10/19/449937765/becoming-nicole-recounts-one-familys-acceptance-of-their-transgender-child\">\u003cem>Becoming Nicole: The Transformation of an American Family\u003c/em>\u003c/a>, after which she was featured in the HBO documentary, \u003cem>The Trans List.\u003c/em>\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/GIegiwYeX-A'\n title='//www.youtube.com/embed/GIegiwYeX-A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The casting announcement comes just weeks after a public backlash compelled actress Scarlett Johansson to \u003ca href=\"https://www.npr.org/2018/07/13/628983136/amid-backlash-scarlett-johansson-drops-transgender-role\">drop the starring role\u003c/a> in the upcoming film \u003cem>Rub & Tug\u003c/em>, about a transgender man who built a small empire of illicit massage parlors in 1970s Pittsburgh.\u003c/p>\n\u003cp>\"I think that cis gender actors don't take roles out of malice, it's just a failure to realize the context of having cis gender people play trans gender characters,\" Maines told \u003cem>Variety\u003c/em>.\u003c/p>\n\u003cp>Cisgender is the term for people whose gender identity matches the sex that they were assigned at birth.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"We don't see the same issue with sexuality, we see straight people play gay all the time,\" Maines continued. \"With trans folks we have a lot of people accusing us of just playing dress up for whatever reasons and that's just not true. Having trans people play trans roles show that we are valid in our identities and we exist.\"\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=%27Supergirl%27+Casts+First+Transgender+Superhero+On+Television&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>This post discusses the events of Sunday night's \u003ca href=\"https://www.fxnetworks.com/shows/pose\">POSE\u003c/a> season finale.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>It wasn't layered. It wasn't nuanced. It was didactic in some places, and mawkish in others, often reaching for sentiment only to achieve sentimentality instead. Characters didn't so much converse as stand and deliver long declamatory paragraphs \u003cem>at \u003c/em>each other, in precisely the way real people don't — you could \u003cem>hear \u003c/em>the writing, always. The cast approached the material with great fervor, if not, in all cases, great finesse.\u003c/p>\n\u003cp>But so what. Because after all that, we'd get a scene at the ball. And \u003cem>Pose\u003c/em>, the series which ended its first season Sunday night, would shrug off all those ungainly trappings, step into the spotlight, and shine.\u003c/p>\n\u003cp>Those ballroom scenes, bursting with color and music and laughter and attitude, cast long, glittery, fabulous shadows over the scenes that preceded and followed them, enlivening the series with a sense of hard-won joy. Which of course is what \u003cem>Pose \u003c/em>is about — the power of the disempowered to create something that is uniquely their own, and use it to make life more bearable. It's a how-to, of sorts: We watch members of a marginalized and threatened community channel the fear and outrage that mark their everyday lives into something fearless and invulnerable, beautiful — and fleeting.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JiEZRhCyINE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some may carp that the series' conclusion — the triumph of noble and virtuous House Evangelista over villainous House Ferocity — was predictable. Those people have never seen a sports movie. Or a high school movie. Or a superhero movie. Or, it might be fair to say, a movie. Underdogs triumph, in storytelling. That's not predictable; that's \u003cem>inevitable\u003c/em>. And this far into 2018, it's essential.\u003c/p>\n\u003cp>\u003cem>Pose \u003c/em>came to be when Ryan Murphy, who was developing a series about ball culture, and Steven Canals, who'd written a pilot script about a young dancer who moves to New York in the 80's and becomes a part of that community, \u003ca href=\"http://www.towleroad.com/2018/07/steven-canals-2/\">decided to fuse their two visions\u003c/a>. The result is uneven, but charmingly so. It would be glib to say you could tell a Murphy scene from the others by virtue of its campy excess — House Abundance swiping royal costumes from a museum, say, or stealing a Salvation Army bucket set to Darlene Love's \"Christmas (Baby Please Come Home),\" or Christopher Meloni taking off his shirt.\u003c/p>\n\u003cp>(It would be glib to say that. Not, I think, inaccurate.)\u003c/p>\n\u003cp>It's true that the glitz and glamour and Meloni shirtlessness are fun to watch, but they're more than that. Because the story \u003cem>Pose \u003c/em>tells, about a community of black and brown trans women and gay men in the midst of the AIDS epidemic, is urgent and heartbreaking and still too-little-known. The fun stuff — ball scenes, Meloni's torso, James Van Der Beek smarmily Gordon Geckoing up a storm, Dominique Jackson's Elektra regally reading someone for filth — aren't just the gloss, the spoonful of sugar. They're there to make the truer, grittier aspects of the series stand out in sharper relief.\u003c/p>\n\u003cp>That a show like \u003cem>Pose \u003c/em>(but of course there is no show like \u003cem>Pose\u003c/em>, more's the pity) has found a berth on a platform like FX is heartening, as is the fact that it features trans women playing trans women. Apart from simply giving trans actors an opportunity too long denied them, it neatly removes a layer of artifice that clings to even a worthy show like \u003cem>Transparent\u003c/em>, where a small, stubborn part of you can't keep from gauging Tambor's performance as you watch Maura's story.\u003c/p>\n\u003cp>It also serves to underscore the show's pervasive sense of earnest sincerity, embodied most clearly in Mj Rodriguez's Blanca. The mother of House Evangelista got saddled with being the show's voice of reason and mercy and kindness and empathy — you know, the boring stuff. Rodriguez managed to keep Blanca from being a boring scold — mostly — by keying into the character's wounded quality.\u003c/p>\n\u003cp>Dominique Jackson didn't lend Elektra much of an emotional range, though the script pushed her, at times too hard, to do so — but when she locked into attack mode, which was, you know ... often, she proved a haughty, hiss-worthy villain, with cheekbones that could slice manchego.\u003c/p>\n\u003cp>The true revelation, however, was Indya Moore as Angel. Surrounded by so much archness and arched eyebrows, Moore's smaller, more naturalistic acting style steadily nudged the show's emotional center from Blanca to Angel. She could be petulant, selfish, even whiny — but our sympathy never wavered, because Moore made Angel so soulful and warm. And her storyline with Evan Peters's Stan, a married-with-kids Wall Street type who sets up Angel with an apartment, knowingly tweaked the White Savior trope by treating his character with compassion without letting him become the center of her story. (Stan's story has been told hundreds of times before; it's Angel's turn.)\u003c/p>\n\u003cp>\u003cem>Pose \u003c/em>is of course a fictionalized version of '80s ballroom culture, but it references the real world. Season one's finale was set in the middle of 1988. So while it's likely the spine of next season will consist of another fight for the trophy between rival Houses, I'm hoping the series engages with the fact that two events — the 1990 release of \u003ca href=\"https://www.youtube.com/watch?v=GuJQSAiODqI\">Madonna's \"Vogue\"\u003c/a> and, especially, Jennie Livington's 1991 documentary \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=VVueHRtpBbg\">Paris is Burning\u003c/a> --\u003c/em> are about to drag the insular world of these characters into mainstream awareness.\u003c/p>\n\u003cp>The show has already shown a willingness to explore issues like transphobia within the queer community, so it will be fascinating to see how, or if, it tackles the subject of cultural appropriation.\u003c/p>\n\u003cp>If I were taking bets, I'd say it will do so, and in ways that will often come off ham-fisted and broad. Some character — who are we kidding, it'll be Blanca — will deliver a heartfelt speech about exploitation, and it won't be done with any deftness or subtlety — but who cares.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The great thing about \u003cem>Pose \u003c/em>isn't that it does the singular thing it does with any restraint. It's that, finally, in 2018, it's got the chance to do the singular thing it does, at all.\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=Ladies+With+An+Attitude+Make+For+A+Striking+%27Pose%27+Finale+&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>Some may carp that the series' conclusion — the triumph of noble and virtuous House Evangelista over villainous House Ferocity — was predictable. Those people have never seen a sports movie. Or a high school movie. Or a superhero movie. Or, it might be fair to say, a movie. Underdogs triumph, in storytelling. That's not predictable; that's \u003cem>inevitable\u003c/em>. And this far into 2018, it's essential.\u003c/p>\n\u003cp>\u003cem>Pose \u003c/em>came to be when Ryan Murphy, who was developing a series about ball culture, and Steven Canals, who'd written a pilot script about a young dancer who moves to New York in the 80's and becomes a part of that community, \u003ca href=\"http://www.towleroad.com/2018/07/steven-canals-2/\">decided to fuse their two visions\u003c/a>. The result is uneven, but charmingly so. It would be glib to say you could tell a Murphy scene from the others by virtue of its campy excess — House Abundance swiping royal costumes from a museum, say, or stealing a Salvation Army bucket set to Darlene Love's \"Christmas (Baby Please Come Home),\" or Christopher Meloni taking off his shirt.\u003c/p>\n\u003cp>(It would be glib to say that. Not, I think, inaccurate.)\u003c/p>\n\u003cp>It's true that the glitz and glamour and Meloni shirtlessness are fun to watch, but they're more than that. Because the story \u003cem>Pose \u003c/em>tells, about a community of black and brown trans women and gay men in the midst of the AIDS epidemic, is urgent and heartbreaking and still too-little-known. The fun stuff — ball scenes, Meloni's torso, James Van Der Beek smarmily Gordon Geckoing up a storm, Dominique Jackson's Elektra regally reading someone for filth — aren't just the gloss, the spoonful of sugar. They're there to make the truer, grittier aspects of the series stand out in sharper relief.\u003c/p>\n\u003cp>That a show like \u003cem>Pose \u003c/em>(but of course there is no show like \u003cem>Pose\u003c/em>, more's the pity) has found a berth on a platform like FX is heartening, as is the fact that it features trans women playing trans women. Apart from simply giving trans actors an opportunity too long denied them, it neatly removes a layer of artifice that clings to even a worthy show like \u003cem>Transparent\u003c/em>, where a small, stubborn part of you can't keep from gauging Tambor's performance as you watch Maura's story.\u003c/p>\n\u003cp>It also serves to underscore the show's pervasive sense of earnest sincerity, embodied most clearly in Mj Rodriguez's Blanca. The mother of House Evangelista got saddled with being the show's voice of reason and mercy and kindness and empathy — you know, the boring stuff. Rodriguez managed to keep Blanca from being a boring scold — mostly — by keying into the character's wounded quality.\u003c/p>\n\u003cp>Dominique Jackson didn't lend Elektra much of an emotional range, though the script pushed her, at times too hard, to do so — but when she locked into attack mode, which was, you know ... often, she proved a haughty, hiss-worthy villain, with cheekbones that could slice manchego.\u003c/p>\n\u003cp>The true revelation, however, was Indya Moore as Angel. Surrounded by so much archness and arched eyebrows, Moore's smaller, more naturalistic acting style steadily nudged the show's emotional center from Blanca to Angel. She could be petulant, selfish, even whiny — but our sympathy never wavered, because Moore made Angel so soulful and warm. And her storyline with Evan Peters's Stan, a married-with-kids Wall Street type who sets up Angel with an apartment, knowingly tweaked the White Savior trope by treating his character with compassion without letting him become the center of her story. (Stan's story has been told hundreds of times before; it's Angel's turn.)\u003c/p>\n\u003cp>\u003cem>Pose \u003c/em>is of course a fictionalized version of '80s ballroom culture, but it references the real world. Season one's finale was set in the middle of 1988. So while it's likely the spine of next season will consist of another fight for the trophy between rival Houses, I'm hoping the series engages with the fact that two events — the 1990 release of \u003ca href=\"https://www.youtube.com/watch?v=GuJQSAiODqI\">Madonna's \"Vogue\"\u003c/a> and, especially, Jennie Livington's 1991 documentary \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=VVueHRtpBbg\">Paris is Burning\u003c/a> --\u003c/em> are about to drag the insular world of these characters into mainstream awareness.\u003c/p>\n\u003cp>The show has already shown a willingness to explore issues like transphobia within the queer community, so it will be fascinating to see how, or if, it tackles the subject of cultural appropriation.\u003c/p>\n\u003cp>If I were taking bets, I'd say it will do so, and in ways that will often come off ham-fisted and broad. Some character — who are we kidding, it'll be Blanca — will deliver a heartfelt speech about exploitation, and it won't be done with any deftness or subtlety — but who cares.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The great thing about \u003cem>Pose \u003c/em>isn't that it does the singular thing it does with any restraint. It's that, finally, in 2018, it's got the chance to do the singular thing it does, at all.\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=Ladies+With+An+Attitude+Make+For+A+Striking+%27Pose%27+Finale+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Sacha Baron Cohen is Hit-and-Miss in 'Who is America?'",
