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"content": "\u003cp>There's a scene in 1989 rom com classic, \u003ca href=\"https://www.imdb.com/title/tt0098635/?ref_=nv_sr_1\">\u003cem>When Harry Met Sally,\u003c/em>\u003c/a> in which Sally is crying hysterically in her bedroom. She has just found out that her ex-fiancé is marrying someone else. While she knows that break up was for the best, she worries that the problem lies with her; that she is ultimately unlovable. \"I drove him away,\" she sobs. \"And I'm gonna be 40! It's just sitting there like this big dead end. And it's not the same for men...\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UnierMA90D4\u003c/p>\n\u003cp>There are many things we can look back on in '80s movies as patently ridiculous, but, sadly, this is not one of them. Turning 40 is still a visceral, upsetting thing for a lot of women, particularly single ones, because of all the assumptions, baggage, and negative stereotypes that still come with this particular age. I can say this with some degree of confidence, because I am a single woman who is turning 40 this month, and I am absolutely terrified.\u003c/p>\n\u003cp>It's quite possible that it's \u003cem>When Harry Met Sally\u003c/em> that put this bug in my brain in the first place (it's been one of my favorite movies since childhood), but I'm pretty sure that the fear of 40 wouldn't have stayed with me for this long if it wasn't repeatedly backed up by pop culture and my own personal life.\u003c/p>\n\u003cp>In the last few weeks, I have had several conversations with my mother, who told me that it's fine to lie about my age for a while, if it's going to make me feel better. \"No one will know!\" she declared. \"Everyone in \u003cem>my\u003c/em> generation stayed 38 for a few extra years.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I tell my mother I can't do this because I am bad at lying and will be found out immediately, like Leslie Mann's character in \u003ca href=\"https://www.imdb.com/title/tt1758830/?ref_=nv_sr_3\">\u003cem>This is 40\u003c/em>.\u003c/a> Remembering \u003cem>This is 40\u003c/em> actually makes me feel worse about my impending birthday too, because that's a movie in which the protagonists have actually checked off all the milestones you're supposed to hit by the time you're 40 -- marriage, kids, and a nice, big, grown-up house. If they're stressing about the big four-oh, doesn't that mean that I,\u003cem> \u003c/em>with my divorce and my one-bedroom and my no-children (even though the no-children is very much by choice), should be having a complete nervous breakdown?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gxkNuHrS6cg\u003c/p>\n\u003cp>The other thing I have been prepping myself for is the fact that no one is going to swipe right anymore because now I start with a 4, instead of a 3. This is actually, in part, the fault of a male friend who once told me, at the age of 46, that he had to break up with the woman he was dating because \"She's 42. She's probably going to want this to move really fast.\" When I asked if he'd bothered to ask her if that was the case, he just said it again, \"But she's 42...\"\u003c/p>\n\u003cp>Maybe my friend was imbued with this degree of entitlement for the same reason 40 has always been my scary age; these are things straight men and women have been told our wholes lives to expect. Mine was a generation of women reaching adulthood just as \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0159206/\">Sex and the City\u003c/a> \u003c/em>was blowing up. It was supposed to signal our very own little sexual revolution, and, though it was nice to see women on TV who were as sexually liberated as the women in my own life, the show itself pushed some very unhelpful notions about prospects for older women.\u003c/p>\n\u003cp>Yes, \u003cem>SATC\u003c/em> put 40-something, free-wheeling, sexual dynamo Samantha Jones on our screens, but it also told us she was the exception to the rule. In a Season 6 episode titled \u003ca href=\"https://www.imdb.com/title/tt0698666/?ref_=ttep_ep18\">\"Splat!\"\u003c/a> we see a 40-year-old woman literally fall out of a window and die because of her reluctance to stop partying. \"When did everyone pair off?\" is one of the last things she says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1of4UBrvWo8\u003c/p>\n\u003cp>In the same episode, we see a successful, attractive \u003cem>Vogue\u003c/em> editor (played by Candice Bergen) scolding Carrie for dating an older man. \"It's not fair,\" Enid says. \"He's my age and you've got him and I am in No Man's Land -- literally. Men can date anyone, at any age, but let's be frank, most of them prefer the bimbos.\" We later see Enid settling for an unattractive bore, out of desperation. Hardly a heartening message for the older single women watching; you're either tragic for still wanting to have a good time, or totally desperate.