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"content": "\u003cp>Sacha Baron Cohen has two basic shticks that he uses in his new Showtime show \u003ca href=\"https://www.imdb.com/title/tt8679236/?ref_=fn_al_tt_1\">\u003cem>Who is America?\u003c/em>\u003c/a>, which premiered Sunday night. One of them works well, and the other one doesn't. Unfortunately, of the four segments in the premiere, he uses the effective strategy once and the ineffective one three times.\u003c/p>\n\u003cp>Those unfamiliar with Cohen's past work in films like \u003ca href=\"https://www.imdb.com/title/tt0443453/?ref_=fn_al_tt_1\">\u003cem>Borat \u003c/em>\u003c/a>and \u003ca href=\"https://www.imdb.com/title/tt0889583/?ref_=fn_al_tt_1\">\u003cem>Brüno \u003c/em>\u003c/a>need only to know that what he does, in short, is interview (and interact with) people while inhabiting various absurd alter egos. It's a prank show, for all intents and purposes.\u003c/p>\n\u003cp>The more effective incarnation of this routine happens when he persuades powerful people that whatever persona he's adopted is an \u003cem>ally\u003c/em> of theirs, and then he pulls them along, gently, gently, while they agree with, say, and do more and more outrageous things.\u003c/p>\n\u003cp>That's what he does in the last and longest segment — the one you'll be hearing about — in which he poses as an Israeli \"terrorism expert\" named Col. Erran Morad who's pitching a program called \"Kinderguardians.\" The Kinderguardians program, he says to those whose support he's seeking, trains children as young as three or four to carry guns in school to protect against school shootings.\u003c/p>\n\u003cp>In his tough-guy drag that features a walk so unlikely you'd only see it in a Monty Python sketch, Cohen meets up with gun enthusiasts Philip Van Cleave, president of the Virginia Citizens Defense League, and Larry Pratt, the Executive Director Emeritus of Gun Owners of America. Both swallow the bait and then suck up a couple more feet of line. Pratt eventually laughs heartily at Cohen's stories of marital rape, an innocent Muslim shot while praying, and plenty more. Van Cleave, meanwhile, participates in a children's instructional video showcasing guns that are disguised as stuffed animals. He even sings a little song.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QkXeMoBPSDk&t=8s\u003c/p>\n\u003cp>What makes the bit effective is that the targets are active, and it is their behavior that creates both the shock and the laughs. The other three segments all involve people patiently tolerating someone they clearly believe is a crackpot while Cohen keeps the spotlight on himself. When that happens, the strength of the piece relies entirely on Cohen's own comedy. And that's generally not enough.\u003c/p>\n\u003cp>The first segment of the premiere is little more than Bernie Sanders, an elected official, doing what elected officials have been doing since the dawn of time — listening to people and dealing with them diplomatically even when they clearly don't know what they're talking about. Cohen's persona in the segment is a caricatured clueless yahoo named Billy Wayne Ruddick, Jr., PhD, who comes from an internet site called Truthbrary.org. (Like liiiiiibrarry. Get it?) Ruddick spouts ridiculous information he claims to have gotten from various unreliable sources while Sanders wonders when he can leave, and that's about all there is to it. Surely, Cohen knows that he is not the longtime senator's first weirdo. The weirdo truck, in fact, has probably been making stops in nearly every D.C. office for decades to drop its wares.\u003c/p>\n\u003cp>In the second segment, Cohen dons his NPR T-shirt (branding!) for essentially the same send-up of hippie liberals that people have been doing since hippie liberal clichés were invented. He plays a super-earnest, balding \u003cem>and \u003c/em>ponytailed, middle-aged guy who greets you with \"Namaste,\" then introduces himself by saying, \"I'm a cisgender white heterosexual male. For which I apologize.\" (I'm sorry to say that these indeed are the jokes, folks.) He sits down for an elegant dinner at the home of a couple of well-off Trump voters to try to understand them. But here, Cohen isn't using the strategy he does in the gun segment. He's presenting himself as an interloper — as someone they would expect not to like.\u003c/p>\n\u003cp>Thus, they're fully on their guard, and as he presents more and more ridiculous stories of how his family makes their daughter pee standing up and \"free bleed\" on the American flag, all they do is sit there and try not to react. And nothing they do, really, is funny. Assuming they really buy that all this is real — which I am not sure they do — what they're experiencing a bunch of stereotypes being confirmed by a guy who's intentionally acting out stereotypes. There's not really any tension in the segment; it's just Cohen doing the same chanting/kale/tote bag business that has been done many, many, many times before.\u003c/p>\n\u003cp>The third segment is the one that's the most distasteful, and not because it's the one that relies on Cohen's well-established fondness for gross-outs. He plays a man recently released from a long prison stint who comes to an appointment at an art gallery to show his work. The woman, identified only as \"Christy,\" goes from curious to mildly amused to having a severe case of \"this is going to be a great story I can tell later\" as Cohen's character explains how he learned in prison to make art from his own various bodily secretions.\u003c/p>\n\u003cp>What makes it distasteful isn't that part — that part is standard har-dee-har juvenile stuff, quite tame for Sacha Baron Cohen, actually. What's obnoxious is that the segment ends with what Cohen seems to think is an abject sexual humiliation — that he's gotten this woman to debase herself almost as much as he thinks Van Cleave did when he showed a preschooler how to shoot a gun with the head of a stuffed puppy on it. This humiliation is what he considers fitting punishment for, I guess, the fact that she was pretentious about art? That Christy seems utterly unperturbed by it, and that he's probably not by a longshot the most eccentric person who's ever tried to show art to her, barely matters.\u003c/p>\n\u003cp>It's worth noting that what Cohen is doing doesn't always work. Florida Rep. Matt Gaetz, for instance, looks to be onto Cohen's \"terrorism expert\" from the jump, asking whether the guy really thinks he's going to say on camera that he favors giving guns to three- and four-year-olds. But not all are so skeptical. Former Senator Trent Lott and others at least appear — and the role of editing and story control is always important to keep in mind — to sign on enthusiastically to at least a consideration of giving guns to, in Lott's words as he seemingly reads from a script, \"highly trained preschoolers.\" It's Pratt who gets the most conventionally pranked, though, persuaded to recite a script that says Blink-182 is a pheromone and the \u003cem>rita ora \u003c/em>is part of the liver.\u003c/p>\n\u003cp>That part's pretty funny.\u003c/p>\n\u003cp>(On a side note, it's a little surprising that anyone is fooled by some of these makeup jobs, to be honest, since some of them look like ads for a mail-order disguise company that's having a going-out-of-business sale where absolutely everything must go. It's hard not to suspect that up-close, they look worse, but saying so too emphatically would be tempting fate to reveal to me that the friendly woman whose dog I petted yesterday was, in fact, Sacha Baron Cohen.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Sketch shows — ones with short segments like this, even if made differently — are often inconsistent. That's the central trait of \u003cem>Saturday Night Live\u003c/em>, too. In the premiere episode, there were three weak, uninspired pieces and one that was a solid hit. How much you want to watch this show will depend on how you feel about that ratio and how much patience you have for how funny Cohen thinks he is.\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=Sacha+Baron+Cohen+Is+Hit-And-Miss+In+%27Who+Is+America%3F%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sacha Baron Cohen has two basic shticks that he uses in his new Showtime show \u003ca href=\"https://www.imdb.com/title/tt8679236/?ref_=fn_al_tt_1\">\u003cem>Who is America?\u003c/em>\u003c/a>, which premiered Sunday night. One of them works well, and the other one doesn't. Unfortunately, of the four segments in the premiere, he uses the effective strategy once and the ineffective one three times.\u003c/p>\n\u003cp>Those unfamiliar with Cohen's past work in films like \u003ca href=\"https://www.imdb.com/title/tt0443453/?ref_=fn_al_tt_1\">\u003cem>Borat \u003c/em>\u003c/a>and \u003ca href=\"https://www.imdb.com/title/tt0889583/?ref_=fn_al_tt_1\">\u003cem>Brüno \u003c/em>\u003c/a>need only to know that what he does, in short, is interview (and interact with) people while inhabiting various absurd alter egos. It's a prank show, for all intents and purposes.\u003c/p>\n\u003cp>The more effective incarnation of this routine happens when he persuades powerful people that whatever persona he's adopted is an \u003cem>ally\u003c/em> of theirs, and then he pulls them along, gently, gently, while they agree with, say, and do more and more outrageous things.\u003c/p>\n\u003cp>That's what he does in the last and longest segment — the one you'll be hearing about — in which he poses as an Israeli \"terrorism expert\" named Col. Erran Morad who's pitching a program called \"Kinderguardians.\" The Kinderguardians program, he says to those whose support he's seeking, trains children as young as three or four to carry guns in school to protect against school shootings.\u003c/p>\n\u003cp>In his tough-guy drag that features a walk so unlikely you'd only see it in a Monty Python sketch, Cohen meets up with gun enthusiasts Philip Van Cleave, president of the Virginia Citizens Defense League, and Larry Pratt, the Executive Director Emeritus of Gun Owners of America. Both swallow the bait and then suck up a couple more feet of line. Pratt eventually laughs heartily at Cohen's stories of marital rape, an innocent Muslim shot while praying, and plenty more. Van Cleave, meanwhile, participates in a children's instructional video showcasing guns that are disguised as stuffed animals. He even sings a little song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QkXeMoBPSDk'\n title='//www.youtube.com/embed/QkXeMoBPSDk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What makes the bit effective is that the targets are active, and it is their behavior that creates both the shock and the laughs. The other three segments all involve people patiently tolerating someone they clearly believe is a crackpot while Cohen keeps the spotlight on himself. When that happens, the strength of the piece relies entirely on Cohen's own comedy. And that's generally not enough.\u003c/p>\n\u003cp>The first segment of the premiere is little more than Bernie Sanders, an elected official, doing what elected officials have been doing since the dawn of time — listening to people and dealing with them diplomatically even when they clearly don't know what they're talking about. Cohen's persona in the segment is a caricatured clueless yahoo named Billy Wayne Ruddick, Jr., PhD, who comes from an internet site called Truthbrary.org. (Like liiiiiibrarry. Get it?) Ruddick spouts ridiculous information he claims to have gotten from various unreliable sources while Sanders wonders when he can leave, and that's about all there is to it. Surely, Cohen knows that he is not the longtime senator's first weirdo. The weirdo truck, in fact, has probably been making stops in nearly every D.C. office for decades to drop its wares.\u003c/p>\n\u003cp>In the second segment, Cohen dons his NPR T-shirt (branding!) for essentially the same send-up of hippie liberals that people have been doing since hippie liberal clichés were invented. He plays a super-earnest, balding \u003cem>and \u003c/em>ponytailed, middle-aged guy who greets you with \"Namaste,\" then introduces himself by saying, \"I'm a cisgender white heterosexual male. For which I apologize.\" (I'm sorry to say that these indeed are the jokes, folks.) He sits down for an elegant dinner at the home of a couple of well-off Trump voters to try to understand them. But here, Cohen isn't using the strategy he does in the gun segment. He's presenting himself as an interloper — as someone they would expect not to like.\u003c/p>\n\u003cp>Thus, they're fully on their guard, and as he presents more and more ridiculous stories of how his family makes their daughter pee standing up and \"free bleed\" on the American flag, all they do is sit there and try not to react. And nothing they do, really, is funny. Assuming they really buy that all this is real — which I am not sure they do — what they're experiencing a bunch of stereotypes being confirmed by a guy who's intentionally acting out stereotypes. There's not really any tension in the segment; it's just Cohen doing the same chanting/kale/tote bag business that has been done many, many, many times before.\u003c/p>\n\u003cp>The third segment is the one that's the most distasteful, and not because it's the one that relies on Cohen's well-established fondness for gross-outs. He plays a man recently released from a long prison stint who comes to an appointment at an art gallery to show his work. The woman, identified only as \"Christy,\" goes from curious to mildly amused to having a severe case of \"this is going to be a great story I can tell later\" as Cohen's character explains how he learned in prison to make art from his own various bodily secretions.\u003c/p>\n\u003cp>What makes it distasteful isn't that part — that part is standard har-dee-har juvenile stuff, quite tame for Sacha Baron Cohen, actually. What's obnoxious is that the segment ends with what Cohen seems to think is an abject sexual humiliation — that he's gotten this woman to debase herself almost as much as he thinks Van Cleave did when he showed a preschooler how to shoot a gun with the head of a stuffed puppy on it. This humiliation is what he considers fitting punishment for, I guess, the fact that she was pretentious about art? That Christy seems utterly unperturbed by it, and that he's probably not by a longshot the most eccentric person who's ever tried to show art to her, barely matters.\u003c/p>\n\u003cp>It's worth noting that what Cohen is doing doesn't always work. Florida Rep. Matt Gaetz, for instance, looks to be onto Cohen's \"terrorism expert\" from the jump, asking whether the guy really thinks he's going to say on camera that he favors giving guns to three- and four-year-olds. But not all are so skeptical. Former Senator Trent Lott and others at least appear — and the role of editing and story control is always important to keep in mind — to sign on enthusiastically to at least a consideration of giving guns to, in Lott's words as he seemingly reads from a script, \"highly trained preschoolers.\" It's Pratt who gets the most conventionally pranked, though, persuaded to recite a script that says Blink-182 is a pheromone and the \u003cem>rita ora \u003c/em>is part of the liver.\u003c/p>\n\u003cp>That part's pretty funny.\u003c/p>\n\u003cp>(On a side note, it's a little surprising that anyone is fooled by some of these makeup jobs, to be honest, since some of them look like ads for a mail-order disguise company that's having a going-out-of-business sale where absolutely everything must go. It's hard not to suspect that up-close, they look worse, but saying so too emphatically would be tempting fate to reveal to me that the friendly woman whose dog I petted yesterday was, in fact, Sacha Baron Cohen.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sketch shows — ones with short segments like this, even if made differently — are often inconsistent. That's the central trait of \u003cem>Saturday Night Live\u003c/em>, too. In the premiere episode, there were three weak, uninspired pieces and one that was a solid hit. How much you want to watch this show will depend on how you feel about that ratio and how much patience you have for how funny Cohen thinks he is.\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=Sacha+Baron+Cohen+Is+Hit-And-Miss+In+%27Who+Is+America%3F%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A new film about Robin Williams begins with his appearance on \u003cem>Inside the Actors Studio \u003c/em>with James Lipton. Lipton says: \"How do you explain the mental reflexes that you deploy with such awesome speed? Are you thinking faster than the rest of us? What the hell is going on?\" Williams first makes a goggle-eyed face, but then he falls over sideways, like an embarrassed kid, curling up and cackling. And then, of course, he does precisely the thing Lipton is asking about: a flurry of movements, voices, bits, fragments of thoughts flying by — fragments riffing on his own thinking. Even when he was cringing at being called out on it, he couldn't not do it.\u003c/p>\n\u003cp>That cackle, too, is so much a part of him. The man had a great, percussive laugh; a \u003cem>ha-ha-ha\u003c/em> you hear most clearly in the film when his mother pulls a rubber band out of her nose.\u003c/p>\n\u003cp>[contextly_sidebar id=\"lwXJlSozmqjwok3e5gB1qBXRTCqUm2UM\"]\u003c/p>\n\u003cp>A pure biography of Robin Williams might well not tell us anything we didn't already know: He was an explosively brilliant stand-up comedian, then a sitcom actor, then a movie actor, then an Oscar winner. He was always a man of many appearances here and there, and then, startlingly, he died from suicide in 2014. Williams has an almost Forrest-Gump-ish relationship with entertainment in both bright and dark ways: He was dear friends with Christopher Reeve before Reeve was in \u003cem>Superman\u003c/em>. He was with John Belushi on the night Belushi died. He was on Johnny Carson's last \u003cem>real\u003c/em> show — the one with Bette Midler, the second-to-last one, before the farewell. He is a thread woven through the comedy and film culture of the '80s through the aughts, and yet he always seemed a bit inaccessible.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=caIFNg_JRL4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The HBO documentary, called \u003ca href=\"https://www.imdb.com/title/tt7689966/?ref_=nv_sr_1\">\u003cem>Come Inside My Mind\u003c/em>,\u003c/a> directed by Marina Zenovich, wisely takes a less expansive and more specific approach than a chapter-by-chapter biography. The film is, just as the title suggests, an effort to document not just what Williams' talents were and what his challenges were, but the particular operation of his mind, linking some of his talents with some of his struggles without romanticizing his addiction or any of his other troubles. Parts of it are funny, parts of it are sad \u003cem>and \u003c/em>funny (like watching him crack up Philip Seymour Hoffman on the set of \u003ca href=\"https://www.imdb.com/title/tt0129290/?ref_=fn_al_tt_1\">\u003cem>Patch Adams\u003c/em>\u003c/a>), and parts of it are just sad.\u003c/p>\n\u003cp>One telling interview features David Letterman, in his old and beardy current incarnation, explaining that when he and Williams were in the same stand-up scene as very young guys, everyone else knew that whatever they were doing — and it was completely different from what Williams was doing. His speed, his energy, his fearlessness, his relentlessness — it was not even what most comics wanted to do, but even if they did, they just weren't built for it.\u003c/p>\n\u003cp>Perhaps that's what the film suggests about Williams' life: In good and bad ways, he lived the life he was built for. Maybe the only one he could. The film posits that in large part, his mind just \u003cem>went\u003c/em>; that's what you were seeing when he was on stage. It's not that he didn't craft things, but he crafted things to let that energy out, and to direct it somewhere. The always-on nature of his persona wasn't a choice as much as a careful optimization of where his mind would take him anyway.\u003c/p>\n\u003cp>[contextly_sidebar id=\"G0L4VjgNKccj282WB30UvDb3LpDBxdOt\"]\u003c/p>\n\u003cp>Writer-director Mark Romanek worked with Williams in 2002's \u003ca href=\"https://www.imdb.com/title/tt0265459/?ref_=nv_sr_1\">\u003cem>One Hour Photo\u003c/em>\u003c/a>, one of the actor's first ventures into true and deep creepiness, but not his last. Romanek points out that Williams goofed around between takes even while playing a disturbed, dangerous stalker, in part because he had to \"get it out of his system.\" In fact, Romanek says, the off-camera goofing around would create a sort of coiled spring of energy that could then give a \"patina of weirdness\" to the dramatic scenes.\u003c/p>\n\u003cp>It's clear when people — Williams' first wife, his son, his close friends like Billy Crystal — talk about Williams, they do it knowing that there was deep pain in him, which came from feelings of worthlessness and an insatiable need to please people. His descriptions of hearing both his father and his acting teacher, John Houseman, laugh make it clear just how powerful that reaction was for him and how he craved it.\u003c/p>\n\u003cp>The pain and the brilliance, just like the goofing around and the dramatic work in \u003cem>One Hour Photo\u003c/em>, circled each other like a little binary star. It's very easy for that to devolve in creative portraits into \"depression is what makes creative people brilliant\" or \"poets need their addictions,\" but that's not what anyone here is saying. They're just saying it's who he was. For him, these things seemed of a piece. That's one of the things that made parts of his life so difficult.\u003c/p>\n\u003cp>Furthermore — and critically — examining his thinking does \u003cem>not\u003c/em> necessarily mean endeavoring to explain his suicide. That might seem counter-intuitive, as if a brilliant person's suicide is the thing any decent deep exploration of his being has to be able to account for. But as complicated as all such cases are to explain, his might be even more so. The documentary discusses Williams' diagnosis with Parkinson's disease late in his life, but also that his autopsy revealed signs of Lewy body dementia (LBD), which alters thinking and can even lead to hallucinations. It would be folly to try to draw a direct line of rational reasoning from the pains of a whole life to a suicide, sussing out lines of causation, when other medical issues had intervened. \"His brain was giving him misinformation,\" as his friend Bobcat Goldthwait says in the film.\u003c/p>\n\u003cp>We have an incomplete understanding of the mind; at some point in the future, we'll likely develop a much clearer sense of just how limited that understanding is. Today, if you were to compare it to a map of the United States, we know where the Rockies are, and the Mississippi, and we know the shape of the coast and how Florida protrudes, and where it's dotted with lakes. We know a lot. But there are unmapped mountains people abruptly discover only when they find they're walking steeply uphill. And there are places that so few people have ever visited that we just strain to understand by reading the notes they've left us. There was, indeed, something about the way Robin Williams' mind worked that the people who knew him and worked with him and loved him had never quite seen. And the film does a good job of convincing you they were right as to its uniqueness, and that he was as vexed by it as they were.