\u003c/p>\n\u003cp>The episode was almost a continuation of the role Sarah Jessica Parker took on in 1996's \u003ca href=\"https://www.imdb.com/title/tt0116313/?ref_=fn_al_tt_1\">\u003cem>The First Wive's Club\u003c/em>\u003c/a>\u003cem>,\u003c/em> a movie about middle-aged women being ditched by their longtime husbands for younger women (SJP was one of them). The ultimate message of the movie is that divorce can be liberating, and independence is empowering, but it has little to offer women who've been raised to be liberated and empowered from the get-go.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RAZZJnab5nU\u003c/p>\n\u003cp>Despite the 1998 instant classic \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0120703/?ref_=fn_al_tt_1\">How Stella Got Her Groove Back\u003c/a>,\u003c/em> little has shifted in the two decades since, in terms of positive representations of single women in their 40s and 50s. Let's face it, Jada Pinkett Smith’s character in \u003ca href=\"https://www.imdb.com/title/tt3564472/?ref_=nv_sr_1\">\u003cem>Girl’s Trip\u003c/em>\u003c/a> was basically Stella 2.0, with a different backstory and a comedic twist.\u003c/p>\n\u003cp>Women over 60 have recently been seeing stereotypes about them smashed in Nancy Meyers movies like \u003ca href=\"https://www.imdb.com/title/tt0337741/?ref_=nm_flmg_act_20\">\u003cem>Something's Gotta Give\u003c/em>\u003c/a> and \u003ca href=\"https://www.imdb.com/title/tt1230414/?ref_=nm_flmg_wr_4\">\u003cem>It's Complicated\u003c/em>\u003c/a>, as well as in Netflix triumph \u003ca href=\"https://www.imdb.com/title/tt3609352/?ref_=nv_sr_4\">\u003cem>Grace and Frankie\u003c/em>\u003c/a>, but trying to find equivalents for single middle-aged heterosexual women is a little harder. When we think of non-reality TV shows about that age group, we think of \u003ca href=\"https://www.imdb.com/title/tt0410975/?ref_=fn_al_tt_1\">\u003cem>Desperate Housewives\u003c/em>\u003c/a> and \u003ca href=\"https://www.imdb.com/title/tt1441109/?ref_=nv_sr_1\">\u003cem>Cougar Town\u003c/em>\u003c/a>\u003cem>,\u003c/em> two shows whose very names insult their goal demographic.\u003c/p>\n\u003cp>There have been a handful of positive movie representations in the last few years, including the Julia Louis Dreyfuss-starring \u003ca href=\"https://www.imdb.com/title/tt2390361/?ref_=nv_sr_1\">\u003cem>Enough Said\u003c/em>\u003c/a> (2013), which offered a normalized look at middle-aged dating, and \u003ca href=\"https://www.youtube.com/watch?v=RFL8b1p1ELY\">\u003cem>The Proposal\u003c/em>\u003c/a> (2009), which took the unusual step of giving us a romantic comedy lead in her 40s (because: Sandra Bullock).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RFL8b1p1ELY\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?time_continue=52&v=ilnh63dcOr4\">2016's \u003cem>Equity\u003c/em> \u003c/a>was groundbreaking in its representations of successful middle-aged women, but even there, we saw them having limited romantic success because \"men like a girl they can take care of.\"\u003c/p>\n\u003cp>In 1997, \u003ca href=\"https://www.csmonitor.com/USA/Society/2015/0614/Singles-nation-Why-so-many-Americans-are-unmarried\">47 percent of Generation X-ers\u003c/a> said that being happily married was \"one of the most important things\" in life. That number dropped to 30 percent for Millennials. And there are census numbers to back it up. In 2010, \u003ca href=\"http://www.cnn.com/2010/LIVING/08/19/single.in.america/index.html\">\u003ci>CNN\u003c/i> reported\u003c/a> that: “About 46 percent of all households nationwide are maintained by a single person. That adds up to 52 million singles.” It's possible that relationship shifts are happening so fast in America that pop culture representations just haven't caught up to our new reality yet.\u003c/p>\n\u003cp>The problem partially lies, of course, with female representation on screen. \u003ca href=\"https://annenberg.usc.edu/sites/default/files/Dr_Stacy_L_Smith-Inequality_in_900_Popular_Films.pdf\">2017 figures from USC\u003c/a> tell us that, in the top 100 films of 2016, only 34 had a female lead and only eight of those leads were over the age of 45. Behind the scenes, just 20.7 percent of producers, 13.2 percent of writers, and 4.2 percent of directors were women. With that in mind, it's no wonder movies aren't reflecting reality.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In my own life, being married is not only \u003cem>not\u003c/em> important, it's actually a scary prospect. But if I'm not married, and I'm not celibate, I have to date, and pop culture doesn't offer me many examples of what that is supposed to look like outside of my 30s. What it does tell me is that I am invisible to men my own age, and that things will probably get worse. Isn't it time to update that message, so we can leave behind fear and stigma, and start living the single lives we want?\u003c/p>\n\n",