\u003c/p>\n\u003cp>I was struck, at the end of the film, by the clarity of the impression it left, not as to Williams' work, but as to his struggles. I found myself thinking, \"I think he really tried the best he could.\" He was a curious and reflective man — his \u003ca href=\"http://www.wtfpod.com/podcast/episode-926-dave-itzkoff-robin-williams-from-2010\">conversation with Marc Maron for the \u003cem>WTF\u003c/em> podcast in 2010\u003c/a> is one of the best examples of his truly analytical side — and he really, really wanted to live better. He even talks, right near the end of that discussion, about suicidal thoughts. (I would be remiss not to mention, for those who want to know even more, that Maron also recently spoke about Williams with Dave Itzkoff, who wrote a biography of Williams called \u003ca href=\"https://www.amazon.com/Robin-Dave-Itzkoff/dp/1627794247\">\u003cem>Robin \u003c/em>\u003c/a>that's gotten great notices.)\u003c/p>\n\u003cp>If you've only heard Robin Williams \"on\" in that way people mean when they say \"always on,\" you might be surprised, in the Maron conversation or in the documentary, by the gentleness of his speaking voice. He has an almost meditative cadence at times. He was fascinated by the work of Oliver Sacks and the operation of the mind. He thought a lot about humanity, his and other people's. \"He felt everything,\" says one woman who worked with him.\u003c/p>\n\u003cp>And, as Billy Crystal says, \"He needed that little extra hug you can only get from strangers.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Robin Williams: Come Inside My Mind\u003c/strong>\u003c/em>\u003cstrong> airs Monday, July 16th, at 8:00 p.m. ET on HBO.\u003c/strong>\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=Exploring%2C+Not+Explaining%2C+The+Mind+Of+Robin+Williams&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new film about Robin Williams begins with his appearance on \u003cem>Inside the Actors Studio \u003c/em>with James Lipton. Lipton says: \"How do you explain the mental reflexes that you deploy with such awesome speed? Are you thinking faster than the rest of us? What the hell is going on?\" Williams first makes a goggle-eyed face, but then he falls over sideways, like an embarrassed kid, curling up and cackling. And then, of course, he does precisely the thing Lipton is asking about: a flurry of movements, voices, bits, fragments of thoughts flying by — fragments riffing on his own thinking. Even when he was cringing at being called out on it, he couldn't not do it.\u003c/p>\n\u003cp>That cackle, too, is so much a part of him. The man had a great, percussive laugh; a \u003cem>ha-ha-ha\u003c/em> you hear most clearly in the film when his mother pulls a rubber band out of her nose.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A pure biography of Robin Williams might well not tell us anything we didn't already know: He was an explosively brilliant stand-up comedian, then a sitcom actor, then a movie actor, then an Oscar winner. He was always a man of many appearances here and there, and then, startlingly, he died from suicide in 2014. Williams has an almost Forrest-Gump-ish relationship with entertainment in both bright and dark ways: He was dear friends with Christopher Reeve before Reeve was in \u003cem>Superman\u003c/em>. He was with John Belushi on the night Belushi died. He was on Johnny Carson's last \u003cem>real\u003c/em> show — the one with Bette Midler, the second-to-last one, before the farewell. He is a thread woven through the comedy and film culture of the '80s through the aughts, and yet he always seemed a bit inaccessible.\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/caIFNg_JRL4'\n title='//www.youtube.com/embed/caIFNg_JRL4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The HBO documentary, called \u003ca href=\"https://www.imdb.com/title/tt7689966/?ref_=nv_sr_1\">\u003cem>Come Inside My Mind\u003c/em>,\u003c/a> directed by Marina Zenovich, wisely takes a less expansive and more specific approach than a chapter-by-chapter biography. The film is, just as the title suggests, an effort to document not just what Williams' talents were and what his challenges were, but the particular operation of his mind, linking some of his talents with some of his struggles without romanticizing his addiction or any of his other troubles. Parts of it are funny, parts of it are sad \u003cem>and \u003c/em>funny (like watching him crack up Philip Seymour Hoffman on the set of \u003ca href=\"https://www.imdb.com/title/tt0129290/?ref_=fn_al_tt_1\">\u003cem>Patch Adams\u003c/em>\u003c/a>), and parts of it are just sad.\u003c/p>\n\u003cp>One telling interview features David Letterman, in his old and beardy current incarnation, explaining that when he and Williams were in the same stand-up scene as very young guys, everyone else knew that whatever they were doing — and it was completely different from what Williams was doing. His speed, his energy, his fearlessness, his relentlessness — it was not even what most comics wanted to do, but even if they did, they just weren't built for it.\u003c/p>\n\u003cp>Perhaps that's what the film suggests about Williams' life: In good and bad ways, he lived the life he was built for. Maybe the only one he could. The film posits that in large part, his mind just \u003cem>went\u003c/em>; that's what you were seeing when he was on stage. It's not that he didn't craft things, but he crafted things to let that energy out, and to direct it somewhere. The always-on nature of his persona wasn't a choice as much as a careful optimization of where his mind would take him anyway.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Writer-director Mark Romanek worked with Williams in 2002's \u003ca href=\"https://www.imdb.com/title/tt0265459/?ref_=nv_sr_1\">\u003cem>One Hour Photo\u003c/em>\u003c/a>, one of the actor's first ventures into true and deep creepiness, but not his last. Romanek points out that Williams goofed around between takes even while playing a disturbed, dangerous stalker, in part because he had to \"get it out of his system.\" In fact, Romanek says, the off-camera goofing around would create a sort of coiled spring of energy that could then give a \"patina of weirdness\" to the dramatic scenes.\u003c/p>\n\u003cp>It's clear when people — Williams' first wife, his son, his close friends like Billy Crystal — talk about Williams, they do it knowing that there was deep pain in him, which came from feelings of worthlessness and an insatiable need to please people. His descriptions of hearing both his father and his acting teacher, John Houseman, laugh make it clear just how powerful that reaction was for him and how he craved it.\u003c/p>\n\u003cp>The pain and the brilliance, just like the goofing around and the dramatic work in \u003cem>One Hour Photo\u003c/em>, circled each other like a little binary star. It's very easy for that to devolve in creative portraits into \"depression is what makes creative people brilliant\" or \"poets need their addictions,\" but that's not what anyone here is saying. They're just saying it's who he was. For him, these things seemed of a piece. That's one of the things that made parts of his life so difficult.\u003c/p>\n\u003cp>Furthermore — and critically — examining his thinking does \u003cem>not\u003c/em> necessarily mean endeavoring to explain his suicide. That might seem counter-intuitive, as if a brilliant person's suicide is the thing any decent deep exploration of his being has to be able to account for. But as complicated as all such cases are to explain, his might be even more so. The documentary discusses Williams' diagnosis with Parkinson's disease late in his life, but also that his autopsy revealed signs of Lewy body dementia (LBD), which alters thinking and can even lead to hallucinations. It would be folly to try to draw a direct line of rational reasoning from the pains of a whole life to a suicide, sussing out lines of causation, when other medical issues had intervened. \"His brain was giving him misinformation,\" as his friend Bobcat Goldthwait says in the film.\u003c/p>\n\u003cp>We have an incomplete understanding of the mind; at some point in the future, we'll likely develop a much clearer sense of just how limited that understanding is. Today, if you were to compare it to a map of the United States, we know where the Rockies are, and the Mississippi, and we know the shape of the coast and how Florida protrudes, and where it's dotted with lakes. We know a lot. But there are unmapped mountains people abruptly discover only when they find they're walking steeply uphill. And there are places that so few people have ever visited that we just strain to understand by reading the notes they've left us. There was, indeed, something about the way Robin Williams' mind worked that the people who knew him and worked with him and loved him had never quite seen. And the film does a good job of convincing you they were right as to its uniqueness, and that he was as vexed by it as they were.\u003c/p>\n\u003cp>I was struck, at the end of the film, by the clarity of the impression it left, not as to Williams' work, but as to his struggles. I found myself thinking, \"I think he really tried the best he could.\" He was a curious and reflective man — his \u003ca href=\"http://www.wtfpod.com/podcast/episode-926-dave-itzkoff-robin-williams-from-2010\">conversation with Marc Maron for the \u003cem>WTF\u003c/em> podcast in 2010\u003c/a> is one of the best examples of his truly analytical side — and he really, really wanted to live better. He even talks, right near the end of that discussion, about suicidal thoughts. (I would be remiss not to mention, for those who want to know even more, that Maron also recently spoke about Williams with Dave Itzkoff, who wrote a biography of Williams called \u003ca href=\"https://www.amazon.com/Robin-Dave-Itzkoff/dp/1627794247\">\u003cem>Robin \u003c/em>\u003c/a>that's gotten great notices.)\u003c/p>\n\u003cp>If you've only heard Robin Williams \"on\" in that way people mean when they say \"always on,\" you might be surprised, in the Maron conversation or in the documentary, by the gentleness of his speaking voice. He has an almost meditative cadence at times. He was fascinated by the work of Oliver Sacks and the operation of the mind. He thought a lot about humanity, his and other people's. \"He felt everything,\" says one woman who worked with him.\u003c/p>\n\u003cp>And, as Billy Crystal says, \"He needed that little extra hug you can only get from strangers.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Robin Williams: Come Inside My Mind\u003c/strong>\u003c/em>\u003cstrong> airs Monday, July 16th, at 8:00 p.m. ET on HBO.\u003c/strong>\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=Exploring%2C+Not+Explaining%2C+The+Mind+Of+Robin+Williams&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Truck, the Choice and the 'Handmaid's Tale' Finale",