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"excerpt": "A woman on the verge of 40 takes a look at how movies and television have perpetuated a fear around that age.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There's a scene in 1989 rom com classic, \u003ca href=\"https://www.imdb.com/title/tt0098635/?ref_=nv_sr_1\">\u003cem>When Harry Met Sally,\u003c/em>\u003c/a> in which Sally is crying hysterically in her bedroom. She has just found out that her ex-fiancé is marrying someone else. While she knows that break up was for the best, she worries that the problem lies with her; that she is ultimately unlovable. \"I drove him away,\" she sobs. \"And I'm gonna be 40! It's just sitting there like this big dead end. And it's not the same for men...\"\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/UnierMA90D4'\n title='//www.youtube.com/embed/UnierMA90D4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are many things we can look back on in '80s movies as patently ridiculous, but, sadly, this is not one of them. Turning 40 is still a visceral, upsetting thing for a lot of women, particularly single ones, because of all the assumptions, baggage, and negative stereotypes that still come with this particular age. I can say this with some degree of confidence, because I am a single woman who is turning 40 this month, and I am absolutely terrified.\u003c/p>\n\u003cp>It's quite possible that it's \u003cem>When Harry Met Sally\u003c/em> that put this bug in my brain in the first place (it's been one of my favorite movies since childhood), but I'm pretty sure that the fear of 40 wouldn't have stayed with me for this long if it wasn't repeatedly backed up by pop culture and my own personal life.\u003c/p>\n\u003cp>In the last few weeks, I have had several conversations with my mother, who told me that it's fine to lie about my age for a while, if it's going to make me feel better. \"No one will know!\" she declared. \"Everyone in \u003cem>my\u003c/em> generation stayed 38 for a few extra years.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I tell my mother I can't do this because I am bad at lying and will be found out immediately, like Leslie Mann's character in \u003ca href=\"https://www.imdb.com/title/tt1758830/?ref_=nv_sr_3\">\u003cem>This is 40\u003c/em>.\u003c/a> Remembering \u003cem>This is 40\u003c/em> actually makes me feel worse about my impending birthday too, because that's a movie in which the protagonists have actually checked off all the milestones you're supposed to hit by the time you're 40 -- marriage, kids, and a nice, big, grown-up house. If they're stressing about the big four-oh, doesn't that mean that I,\u003cem> \u003c/em>with my divorce and my one-bedroom and my no-children (even though the no-children is very much by choice), should be having a complete nervous breakdown?\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/gxkNuHrS6cg'\n title='//www.youtube.com/embed/gxkNuHrS6cg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The other thing I have been prepping myself for is the fact that no one is going to swipe right anymore because now I start with a 4, instead of a 3. This is actually, in part, the fault of a male friend who once told me, at the age of 46, that he had to break up with the woman he was dating because \"She's 42. She's probably going to want this to move really fast.\" When I asked if he'd bothered to ask her if that was the case, he just said it again, \"But she's 42...\"\u003c/p>\n\u003cp>Maybe my friend was imbued with this degree of entitlement for the same reason 40 has always been my scary age; these are things straight men and women have been told our wholes lives to expect. Mine was a generation of women reaching adulthood just as \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0159206/\">Sex and the City\u003c/a> \u003c/em>was blowing up. It was supposed to signal our very own little sexual revolution, and, though it was nice to see women on TV who were as sexually liberated as the women in my own life, the show itself pushed some very unhelpful notions about prospects for older women.\u003c/p>\n\u003cp>Yes, \u003cem>SATC\u003c/em> put 40-something, free-wheeling, sexual dynamo Samantha Jones on our screens, but it also told us she was the exception to the rule. In a Season 6 episode titled \u003ca href=\"https://www.imdb.com/title/tt0698666/?ref_=ttep_ep18\">\"Splat!\"\u003c/a> we see a 40-year-old woman literally fall out of a window and die because of her reluctance to stop partying. \"When did everyone pair off?\" is one of the last things she says.\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/1of4UBrvWo8'\n title='//www.youtube.com/embed/1of4UBrvWo8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the same episode, we see a successful, attractive \u003cem>Vogue\u003c/em> editor (played by Candice Bergen) scolding Carrie for dating an older man. \"It's not fair,\" Enid says. \"He's my age and you've got him and I am in No Man's Land -- literally. Men can date anyone, at any age, but let's be frank, most of them prefer the bimbos.\" We later see Enid settling for an unattractive bore, out of desperation. Hardly a heartening message for the older single women watching; you're either tragic for still wanting to have a good time, or totally desperate.