"title": "The Truck, the Choice and the 'Handmaid's Tale' Finale",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\u003cstrong>This review of the second-season finale of \u003c/strong>\u003cem>\u003cstrong>The Handmaid's Tale \u003c/strong>\u003c/em>\u003cstrong>discusses in detail what happens in the second-season finale of \u003c/strong>\u003cem>\u003cstrong>The Handmaid's Tale\u003c/strong>\u003c/em>\u003cstrong>. \u003c/strong>\u003c/p>\n\u003cp>The sound of the second season of Hulu's \u003cem>The Handmaid's Tale \u003c/em>coming to an end was the sound of a balloon, expertly inflated to the point where it seemed about to break, being let go so that it releases its tension in a long, anticlimactic raspberry.\u003c/p>\n\u003cp>\u003cem>She didn't go. \u003c/em>For two seasons, June's goals have been to get her daughter and get the blessed fruit out of Gilead. But in the past — in the first season, when she tried to flee by train, and in the second season, when she escaped to the \u003cem>Boston Globe \u003c/em>offices, and later in the second season, when she tried to escape in a plane, and even later, when she tried to escape in a car — she has understood that the first order of business was to get out of Gilead, where she couldn't help Hannah. She has watched other Gilead women be raped, beaten, mutilated, and murdered. She has now seen Serena, who has as much power in this society as any woman can, attempt to work, with great civility, within the system and lose a finger for it. She has a baby to protect whom the Waterfords, Fred and Serena, have stolen from her — the baby she calls Holly and Serena calls Nicole.\u003c/p>\n\u003cp>Still, when a group of Marthas — women whose status isn't much higher than hers — risk their lives to smuggle June out; when she reunites with Emily, her one real remaining friend; when the back of that truck opens and an opportunity emerges for June to flee with her baby and find her husband in a place where she will not be brutalized, where she might actually be able to do something to help her daughter get out of Gilead, she just ... \u003cem>doesn't go\u003c/em>. She hands over the baby to Emily, puts her hood up, and walks off into the city like a bad-ass in an action movie.\u003c/p>\n\u003cp>\u003cem>That's it? \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She was never going to go, all this time? Because Hannah was still in Gilead, June was never going to go? And she just realized it \u003cem>now\u003c/em>? She has lived for the chance to escape and reunite with her family for what seems to be a couple of years in show time, and only when crouched in a ditch with an infant did she decide she wouldn't actually go without Hannah? She had never considered this complication during any of her previous escape attempts?\u003c/p>\n\u003cp>This doesn't play as a satisfying story beat, and it therefore plays as yet another way for this show to demonstrate that \u003cem>The Adventures of Sisyphus \u003c/em>would not be a good television show. If the inescapability of Gilead is the one central truth of the show, then trying to build the central tension of the show from the possibility of rebellion and escape has been a fool's errand and a treacherous fake-out, and it's beginning to look like exactly that.\u003c/p>\n\u003cp>At the end of last season, it looked like the Handmaids were rebelling, but a few episodes later, the situation had largely reverted to its previous state. At one point this season, June seemed to have escaped to a house where she found a car, but almost immediately, she ended up back in the Waterfords' house. She has been caught, thwarted, captured over and over, with the tantalizing possibility that she will manage to escape dangled as the payoff that may or may not ever come, and then it actually happens, she actually makes it, and she looks at the open back of a truck and says, \"Nah\"?\u003c/p>\n\u003cp>Oh, yes, she wants to save Hannah. The flashback, lit with gold, reminds you how much. But there's no indication that Gilead is crumbling, only that individuals are escaping. Why on earth will \u003cem>staying here\u003c/em> help? An electric guitar and yet another shot of Elisabeth Moss' eyes looking nearly crazed are insufficient to suggest that we are on a path forward rather than backward. It's entirely possible that there is a plan for what the next season will be where it won't just rely on a reversion to June as a Handmaid — the same reset, complete with shedding but then again donning the bonnet and dress — that has already happened more than once. But for now? Yes, it looks like a reversion, based around June making a decision that the show hasn't justified. It makes sense that she would die to save Hannah, of course, but it doesn't make any sense that she would think Handmaid June would have a chance to do that, compared to a hypothetical Escaped June who might be able to tell her story, and the story of the Marthas and Handmaids and Unwomen.\u003c/p>\n\u003cp>Without any explanation of why June is doing this, it's too easy for it to appear that the reason she's doing it is ... to keep the show going. It may have been a mistake to extend the series past the first season, past the end of Margaret Atwood's novel. But it would emphatically be a mistake to let it devolve into a dystopian version of a will-they-or-won't-they romance, where you get so so so close and then ... no. And then so so so close and then ... no. Because in the end, those stories are only satisfying if you get your big kiss at the end, which would here be an undoing of Gilead by, maybe, the United Nations? Rescue, at a level that would make all of this work out in a satisfying way at the end, is what qualifies, in dystopian terms, as selling out.\u003c/p>\n\u003cp>But over and above the unsatisfying ending, this season also attempted to bend sympathies well beyond any conceivable breaking point. Of all the ding-dong things this show or \u003cem>any \u003c/em>show will ever ask you to believe, it is among the ding-dong-iest that June gives baby Holly to her friend Emily, perhaps never to see the child again, and says, \"Call her Nicole.\" \u003cem>Call her Nicole? \u003c/em>This is out of sympathy for Serena? Serena, who stole this baby from her? Who held her down while she was raped? Who physically abused her? Who decided to participate actively in the dehumanization of and violence toward others and then had a weepy moment of \"conscience\" once it was \u003cem>her \u003c/em>being struck, \u003cem>her \u003c/em>finger being cut off? For this, June wants this child to be forever called by the name given her by her mother's abusers? The same June who carved NOLITE TE BASTARDES CARBORUNDORUM into the wall of the house on her way out so that Fred could see it? This same June has so softened toward Serena that she wants the baby to carry the name she got from Serena and Fred?\u003c/p>\n\u003cp>This \"Serena isn't all bad\" angle flared up in the previous episode too, when Serena allowed June to nurse Holly, the daughter Serena and Fred forced her to conceive and carry, who they took away from June at birth. Serena seemed to consider this — and perhaps June did, too — an act of kindness, as if interrupting a kidnapping in progress to allow a moment of contact is a flash of decency rather than something very much less than the very least a decent person would do. Fred had done the same earlier in the season with June's older daughter Hannah, allowing her a brief visit with the child he was entirely complicit in keeping from her.\u003c/p>\n\u003cp>They are trying to complicate the narrative, certainly. But it is a bridge too far to narratively urge sympathy for someone who would crush those under her and actively participate in their imprisonment, their rape, and their suffering, simply because she eventually suffered a fraction of that suffering herself. There are a lot of ways to feel about an attitude of \"I never thought this society's suffering would become\u003cem> mine\u003c/em>, but now it is, so now I don't like it anymore.\" But \"aw, she's not so bad\" isn't one of them.\u003c/p>\n\u003cp>In a multitude of ways, Emily's story in this episode is vastly more satisfying and interesting than June's. Emily finds herself living with a new commander, Joseph, played by Bradley Whitford. He seems weird. He seems creepy. He chooses not to carry out the ritual rape \"ceremony,\" a decision that almost seems more ominous than if he had. Emily is near a breakdown when Aunt Lydia shows up the next morning and makes the mistake of calling Emily a degenerate and reminding her of the way she was mutilated. Emily, in response, unleashing two seasons worth of rage, stabs Lydia, throws her down the stairs, and kicks the living hell out of her — not literally, but truly, in more ways than one.\u003c/p>\n\u003cp>Alexis Bledel gives a brilliant performance in the moments after Lydia's grave injuries are discovered, when Emily seems overjoyed, terrified and sad all at once. Emily knows that she has finally gotten some measure of blunt, desperate justice, but she also knows she will probably die for it. And when she's rushed off in the car with Joseph, he blasts Annie Lennox's \"Walking On Broken Glass,\" a strangely upbeat selection that she can barely tolerate as she waits to learn her fate. To her surprise, he takes her off to her escape.\u003c/p>\n\u003cp>That story is satisfying, not because it (so far) ends with escape, but because it moves. Where June implausibly starts feeling sorry for Serena, Emily doesn't just stab her tormentor and abuser; she shoves her down the stairs, kicks her, and opens her own psychic wounds in a way that seems meaningful. Joseph emerges as an unexpected ally whose behavior is a true surprise. And his behavior, by the way, neatly undermines any sympathy for Serena. Decent people do not go along, floating on the power they have in an unjust society as long as the brutality is only for others. Decent people take risks rather than become complicit. Serena is not decent because she finally got around to drawing a line when the blood that was spilled and the humanity that was degraded was hers. Any pedestrian coward will do that.\u003c/p>\n\u003cp>And June? June would know this. June would look at Serena's tears and see them for what they are: too little, too late, too self-indulgent, and too self-pitying. As Serena has just learned, the brutality you build, the authoritarian state you nestle into? It will come for you too, and that's why the decent and the pragmatic sometimes wind up playing on the same team. But late-arriving pragmatists do not deserve the sympathy of those they've abused.\u003c/p>\n\u003cp>Ultimately, the finale muddles the entire story we've heard up to this point. That walk away from the truck with the guitar grinding and the hood fully up is a perplexing piece of imagery that seems determined to glamorize June's decision not to leave — to make it an iconic moment of toughness. But there is nothing weak about becoming a refugee from violence. Everything we know about June suggests that she knows perfectly well she can do nothing from here, from this place where she is shackled and tracked. It's one thing for June to lose and lose and lose at the game of escape, but it's another to suggest that what really shows her grit is that she volunteers for a life of being tortured with no plan to reunite with either of her children. The agony of oppressive regimes is not reducible to a moment in which an individual decides to stand alone against them and an audience cheers. If we should have learned anything from this show, it is that the will of individuals is, in fact, breakable by an army backed by weak bullies like Fred and complacent, ethically empty vessels like Serena.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Without some narrative purpose, what is all this for? The suffering, the violence, the rape scenes, the blood, the stoning, the drowning — what is it for? The first season was an unsettling examination of what an authoritarian theocracy might look like. But now we seem to just be circling that society, spying on it with something like prurience, watching it kill and violate. We had a chance to see outside of it, to see what the rest of the world is doing while all of this is going on. But it is not to be, at least for now.\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+Truck%2C+The+Choice+And+The+%27Handmaid%27s+Tale%27+Finale&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The second season finale of 'The Handmaid's Tale' brought some truths about the series into sharp focus. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>This review of the second-season finale of \u003c/strong>\u003cem>\u003cstrong>The Handmaid's Tale \u003c/strong>\u003c/em>\u003cstrong>discusses in detail what happens in the second-season finale of \u003c/strong>\u003cem>\u003cstrong>The Handmaid's Tale\u003c/strong>\u003c/em>\u003cstrong>. \u003c/strong>\u003c/p>\n\u003cp>The sound of the second season of Hulu's \u003cem>The Handmaid's Tale \u003c/em>coming to an end was the sound of a balloon, expertly inflated to the point where it seemed about to break, being let go so that it releases its tension in a long, anticlimactic raspberry.