\u003c/p>\n\u003cp>The episode was almost a continuation of the role Sarah Jessica Parker took on in 1996's \u003ca href=\"https://www.imdb.com/title/tt0116313/?ref_=fn_al_tt_1\">\u003cem>The First Wive's Club\u003c/em>\u003c/a>\u003cem>,\u003c/em> a movie about middle-aged women being ditched by their longtime husbands for younger women (SJP was one of them). The ultimate message of the movie is that divorce can be liberating, and independence is empowering, but it has little to offer women who've been raised to be liberated and empowered from the get-go.\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/RAZZJnab5nU'\n title='//www.youtube.com/embed/RAZZJnab5nU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite the 1998 instant classic \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0120703/?ref_=fn_al_tt_1\">How Stella Got Her Groove Back\u003c/a>,\u003c/em> little has shifted in the two decades since, in terms of positive representations of single women in their 40s and 50s. Let's face it, Jada Pinkett Smith’s character in \u003ca href=\"https://www.imdb.com/title/tt3564472/?ref_=nv_sr_1\">\u003cem>Girl’s Trip\u003c/em>\u003c/a> was basically Stella 2.0, with a different backstory and a comedic twist.\u003c/p>\n\u003cp>Women over 60 have recently been seeing stereotypes about them smashed in Nancy Meyers movies like \u003ca href=\"https://www.imdb.com/title/tt0337741/?ref_=nm_flmg_act_20\">\u003cem>Something's Gotta Give\u003c/em>\u003c/a> and \u003ca href=\"https://www.imdb.com/title/tt1230414/?ref_=nm_flmg_wr_4\">\u003cem>It's Complicated\u003c/em>\u003c/a>, as well as in Netflix triumph \u003ca href=\"https://www.imdb.com/title/tt3609352/?ref_=nv_sr_4\">\u003cem>Grace and Frankie\u003c/em>\u003c/a>, but trying to find equivalents for single middle-aged heterosexual women is a little harder. When we think of non-reality TV shows about that age group, we think of \u003ca href=\"https://www.imdb.com/title/tt0410975/?ref_=fn_al_tt_1\">\u003cem>Desperate Housewives\u003c/em>\u003c/a> and \u003ca href=\"https://www.imdb.com/title/tt1441109/?ref_=nv_sr_1\">\u003cem>Cougar Town\u003c/em>\u003c/a>\u003cem>,\u003c/em> two shows whose very names insult their goal demographic.\u003c/p>\n\u003cp>There have been a handful of positive movie representations in the last few years, including the Julia Louis Dreyfuss-starring \u003ca href=\"https://www.imdb.com/title/tt2390361/?ref_=nv_sr_1\">\u003cem>Enough Said\u003c/em>\u003c/a> (2013), which offered a normalized look at middle-aged dating, and \u003ca href=\"https://www.youtube.com/watch?v=RFL8b1p1ELY\">\u003cem>The Proposal\u003c/em>\u003c/a> (2009), which took the unusual step of giving us a romantic comedy lead in her 40s (because: Sandra Bullock).\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/RFL8b1p1ELY'\n title='//www.youtube.com/embed/RFL8b1p1ELY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.youtube.com/watch?time_continue=52&v=ilnh63dcOr4\">2016's \u003cem>Equity\u003c/em> \u003c/a>was groundbreaking in its representations of successful middle-aged women, but even there, we saw them having limited romantic success because \"men like a girl they can take care of.\"\u003c/p>\n\u003cp>In 1997, \u003ca href=\"https://www.csmonitor.com/USA/Society/2015/0614/Singles-nation-Why-so-many-Americans-are-unmarried\">47 percent of Generation X-ers\u003c/a> said that being happily married was \"one of the most important things\" in life. That number dropped to 30 percent for Millennials. And there are census numbers to back it up. In 2010, \u003ca href=\"http://www.cnn.com/2010/LIVING/08/19/single.in.america/index.html\">\u003ci>CNN\u003c/i> reported\u003c/a> that: “About 46 percent of all households nationwide are maintained by a single person. That adds up to 52 million singles.” It's possible that relationship shifts are happening so fast in America that pop culture representations just haven't caught up to our new reality yet.\u003c/p>\n\u003cp>The problem partially lies, of course, with female representation on screen. \u003ca href=\"https://annenberg.usc.edu/sites/default/files/Dr_Stacy_L_Smith-Inequality_in_900_Popular_Films.pdf\">2017 figures from USC\u003c/a> tell us that, in the top 100 films of 2016, only 34 had a female lead and only eight of those leads were over the age of 45. Behind the scenes, just 20.7 percent of producers, 13.2 percent of writers, and 4.2 percent of directors were women. With that in mind, it's no wonder movies aren't reflecting reality.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In my own life, being married is not only \u003cem>not\u003c/em> important, it's actually a scary prospect. But if I'm not married, and I'm not celibate, I have to date, and pop culture doesn't offer me many examples of what that is supposed to look like outside of my 30s. What it does tell me is that I am invisible to men my own age, and that things will probably get worse. Isn't it time to update that message, so we can leave behind fear and stigma, and start living the single lives we want?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Flipping Out Over Hannah Gadsby's 'Nanette' on Netflix? You're Not Alone",