\u003c/p>\n\u003cp>\u003cem>She didn't go. \u003c/em>For two seasons, June's goals have been to get her daughter and get the blessed fruit out of Gilead. But in the past — in the first season, when she tried to flee by train, and in the second season, when she escaped to the \u003cem>Boston Globe \u003c/em>offices, and later in the second season, when she tried to escape in a plane, and even later, when she tried to escape in a car — she has understood that the first order of business was to get out of Gilead, where she couldn't help Hannah. She has watched other Gilead women be raped, beaten, mutilated, and murdered. She has now seen Serena, who has as much power in this society as any woman can, attempt to work, with great civility, within the system and lose a finger for it. She has a baby to protect whom the Waterfords, Fred and Serena, have stolen from her — the baby she calls Holly and Serena calls Nicole.\u003c/p>\n\u003cp>Still, when a group of Marthas — women whose status isn't much higher than hers — risk their lives to smuggle June out; when she reunites with Emily, her one real remaining friend; when the back of that truck opens and an opportunity emerges for June to flee with her baby and find her husband in a place where she will not be brutalized, where she might actually be able to do something to help her daughter get out of Gilead, she just ... \u003cem>doesn't go\u003c/em>. She hands over the baby to Emily, puts her hood up, and walks off into the city like a bad-ass in an action movie.\u003c/p>\n\u003cp>\u003cem>That's it? \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She was never going to go, all this time? Because Hannah was still in Gilead, June was never going to go? And she just realized it \u003cem>now\u003c/em>? She has lived for the chance to escape and reunite with her family for what seems to be a couple of years in show time, and only when crouched in a ditch with an infant did she decide she wouldn't actually go without Hannah? She had never considered this complication during any of her previous escape attempts?\u003c/p>\n\u003cp>This doesn't play as a satisfying story beat, and it therefore plays as yet another way for this show to demonstrate that \u003cem>The Adventures of Sisyphus \u003c/em>would not be a good television show. If the inescapability of Gilead is the one central truth of the show, then trying to build the central tension of the show from the possibility of rebellion and escape has been a fool's errand and a treacherous fake-out, and it's beginning to look like exactly that.\u003c/p>\n\u003cp>At the end of last season, it looked like the Handmaids were rebelling, but a few episodes later, the situation had largely reverted to its previous state. At one point this season, June seemed to have escaped to a house where she found a car, but almost immediately, she ended up back in the Waterfords' house. She has been caught, thwarted, captured over and over, with the tantalizing possibility that she will manage to escape dangled as the payoff that may or may not ever come, and then it actually happens, she actually makes it, and she looks at the open back of a truck and says, \"Nah\"?\u003c/p>\n\u003cp>Oh, yes, she wants to save Hannah. The flashback, lit with gold, reminds you how much. But there's no indication that Gilead is crumbling, only that individuals are escaping. Why on earth will \u003cem>staying here\u003c/em> help? An electric guitar and yet another shot of Elisabeth Moss' eyes looking nearly crazed are insufficient to suggest that we are on a path forward rather than backward. It's entirely possible that there is a plan for what the next season will be where it won't just rely on a reversion to June as a Handmaid — the same reset, complete with shedding but then again donning the bonnet and dress — that has already happened more than once. But for now? Yes, it looks like a reversion, based around June making a decision that the show hasn't justified. It makes sense that she would die to save Hannah, of course, but it doesn't make any sense that she would think Handmaid June would have a chance to do that, compared to a hypothetical Escaped June who might be able to tell her story, and the story of the Marthas and Handmaids and Unwomen.\u003c/p>\n\u003cp>Without any explanation of why June is doing this, it's too easy for it to appear that the reason she's doing it is ... to keep the show going. It may have been a mistake to extend the series past the first season, past the end of Margaret Atwood's novel. But it would emphatically be a mistake to let it devolve into a dystopian version of a will-they-or-won't-they romance, where you get so so so close and then ... no. And then so so so close and then ... no. Because in the end, those stories are only satisfying if you get your big kiss at the end, which would here be an undoing of Gilead by, maybe, the United Nations? Rescue, at a level that would make all of this work out in a satisfying way at the end, is what qualifies, in dystopian terms, as selling out.\u003c/p>\n\u003cp>But over and above the unsatisfying ending, this season also attempted to bend sympathies well beyond any conceivable breaking point. Of all the ding-dong things this show or \u003cem>any \u003c/em>show will ever ask you to believe, it is among the ding-dong-iest that June gives baby Holly to her friend Emily, perhaps never to see the child again, and says, \"Call her Nicole.\" \u003cem>Call her Nicole? \u003c/em>This is out of sympathy for Serena? Serena, who stole this baby from her? Who held her down while she was raped? Who physically abused her? Who decided to participate actively in the dehumanization of and violence toward others and then had a weepy moment of \"conscience\" once it was \u003cem>her \u003c/em>being struck, \u003cem>her \u003c/em>finger being cut off? For this, June wants this child to be forever called by the name given her by her mother's abusers? The same June who carved NOLITE TE BASTARDES CARBORUNDORUM into the wall of the house on her way out so that Fred could see it? This same June has so softened toward Serena that she wants the baby to carry the name she got from Serena and Fred?\u003c/p>\n\u003cp>This \"Serena isn't all bad\" angle flared up in the previous episode too, when Serena allowed June to nurse Holly, the daughter Serena and Fred forced her to conceive and carry, who they took away from June at birth. Serena seemed to consider this — and perhaps June did, too — an act of kindness, as if interrupting a kidnapping in progress to allow a moment of contact is a flash of decency rather than something very much less than the very least a decent person would do. Fred had done the same earlier in the season with June's older daughter Hannah, allowing her a brief visit with the child he was entirely complicit in keeping from her.\u003c/p>\n\u003cp>They are trying to complicate the narrative, certainly. But it is a bridge too far to narratively urge sympathy for someone who would crush those under her and actively participate in their imprisonment, their rape, and their suffering, simply because she eventually suffered a fraction of that suffering herself. There are a lot of ways to feel about an attitude of \"I never thought this society's suffering would become\u003cem> mine\u003c/em>, but now it is, so now I don't like it anymore.\" But \"aw, she's not so bad\" isn't one of them.\u003c/p>\n\u003cp>In a multitude of ways, Emily's story in this episode is vastly more satisfying and interesting than June's. Emily finds herself living with a new commander, Joseph, played by Bradley Whitford. He seems weird. He seems creepy. He chooses not to carry out the ritual rape \"ceremony,\" a decision that almost seems more ominous than if he had. Emily is near a breakdown when Aunt Lydia shows up the next morning and makes the mistake of calling Emily a degenerate and reminding her of the way she was mutilated. Emily, in response, unleashing two seasons worth of rage, stabs Lydia, throws her down the stairs, and kicks the living hell out of her — not literally, but truly, in more ways than one.\u003c/p>\n\u003cp>Alexis Bledel gives a brilliant performance in the moments after Lydia's grave injuries are discovered, when Emily seems overjoyed, terrified and sad all at once. Emily knows that she has finally gotten some measure of blunt, desperate justice, but she also knows she will probably die for it. And when she's rushed off in the car with Joseph, he blasts Annie Lennox's \"Walking On Broken Glass,\" a strangely upbeat selection that she can barely tolerate as she waits to learn her fate. To her surprise, he takes her off to her escape.\u003c/p>\n\u003cp>That story is satisfying, not because it (so far) ends with escape, but because it moves. Where June implausibly starts feeling sorry for Serena, Emily doesn't just stab her tormentor and abuser; she shoves her down the stairs, kicks her, and opens her own psychic wounds in a way that seems meaningful. Joseph emerges as an unexpected ally whose behavior is a true surprise. And his behavior, by the way, neatly undermines any sympathy for Serena. Decent people do not go along, floating on the power they have in an unjust society as long as the brutality is only for others. Decent people take risks rather than become complicit. Serena is not decent because she finally got around to drawing a line when the blood that was spilled and the humanity that was degraded was hers. Any pedestrian coward will do that.\u003c/p>\n\u003cp>And June? June would know this. June would look at Serena's tears and see them for what they are: too little, too late, too self-indulgent, and too self-pitying. As Serena has just learned, the brutality you build, the authoritarian state you nestle into? It will come for you too, and that's why the decent and the pragmatic sometimes wind up playing on the same team. But late-arriving pragmatists do not deserve the sympathy of those they've abused.\u003c/p>\n\u003cp>Ultimately, the finale muddles the entire story we've heard up to this point. That walk away from the truck with the guitar grinding and the hood fully up is a perplexing piece of imagery that seems determined to glamorize June's decision not to leave — to make it an iconic moment of toughness. But there is nothing weak about becoming a refugee from violence. Everything we know about June suggests that she knows perfectly well she can do nothing from here, from this place where she is shackled and tracked. It's one thing for June to lose and lose and lose at the game of escape, but it's another to suggest that what really shows her grit is that she volunteers for a life of being tortured with no plan to reunite with either of her children. The agony of oppressive regimes is not reducible to a moment in which an individual decides to stand alone against them and an audience cheers. If we should have learned anything from this show, it is that the will of individuals is, in fact, breakable by an army backed by weak bullies like Fred and complacent, ethically empty vessels like Serena.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Without some narrative purpose, what is all this for? The suffering, the violence, the rape scenes, the blood, the stoning, the drowning — what is it for? The first season was an unsettling examination of what an authoritarian theocracy might look like. But now we seem to just be circling that society, spying on it with something like prurience, watching it kill and violate. We had a chance to see outside of it, to see what the rest of the world is doing while all of this is going on. But it is not to be, at least for now.\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+Truck%2C+The+Choice+And+The+%27Handmaid%27s+Tale%27+Finale&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Gillian Flynn's wildly successful \u003ca href=\"https://www.npr.org/2012/06/05/154288241/the-marriage-is-the-real-mystery-in-gone-girl\">Gone Girl\u003c/a> helped spawn a batch of best-selling mystery novels featuring complex female protagonists. That was sweet revenge for Flynn, whose first novel, \u003cem>Sharp Objects\u003c/em>, had been turned down by publishers who didn't think people wanted to read stories about less-than-perfect women. Now, \u003ca href=\"https://www.imdb.com/title/tt2649356/?ref_=nv_sr_1\">\u003cem>Sharp Objects\u003c/em>\u003c/a> has been adapted as a limited series, debuting Sunday on HBO, starring Amy Adams.\u003c/p>\n\u003cp>\"What I really wanted to write about was the darker side of the female psyche,\" Flynn says. \"You know — female violence and female rage — what made us do bad things, why we messed up, why we became violent and particularly what that looked like generationally.\"\u003c/p>\n\u003cp>That desire led Flynn to create the character of Camille Preaker, a reporter struggling with depression, alcoholism and a history of self-injury and cutting. Camille's newspaper editor sends her back to her Missouri hometown to cover the stories of two girls — one missing, one murdered. The assignment lands her back in a world dominated by her mother, a southern belle of the iron butterfly variety.\u003c/p>\n\u003cp>Flynn describes her book as a murder mystery wrapped around a character study — not just a \"whodunit\" but also a \"who is she?\" The novelist wants the audience to be as interested in understanding Camille as they are in unraveling the mystery.\u003c/p>\n\u003cp>\"You start learning that there are certain secrets and awfulness that happened to her all throughout her childhood,\" Flynn says. \"And there are certain things that she has never wanted to look at too closely. ... She inflicts this violence, this anger and this hatred upon herself.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=asX53aeBPJE\u003c/p>\n\u003cp>Jean-Marc Vallée, the director of HBO's \u003cem>Sharp Objects \u003c/em>adaptation, says Flynn has created a singular story and a singular character. \"I've never met, never seen, never heard anyone like Camille Preaker... \" he says. \"It's pretty rare... to hear someone being that honest — someone that talks about her wounds, her insecurities, her fears, her scars, her sexuality.\"\u003c/p>\n\u003cp>The screenwriters, including Flynn, deliberately decided not to use a voiceover for Camille. Instead the audience sees flashbacks — shards of memories that only gradually come together to create a fuller picture of the past. As Camille's past starts to merge with the present she begins to unravel.\u003c/p>\n\u003cp>Vallée says it can be tough to watch a character you're rooting for make a series of bad decisions. \"We want to tell her sometimes: \u003cem>Don't do that!\" \u003c/em>Vallée says with a laugh. When she invariably does it anyway, the director says, \"we still care for her because there's something about her that is so human; her humanity is deeply moving.\"\u003c/p>\n\u003cp>\u003cem>Sharp Objects\u003c/em> is full of complex female characters — but Flynn says as interested as she was in exploring the dark side of the female psyche, she never lost sight of one thing: \"It's also a really juicy detective story...\" she says. \"I've never, ever had a problem entertaining people.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Because \u003cem>Sharp Objects\u003c/em> is an HBO production that also involves well-known Hollywood players, it has drawn comparison to HBO's \u003cem>Big Little Lies,\u003c/em> which was also directed by Vallée. But Flynn says they really have only one thing in common: Very talented women drawn to telling stories about flawed and fascinating women.\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=Gillian+Flynn%27s+%27Sharp+Objects%27+Is+A+Whodunit+...+And+A+Who+Is+She%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/asX53aeBPJE'\n title='//www.youtube.com/embed/asX53aeBPJE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jean-Marc Vallée, the director of HBO's \u003cem>Sharp Objects \u003c/em>adaptation, says Flynn has created a singular story and a singular character. \"I've never met, never seen, never heard anyone like Camille Preaker... \" he says. \"It's pretty rare... to hear someone being that honest — someone that talks about her wounds, her insecurities, her fears, her scars, her sexuality.\"\u003c/p>\n\u003cp>The screenwriters, including Flynn, deliberately decided not to use a voiceover for Camille. Instead the audience sees flashbacks — shards of memories that only gradually come together to create a fuller picture of the past. As Camille's past starts to merge with the present she begins to unravel.\u003c/p>\n\u003cp>Vallée says it can be tough to watch a character you're rooting for make a series of bad decisions. \"We want to tell her sometimes: \u003cem>Don't do that!\" \u003c/em>Vallée says with a laugh. When she invariably does it anyway, the director says, \"we still care for her because there's something about her that is so human; her humanity is deeply moving.\"\u003c/p>\n\u003cp>\u003cem>Sharp Objects\u003c/em> is full of complex female characters — but Flynn says as interested as she was in exploring the dark side of the female psyche, she never lost sight of one thing: \"It's also a really juicy detective story...\" she says. \"I've never, ever had a problem entertaining people.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Because \u003cem>Sharp Objects\u003c/em> is an HBO production that also involves well-known Hollywood players, it has drawn comparison to HBO's \u003cem>Big Little Lies,\u003c/em> which was also directed by Vallée. But Flynn says they really have only one thing in common: Very talented women drawn to telling stories about flawed and fascinating women.\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=Gillian+Flynn%27s+%27Sharp+Objects%27+Is+A+Whodunit+...+And+A+Who+Is+She%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Superman Curse: A Look at All the Death, Destruction and Destitution",
"title": "The Superman Curse: A Look at All the Death, Destruction and Destitution",
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"content": "\u003cp>If you're a Millennial, when you think of Superman, you most likely think of Dean Cain, who played Clark Kent in \u003ca href=\"http://www.imdb.com/title/tt0106057/?ref_=nv_sr_1\">\u003cem>Lois & Clark: The New Adventures of Superman\u003c/em>\u003c/a> between 1993 and 1997, Tom Welling in \u003ca href=\"http://www.imdb.com/title/tt0279600/?ref_=ttep_ep_tt\">\u003cem>Smallville\u003c/em>\u003c/a> (2001—2011), or Henry Cavill, who first donned the famous red cape in 2013's \u003ca href=\"http://www.imdb.com/title/tt0770828/?ref_=fn_al_tt_1\">\u003cem>Man of Steel\u003c/em>\u003c/a>. For the generations before, not only did Superman look and sound different, the role came with a -- dun-dun-duuun! -- curse.\u003c/p>\n\u003cfigure id=\"attachment_101573\" class=\"wp-caption alignright\" style=\"max-width: 727px\">\u003cimg class=\"size-full wp-image-101573\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/01/130624_r23666_g2048.jpg\" alt=\"\" width=\"727\" height=\"905\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/01/130624_r23666_g2048.jpg 727w, https://ww2.kqed.org/app/uploads/sites/12/2018/01/130624_r23666_g2048-160x199.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/01/130624_r23666_g2048-240x299.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/01/130624_r23666_g2048-375x467.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/01/130624_r23666_g2048-520x647.jpg 520w\" sizes=\"(max-width: 727px) 100vw, 727px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Siegel and Joe Shuster\u003c/figcaption>\u003c/figure>\n\u003cp>The Superman jinx started with \u003ca href=\"https://en.wikipedia.org/wiki/Jerry_Siegel\">Jerry Siegel\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Joe_Shuster\">Joe Shuster\u003c/a>, who created the character for \u003cem>Action Comics #1,\u003c/em> which came out in June 1938. Not only were the duo not fairly compensated in royalties for the invention of Clark Kent, but Shuster's career flatlined shortly afterwards. By the 1950s, the artist's deteriorating eyesight had forced him out of comic books entirely, and he eventually became almost completely blind.\u003c/p>\n\u003cp>Max and Dave Fleischer were the next duo to suffer, producing a \u003ca href=\"https://en.wikipedia.org/wiki/Superman_(1940s_cartoons)\">series of Superman cartoons\u003c/a> for Paramount between 1941 and 1943. Not only did the brothers fall out in such a big way during the process that their partnership was permanently severed, but Max -- despite also inventing Betty Boop and producing \u003cem>Popeye\u003c/em> cartoons -- ultimately died in abject poverty. After what had been a prolific career in animation, Max only produced five more projects after working on Superman.\u003c/p>\n\u003cfigure id=\"attachment_101574\" class=\"wp-caption alignright\" style=\"max-width: 220px\">\u003cimg class=\"size-full wp-image-101574\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/01/Kirk_Alyn_as_Superman_in_a_publicity_still_from_1948.jpg\" alt=\"\" width=\"220\" height=\"279\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/01/Kirk_Alyn_as_Superman_in_a_publicity_still_from_1948.jpg 220w, https://ww2.kqed.org/app/uploads/sites/12/2018/01/Kirk_Alyn_as_Superman_in_a_publicity_still_from_1948-160x203.jpg 160w\" sizes=\"(max-width: 220px) 100vw, 220px\">\u003cfigcaption class=\"wp-caption-text\">Kirk Alyn\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.imdb.com/name/nm0001906/?ref_=fn_al_nm_1\">Kirk Alyn\u003c/a>, TV's first Superman, found brief success playing the character, but was irreversibly typecast afterwards. He failed to find substantial work ever again, despite having been successful on Broadway before taking the role. In 1988, in an\u003ca href=\"http://abcnews.go.com/Entertainment/WolfFiles/story?id=2103736&page=1\"> interview with the Associated Press\u003c/a>, he said simply: \"I couldn't get another job.\"\u003c/p>\n\u003cp>Misfortune also befell TV's second Superman, \u003ca href=\"https://en.wikipedia.org/wiki/George_Reeves\">George Reeves\u003c/a>. The actor took on the role in 1951 and continued to play the superhero on screen and stage until his suspicious death in 1959. Reeves was found dead from a gunshot wound, days before he was due to get married. His death was ruled a suicide, despite the fact that his fingerprints were never found on the weapon that killed him. His tragic story was immortalized in 2006's \u003ca href=\"http://www.imdb.com/title/tt0427969/?ref_=nv_sr_1\">\u003cem>Hollywoodland\u003c/em>\u003c/a>. He was just 45.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The curse of Superman really took hold when the character was revived for movie audiences in 1978. The cast of \u003ca href=\"http://www.imdb.com/title/tt0078346/?ref_=fn_al_tt_1\">\u003cem>Superman\u003c/em>\u003c/a> (1978), \u003ca href=\"http://www.imdb.com/title/tt0081573/?ref_=fn_al_tt_1\">\u003cem>Superman II\u003c/em> \u003c/a>(1980), \u003ca href=\"http://www.imdb.com/title/tt0086393/?ref_=fn_al_tt_1\">\u003cem>Superman III\u003c/em> \u003c/a>(1983), and \u003ca href=\"http://www.imdb.com/title/tt0094074/?ref_=nv_sr_7\">\u003cem>Superman IV: The Quest for Peace\u003c/em>\u003c/a> (1987) dealt with an insane amount of bad luck in the years that followed. Most famously, the series' biggest star, \u003ca href=\"http://www.imdb.com/name/nm0001659/?ref_=fn_al_nm_1\">Christopher Reeve\u003c/a>, was paralyzed from the neck down in a 1995 horse-riding accident. He died in 2004, followed two years later by his wife Dana. The 44-year-old actress, singer and activist died of lung cancer, despite having never even been a smoker.\u003c/p>\n\u003cfigure id=\"attachment_101575\" class=\"wp-caption alignright\" style=\"max-width: 274px\">\u003cimg class=\"size-full wp-image-101575\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/01/Screen-Shot-2018-01-30-at-7.14.34-PM.png\" alt=\"\" width=\"274\" height=\"312\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/01/Screen-Shot-2018-01-30-at-7.14.34-PM.png 274w, https://ww2.kqed.org/app/uploads/sites/12/2018/01/Screen-Shot-2018-01-30-at-7.14.34-PM-160x182.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/01/Screen-Shot-2018-01-30-at-7.14.34-PM-240x273.png 240w\" sizes=\"(max-width: 274px) 100vw, 274px\">\u003cfigcaption class=\"wp-caption-text\">Margot Kidder\u003c/figcaption>\u003c/figure>\n\u003cp>Reeve's co-stars didn't fare much better. \u003ca href=\"http://www.imdb.com/name/nm0703510/\">Lee Quigley\u003c/a>, the actor that played the infant Clark Kent, died at only 14-years-old, from solvent abuse. Three years after last playing Lois Lane, \u003ca href=\"http://www.imdb.com/name/nm0452288/bio?ref_=nm_ov_bio_sm\">Margot Kidder\u003c/a> got into a horrific car crash and was rendered unable to work for several years. After finally physically healing from the accident, she suffered a nervous breakdown in 1996, and was found in a stranger's backyard, beaten, hair hacked off, teeth damaged, and in a deeply distressed state. Convinced that her first husband was trying to kill her, Kidder had attempted to fake her own death to get away and had been living on the streets. She has since made a recovery and claims to have not had another manic episode since 2007.