"title": "Flipping Out Over Hannah Gadsby's 'Nanette' on Netflix? You're Not Alone",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Many Americans had little exposure to Australian actress/comic/writer \u003ca href=\"https://twitter.com/Hannahgadsby?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">Hannah Gadsby\u003c/a> before a few weeks ago. Maybe they had seen her in \u003ca href=\"https://www.imdb.com/title/tt2155025/?ref_=fn_al_tt_1\">\u003cem>Please Like Me\u003c/em>\u003c/a>, an Australian comedy series in which she had a supporting role. But statistically, they probably hadn't.\u003c/p>\n\u003cp>And then came \u003cem>Nanette\u003c/em>, her Netflix special, which is a recording of a live show she's been doing for a while — it won awards at Edinburgh Festival Fringe and the Melbourne Comedy Festival — and brought to New York in March. If you look at some of the tweets about \u003cem>Nanette\u003c/em>, you'll see a lot of people using very strong words of praise for it.\u003c/p>\n\u003cp>https://twitter.com/wcruz73/status/1013181188557672449?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1013181188557672449&ref_url=https%3A%2F%2Fwww.npr.org%2Fsections%2Fmonkeysee%2F2018%2F07%2F02%2F625298708%2Fhannah-gadsbys-nanette-is-a-scorching-piece-on-comedy-and-trauma\u003c/p>\n\u003cp>https://twitter.com/inkookang/status/1012413258215522305?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1012413258215522305&ref_url=https%3A%2F%2Fwww.npr.org%2Fsections%2Fmonkeysee%2F2018%2F07%2F02%2F625298708%2Fhannah-gadsbys-nanette-is-a-scorching-piece-on-comedy-and-trauma\u003c/p>\n\u003cp>https://twitter.com/sepinwall/status/1012381126076325888?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1012381126076325888&ref_url=https%3A%2F%2Fwww.npr.org%2Fsections%2Fmonkeysee%2F2018%2F07%2F02%2F625298708%2Fhannah-gadsbys-nanette-is-a-scorching-piece-on-comedy-and-trauma\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So what is \u003cem>Nanette\u003c/em> anyway? It is stand-up... sort of. It is comedy... partly.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5aE29fiatQ0\u003c/p>\n\u003cp>Netflix has been producing a fire hose of content of all kinds over the last several years, and they have fixed their gaze hard upon the world of stand-up. This has meant they've landed specials from the very famous side of American comedy — people like Jerry Seinfeld, Chris Rock, Patton Oswalt, and Amy Schumer. But Netflix has also allowed space for comics who aren't yet superstars when they first arrive there: Ali Wong, Hasan Minhaj and others.\u003c/p>\n\u003cp>Still, this is different. Not a little different, but totally different.\u003c/p>\n\u003cp>First things first: Gadsby says, when she walks out on stage in dark pants, a dark shirt, and a blue blazer with black lapels, that she called the show \u003cem>Nanette\u003c/em> because she'd met someone named Nanette, and she hadn't yet written the show and she just figured she could get an hour of comedy from that person. \"Turns out,\" she says, \"No.\"\u003c/p>\n\u003cp>This little opening gag, while it's funny and gets a laugh, communicates something that will recur: a framing in which the show is being written, its themes discovered, as it's performed — which obviously is not so, and which you are not meant to literally believe is so. But suggesting that the show disobeyed the name she gave it lays out one of Gadsby's themes with great economy: that writing and performing will sneak up on you. Not just as the audience, but as the creator. That you are not always doing what you think or hope you're doing.\u003c/p>\n\u003cp>Gadsby begins with a riff on what it was like, as a kid growing up in Tasmania, when she \"found out [she] was a little bit lesbian.\" The general attitude, she says, was that gay people were not welcome: \"You should just get yourself a one-way ticket to the mainland, and don't come back,\" she summarizes, and because of the way she delivers the line, the audience laughs. And you begin to see a very particular look, which you'll see on and off over the hour: a tight grin, framed by Gadsby's dimples, topped by her upper lip almost baring her teeth, that is not quite a smile. It's not the relaxed smile you see when she jokes about penicillin or something else less personal.\u003c/p>\n\u003cp>Once you've seen the entire special, this look makes sense, because it calls upon you to ask: What, exactly, is funny about feeling unwelcome in your own country because of who you are? What, as she continues in another anecdote, is funny about being angrily confronted by a man who believed she was another man hitting on his girlfriend? The humor is in the way she tells it; the humor is her choice. She is making the decision to make it comedy. She could make another choice instead.\u003c/p>\n\u003cp>She wanders, at times, into actually analyzing how jokes work: How they create tension (the set-up) and then release it (the punch line). How she learned to be funny because she needed to release tension to survive. It was not, at that time, tension she built as a performer, but tension that she \u003cem>represented \u003c/em>for other people, because of who she was. She talks about the mythology of trauma and pain as the ways to make art — not just comedy, but visual art, too (you will never hear so much about Van Gogh and Picasso in any other Netflix comedy special).\u003c/p>\n\u003cp>One of the things Gadsby is doing is exploring tools for telling stories, particularly stories of trauma. She is questioning not the power of laughter or comedy, but the way in which queer performers and anyone else who feels different are encouraged to come to comedy, pain in hand, pain as punch line. She is questioning what kind of art we accept from what kind of artist, and how creativity and pathology are romantically entwined in popular myth. The special \u003cem>is \u003c/em>funny, in many places, and when it isn't, it is not dully didactic but blisteringly insightful. It is serious, but it is never dry — it is riveting throughout.\u003c/p>\n\u003cp>What happens, she wonders, to the things we make into jokes? How permanent is the relief of shared laughter? These are daring, fresh questions that demolish the very idea of reflexive glibness in comedy and art and fearlessly present not saccharine sincerity but unapologetic emotion as worthy of being heard.\u003c/p>\n\u003cp>It's part of the show to watch it bend and reshape itself, so I don't want to say too much more about it. Suffice it to say there is a reason why people are so urgently telling the people they know to watch it.\u003c/p>\n\u003cp>It has all this, after all, plus what I suspect will be 2018's best fart joke.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Hannah Gadsby might tell you I said that last thing to release the tension of talking about how wrenching her show is, and that maybe I shouldn't have. She might be right.\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=Hannah+Gadsby%27s+%27Nanette%27+Is+A+Scorching+Piece+On+Comedy+And+Trauma&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>So what is \u003cem>Nanette\u003c/em> anyway? It is stand-up... sort of. It is comedy... partly.\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/5aE29fiatQ0'\n title='//www.youtube.com/embed/5aE29fiatQ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Netflix has been producing a fire hose of content of all kinds over the last several years, and they have fixed their gaze hard upon the world of stand-up. This has meant they've landed specials from the very famous side of American comedy — people like Jerry Seinfeld, Chris Rock, Patton Oswalt, and Amy Schumer. But Netflix has also allowed space for comics who aren't yet superstars when they first arrive there: Ali Wong, Hasan Minhaj and others.\u003c/p>\n\u003cp>Still, this is different. Not a little different, but totally different.\u003c/p>\n\u003cp>First things first: Gadsby says, when she walks out on stage in dark pants, a dark shirt, and a blue blazer with black lapels, that she called the show \u003cem>Nanette\u003c/em> because she'd met someone named Nanette, and she hadn't yet written the show and she just figured she could get an hour of comedy from that person. \"Turns out,\" she says, \"No.\"\u003c/p>\n\u003cp>This little opening gag, while it's funny and gets a laugh, communicates something that will recur: a framing in which the show is being written, its themes discovered, as it's performed — which obviously is not so, and which you are not meant to literally believe is so. But suggesting that the show disobeyed the name she gave it lays out one of Gadsby's themes with great economy: that writing and performing will sneak up on you. Not just as the audience, but as the creator. That you are not always doing what you think or hope you're doing.\u003c/p>\n\u003cp>Gadsby begins with a riff on what it was like, as a kid growing up in Tasmania, when she \"found out [she] was a little bit lesbian.\" The general attitude, she says, was that gay people were not welcome: \"You should just get yourself a one-way ticket to the mainland, and don't come back,\" she summarizes, and because of the way she delivers the line, the audience laughs. And you begin to see a very particular look, which you'll see on and off over the hour: a tight grin, framed by Gadsby's dimples, topped by her upper lip almost baring her teeth, that is not quite a smile. It's not the relaxed smile you see when she jokes about penicillin or something else less personal.\u003c/p>\n\u003cp>Once you've seen the entire special, this look makes sense, because it calls upon you to ask: What, exactly, is funny about feeling unwelcome in your own country because of who you are? What, as she continues in another anecdote, is funny about being angrily confronted by a man who believed she was another man hitting on his girlfriend? The humor is in the way she tells it; the humor is her choice. She is making the decision to make it comedy. She could make another choice instead.