\u003c/p>\n\u003cp>\u003ca href=\"http://www.imdb.com/name/nm0000008/?ref_=nv_sr_1\">Marlon Brando\u003c/a>, who played Jor-El in the 1978 film, died within three months of Christopher Reeve, after a run of horrendous familial tragedy. Brando's son \u003ca href=\"https://en.wikipedia.org/wiki/Christian_Brando\">Christian\u003c/a> spent five years of his life in prison for murdering his half-sister \u003ca href=\"https://en.wikipedia.org/wiki/Cheyenne_Brando\">Cheyenne'\u003c/a>s boyfriend. A month after her boyfriend's death, Cheyenne gave birth to their child, only to lose custody of the infant, after increasingly erratic behavior and a schizophrenia diagnosis. Cheyenne committed suicide in 1995, at the age of 25, and Brando subsequently became a recluse.\u003c/p>\n\u003cp>Despite the fact that comedian \u003ca href=\"http://www.imdb.com/name/nm0001640/bio?ref_=nm_ov_bio_sm\">Richard Pryor\u003c/a> battled drug addiction and was involved in a self-immolation incident well before his role in \u003cem>Superman III\u003c/em>, believers still think certain aspects of his life -- including his multiple sclerosis diagnosis -- are related to the curse.\u003c/p>\n\u003cp>In more recent years, the curse seems to have all but evaporated, though it's worth noting that 64-year-old \u003cem>Man of Steel\u003c/em> producer Lloyd Phillips passed away of a heart attack in January 2013, five months before the movie even came out. In addition, Kate Bosworth, who starred as Lois Lane in the flop \u003ca href=\"http://www.imdb.com/title/tt0348150/?ref_=fn_al_tt_1\">\u003cem>Superman Returns\u003c/em>\u003c/a> (2006), \u003ca href=\"https://www.ranker.com/list/story-behind-the-superman-curse/laura-allan\">attributed her break up\u003c/a> with Orlando Bloom to the curse. Three people who worked on the DVD of the film were also horribly injured during that time -- one was mugged and beaten, another fell through a glass window, the third fell down some stairs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In truth, if there ever was a real Superman curse, the worst of it seems to be over. This hasn't stopped DC and Warner Bros' new \u003cem>Superman\u003c/em>-related show from leaving Clark Kent out of the equation entirely though. Coincidence? \u003ca href=\"https://twitter.com/i/moments/958409824013713413\">Fans are in disbelief\u003c/a> that \u003ca href=\"https://mashable.com/2018/01/30/dc-superman-metropolis/#vzB9QjXo7Pq4\">\u003cem>Metropolis\u003c/em>\u003c/a>, a 13-episode series, will center only on Lois Lane and Lex Luther's lives before Superman's arrival in the city. But with this kind of cursed history, who can blame them?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you're a Millennial, when you think of Superman, you most likely think of Dean Cain, who played Clark Kent in \u003ca href=\"http://www.imdb.com/title/tt0106057/?ref_=nv_sr_1\">\u003cem>Lois & Clark: The New Adventures of Superman\u003c/em>\u003c/a> between 1993 and 1997, Tom Welling in \u003ca href=\"http://www.imdb.com/title/tt0279600/?ref_=ttep_ep_tt\">\u003cem>Smallville\u003c/em>\u003c/a> (2001—2011), or Henry Cavill, who first donned the famous red cape in 2013's \u003ca href=\"http://www.imdb.com/title/tt0770828/?ref_=fn_al_tt_1\">\u003cem>Man of Steel\u003c/em>\u003c/a>. For the generations before, not only did Superman look and sound different, the role came with a -- dun-dun-duuun! -- curse.\u003c/p>\n\u003cfigure id=\"attachment_101573\" class=\"wp-caption alignright\" style=\"max-width: 727px\">\u003cimg class=\"size-full wp-image-101573\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/01/130624_r23666_g2048.jpg\" alt=\"\" width=\"727\" height=\"905\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/01/130624_r23666_g2048.jpg 727w, https://ww2.kqed.org/app/uploads/sites/12/2018/01/130624_r23666_g2048-160x199.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/01/130624_r23666_g2048-240x299.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/01/130624_r23666_g2048-375x467.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/01/130624_r23666_g2048-520x647.jpg 520w\" sizes=\"(max-width: 727px) 100vw, 727px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Siegel and Joe Shuster\u003c/figcaption>\u003c/figure>\n\u003cp>The Superman jinx started with \u003ca href=\"https://en.wikipedia.org/wiki/Jerry_Siegel\">Jerry Siegel\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Joe_Shuster\">Joe Shuster\u003c/a>, who created the character for \u003cem>Action Comics #1,\u003c/em> which came out in June 1938. Not only were the duo not fairly compensated in royalties for the invention of Clark Kent, but Shuster's career flatlined shortly afterwards. By the 1950s, the artist's deteriorating eyesight had forced him out of comic books entirely, and he eventually became almost completely blind.\u003c/p>\n\u003cp>Max and Dave Fleischer were the next duo to suffer, producing a \u003ca href=\"https://en.wikipedia.org/wiki/Superman_(1940s_cartoons)\">series of Superman cartoons\u003c/a> for Paramount between 1941 and 1943. Not only did the brothers fall out in such a big way during the process that their partnership was permanently severed, but Max -- despite also inventing Betty Boop and producing \u003cem>Popeye\u003c/em> cartoons -- ultimately died in abject poverty. After what had been a prolific career in animation, Max only produced five more projects after working on Superman.\u003c/p>\n\u003cfigure id=\"attachment_101574\" class=\"wp-caption alignright\" style=\"max-width: 220px\">\u003cimg class=\"size-full wp-image-101574\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/01/Kirk_Alyn_as_Superman_in_a_publicity_still_from_1948.jpg\" alt=\"\" width=\"220\" height=\"279\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/01/Kirk_Alyn_as_Superman_in_a_publicity_still_from_1948.jpg 220w, https://ww2.kqed.org/app/uploads/sites/12/2018/01/Kirk_Alyn_as_Superman_in_a_publicity_still_from_1948-160x203.jpg 160w\" sizes=\"(max-width: 220px) 100vw, 220px\">\u003cfigcaption class=\"wp-caption-text\">Kirk Alyn\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.imdb.com/name/nm0001906/?ref_=fn_al_nm_1\">Kirk Alyn\u003c/a>, TV's first Superman, found brief success playing the character, but was irreversibly typecast afterwards. He failed to find substantial work ever again, despite having been successful on Broadway before taking the role. In 1988, in an\u003ca href=\"http://abcnews.go.com/Entertainment/WolfFiles/story?id=2103736&page=1\"> interview with the Associated Press\u003c/a>, he said simply: \"I couldn't get another job.\"\u003c/p>\n\u003cp>Misfortune also befell TV's second Superman, \u003ca href=\"https://en.wikipedia.org/wiki/George_Reeves\">George Reeves\u003c/a>. The actor took on the role in 1951 and continued to play the superhero on screen and stage until his suspicious death in 1959. Reeves was found dead from a gunshot wound, days before he was due to get married. His death was ruled a suicide, despite the fact that his fingerprints were never found on the weapon that killed him. His tragic story was immortalized in 2006's \u003ca href=\"http://www.imdb.com/title/tt0427969/?ref_=nv_sr_1\">\u003cem>Hollywoodland\u003c/em>\u003c/a>. He was just 45.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The curse of Superman really took hold when the character was revived for movie audiences in 1978. The cast of \u003ca href=\"http://www.imdb.com/title/tt0078346/?ref_=fn_al_tt_1\">\u003cem>Superman\u003c/em>\u003c/a> (1978), \u003ca href=\"http://www.imdb.com/title/tt0081573/?ref_=fn_al_tt_1\">\u003cem>Superman II\u003c/em> \u003c/a>(1980), \u003ca href=\"http://www.imdb.com/title/tt0086393/?ref_=fn_al_tt_1\">\u003cem>Superman III\u003c/em> \u003c/a>(1983), and \u003ca href=\"http://www.imdb.com/title/tt0094074/?ref_=nv_sr_7\">\u003cem>Superman IV: The Quest for Peace\u003c/em>\u003c/a> (1987) dealt with an insane amount of bad luck in the years that followed. Most famously, the series' biggest star, \u003ca href=\"http://www.imdb.com/name/nm0001659/?ref_=fn_al_nm_1\">Christopher Reeve\u003c/a>, was paralyzed from the neck down in a 1995 horse-riding accident. He died in 2004, followed two years later by his wife Dana. The 44-year-old actress, singer and activist died of lung cancer, despite having never even been a smoker.\u003c/p>\n\u003cfigure id=\"attachment_101575\" class=\"wp-caption alignright\" style=\"max-width: 274px\">\u003cimg class=\"size-full wp-image-101575\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/01/Screen-Shot-2018-01-30-at-7.14.34-PM.png\" alt=\"\" width=\"274\" height=\"312\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/01/Screen-Shot-2018-01-30-at-7.14.34-PM.png 274w, https://ww2.kqed.org/app/uploads/sites/12/2018/01/Screen-Shot-2018-01-30-at-7.14.34-PM-160x182.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/01/Screen-Shot-2018-01-30-at-7.14.34-PM-240x273.png 240w\" sizes=\"(max-width: 274px) 100vw, 274px\">\u003cfigcaption class=\"wp-caption-text\">Margot Kidder\u003c/figcaption>\u003c/figure>\n\u003cp>Reeve's co-stars didn't fare much better. \u003ca href=\"http://www.imdb.com/name/nm0703510/\">Lee Quigley\u003c/a>, the actor that played the infant Clark Kent, died at only 14-years-old, from solvent abuse. Three years after last playing Lois Lane, \u003ca href=\"http://www.imdb.com/name/nm0452288/bio?ref_=nm_ov_bio_sm\">Margot Kidder\u003c/a> got into a horrific car crash and was rendered unable to work for several years. After finally physically healing from the accident, she suffered a nervous breakdown in 1996, and was found in a stranger's backyard, beaten, hair hacked off, teeth damaged, and in a deeply distressed state. Convinced that her first husband was trying to kill her, Kidder had attempted to fake her own death to get away and had been living on the streets. She has since made a recovery and claims to have not had another manic episode since 2007.\u003c/p>\n\u003cp>\u003ca href=\"http://www.imdb.com/name/nm0000008/?ref_=nv_sr_1\">Marlon Brando\u003c/a>, who played Jor-El in the 1978 film, died within three months of Christopher Reeve, after a run of horrendous familial tragedy. Brando's son \u003ca href=\"https://en.wikipedia.org/wiki/Christian_Brando\">Christian\u003c/a> spent five years of his life in prison for murdering his half-sister \u003ca href=\"https://en.wikipedia.org/wiki/Cheyenne_Brando\">Cheyenne'\u003c/a>s boyfriend. A month after her boyfriend's death, Cheyenne gave birth to their child, only to lose custody of the infant, after increasingly erratic behavior and a schizophrenia diagnosis. Cheyenne committed suicide in 1995, at the age of 25, and Brando subsequently became a recluse.\u003c/p>\n\u003cp>Despite the fact that comedian \u003ca href=\"http://www.imdb.com/name/nm0001640/bio?ref_=nm_ov_bio_sm\">Richard Pryor\u003c/a> battled drug addiction and was involved in a self-immolation incident well before his role in \u003cem>Superman III\u003c/em>, believers still think certain aspects of his life -- including his multiple sclerosis diagnosis -- are related to the curse.\u003c/p>\n\u003cp>In more recent years, the curse seems to have all but evaporated, though it's worth noting that 64-year-old \u003cem>Man of Steel\u003c/em> producer Lloyd Phillips passed away of a heart attack in January 2013, five months before the movie even came out. In addition, Kate Bosworth, who starred as Lois Lane in the flop \u003ca href=\"http://www.imdb.com/title/tt0348150/?ref_=fn_al_tt_1\">\u003cem>Superman Returns\u003c/em>\u003c/a> (2006), \u003ca href=\"https://www.ranker.com/list/story-behind-the-superman-curse/laura-allan\">attributed her break up\u003c/a> with Orlando Bloom to the curse. Three people who worked on the DVD of the film were also horribly injured during that time -- one was mugged and beaten, another fell through a glass window, the third fell down some stairs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In truth, if there ever was a real Superman curse, the worst of it seems to be over. This hasn't stopped DC and Warner Bros' new \u003cem>Superman\u003c/em>-related show from leaving Clark Kent out of the equation entirely though. Coincidence? \u003ca href=\"https://twitter.com/i/moments/958409824013713413\">Fans are in disbelief\u003c/a> that \u003ca href=\"https://mashable.com/2018/01/30/dc-superman-metropolis/#vzB9QjXo7Pq4\">\u003cem>Metropolis\u003c/em>\u003c/a>, a 13-episode series, will center only on Lois Lane and Lex Luther's lives before Superman's arrival in the city. But with this kind of cursed history, who can blame them?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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