\u003c/p>\n\u003cp>She wanders, at times, into actually analyzing how jokes work: How they create tension (the set-up) and then release it (the punch line). How she learned to be funny because she needed to release tension to survive. It was not, at that time, tension she built as a performer, but tension that she \u003cem>represented \u003c/em>for other people, because of who she was. She talks about the mythology of trauma and pain as the ways to make art — not just comedy, but visual art, too (you will never hear so much about Van Gogh and Picasso in any other Netflix comedy special).\u003c/p>\n\u003cp>One of the things Gadsby is doing is exploring tools for telling stories, particularly stories of trauma. She is questioning not the power of laughter or comedy, but the way in which queer performers and anyone else who feels different are encouraged to come to comedy, pain in hand, pain as punch line. She is questioning what kind of art we accept from what kind of artist, and how creativity and pathology are romantically entwined in popular myth. The special \u003cem>is \u003c/em>funny, in many places, and when it isn't, it is not dully didactic but blisteringly insightful. It is serious, but it is never dry — it is riveting throughout.\u003c/p>\n\u003cp>What happens, she wonders, to the things we make into jokes? How permanent is the relief of shared laughter? These are daring, fresh questions that demolish the very idea of reflexive glibness in comedy and art and fearlessly present not saccharine sincerity but unapologetic emotion as worthy of being heard.\u003c/p>\n\u003cp>It's part of the show to watch it bend and reshape itself, so I don't want to say too much more about it. Suffice it to say there is a reason why people are so urgently telling the people they know to watch it.\u003c/p>\n\u003cp>It has all this, after all, plus what I suspect will be 2018's best fart joke.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hannah Gadsby might tell you I said that last thing to release the tension of talking about how wrenching her show is, and that maybe I shouldn't have. She might be right.\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=Hannah+Gadsby%27s+%27Nanette%27+Is+A+Scorching+Piece+On+Comedy+And+Trauma&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\"Are you ... my little bunny?\"\u003c/p>\n\u003cp>It is impossible to convey, in paltry written English, the astonishing breadth of dark, rich, velvety plumminess with which Hugh Grant delivers that line in Amazon's gloriously fun 3-episode mini-series, \u003ca href=\"https://www.imdb.com/title/tt6938856/?ref_=fn_al_tt_1\">\u003cem>A Very English Scandal\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>It is plummier than an Argentinian Malbec. Plummier than the Williams family's icebox at midnight.\u003c/p>\n\u003cp>Put it this way: When you order moo shu pork, it comes on the side. Is how plummy.\u003c/p>\n\u003cp>It is the sound of privilege, distilled to its essence. Into that brief string of phonemes Grant deftly infuses centuries of British class hierarchy, blending notes of high camp with potent, pharmaceutical-grade smarm and a preening, self-congratulatory sense of entitlement. He says \"Are you ... my little bunny?\" but what he means is \u003cem>You, little thing, belong to me.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003cem>you \u003c/em>in question is Ben Whishaw's Norman Scott, a wan and wispy stable boy who's shown up penniless to the Palace of Westminster office of the \u003cem>me \u003c/em>in question: Grant's (significantly older) Jeremy Thorpe, a Member of Parliament whose career, in the early 1960s, is on the rise.\u003c/p>\n\u003cp>The two men enter into a sexual relationship which, were it discovered, would lead to their arrest, public shaming and, in Thorpe's case, the ignominious end of a career in public service.\u003c/p>\n\u003cp>It gets discovered, of course, eventually. The resulting scandal — involving blackmail, conspiracy to commit murder and a spectacularly bungled attempted murder resulting in canicide — turns out to be, as the title suggests, very English indeed, in that it is fueled by the desire to avoid the one thing Brits fear more than death: embarrassment. The resulting trial, which takes up most of the third episode, is no slouch in the British department, either, what with its wigs and robes and \"I say!\"s and \"See here!\"s and arch diffidence and diffident archness and whatnot.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g7aUZRKv-bU\u003c/p>\n\u003cp>Watching this very — nay, \u003cem>achingly \u003c/em>-- English affair play out, and then flame out, is what a Brit might call \"a right old hoot.\" It's soapy, funny, by turns gorgeous and grubby, and performed with a kind of headlong verve that's never less than fascinating to behold.\u003c/p>\n\u003cp>In its central conflict between representatives of the old, toffee-nosed and deeply closeted upper classes and the young, hedonistic and exultantly out working class, the series wears its heart on its (flared) (paisley) sleeve. The screenplay is by Russell T. Davies (based on the 2016 novel by John Preston), and it's directed by Stephen Frears. The series dives into this gratifyingly dishy story in the hopes of making a larger point about gay history. It succeeds, mostly.\u003c/p>\n\u003cp>Thorpe and Scott began their affair while homosexuality was still illegal in the U.K., and it became public fast on the heels of decriminalization. We see Grant's Thorpe and Whishaw's Scott embrace those changing times along divergent tracks: Thorpe into marriage, family and respectability, Scott into partying, poverty and halting attempts at heterosexuality. To Davies and Frears, Scott is the hero of the piece, and they place their thumbs on the scale by supplying him plenty of moments — based on trial transcripts along with invented scenes — for him to express his out, loud and proud dignity, while Thorpe goes on stiffly dissembling, and stiffly prevaricating, and stiffly conspiring.\u003c/p>\n\u003cp>That's significant. Had \u003cem>A Very English Scandal\u003c/em> been made even ten years ago, the story might simply have been mined for its sordid details, of which there are plenty, without placing it in a meaningful context. But several wonderful actors show up to invest real emotion into scenes about the effect of the closet on themselves and their loved ones (look out for David Bamber's brief but moving turn as Lord Arran in episode two.) A queer sensibility pervades the series, colors it and ultimately \u003cem>informs \u003c/em>it in ways that pay off both in specific scenes and on the whole.\u003c/p>\n\u003cp>One small example: It frees Whishaw to queen it up to the heartwarming extent he does here, flouncing about the place in a way that feels as it should — natural and free and unconcerned, not soberly studied or practiced. Not, in other words, \u003cem>actorly\u003c/em>. Crucially, while the series sides squarely with his character, it doesn't falsely revere him — he's given the necessary room to be vain and impatient and selfish and whiny, and the result doesn't feel, as it otherwise might, like any kind of Statement About The Gays, but simply an intimate portrait of this one guy, and his \u003cem>seriously \u003c/em>impressive head of hair.\u003c/p>\n\u003cfigure id=\"attachment_104448\" class=\"wp-caption alignnone\" style=\"max-width: 687px\">\u003cimg class=\"size-full wp-image-104448\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/07/Screen-Shot-2018-07-01-at-4.49.35-PM.png\" alt=\"\" width=\"687\" height=\"384\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/07/Screen-Shot-2018-07-01-at-4.49.35-PM.png 687w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/Screen-Shot-2018-07-01-at-4.49.35-PM-160x89.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/Screen-Shot-2018-07-01-at-4.49.35-PM-240x134.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/Screen-Shot-2018-07-01-at-4.49.35-PM-375x210.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/Screen-Shot-2018-07-01-at-4.49.35-PM-520x291.png 520w\" sizes=\"(max-width: 687px) 100vw, 687px\">\u003cfigcaption class=\"wp-caption-text\">Hugh Grant and Ben Whishaw in 'A Very English Scandal'.\u003c/figcaption>\u003c/figure>\n\u003cp>For his part, Grant is playing a variation on the artistocratic cad he played in last year's \u003ca href=\"https://www.imdb.com/title/tt4468740/?ref_=fn_al_tt_1\">\u003cem>Paddington 2\u003c/em>\u003c/a>, substituting for that role's vaudeville ham something more centered, more sinister and — disturbingly but unfailingly — charming throughout. Sure, Grant's played a lot of supercilious jerks over the years, but it's very possible he's never had more fun — or been more fun to watch — than he is here. The man can make the simple act of stirring an egg into his steak tartare a tableau of supremely punchable self-satisfaction, and later make us feel his cornered, heart-thudding panic at being discovered, and still later allow us to see, behind the toothy grin-grimace that causes those blue eyes to crinkle so, his quiet, soul-sick desperation.\u003c/p>\n\u003cp>In \u003cem>A Very English Scandal\u003c/em>'s opening scene, the script calls for Thorpe to mimic the upper-class mannerisms of a colleague (\"I would be veddy veddy veddy disappointed\"). It's to Grant's credit that the actor slips so deftly between that caricature and a character with which, after all, it shares so veddy, veddy much in common — which is, of course, the joke.\u003c/p>\n\u003cp>Whenever the camera pans away from Grant and Whishaw, the tone of the mini-series tends go a bit wobbly. As would-be assassin 'Gino' Norton, Blake Harrison goes comically broad — like, early Coen Brothers broad — and never quite slips into the groove of the show around him, which is marked by so much sniffy, buttoned-up rectitude. And while Davies's script and Frears' direction expend considerable time and attention on the women in Thorpe's and Scott's lives, they never manage to emerge as clearly delineated characters in their own right.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But as a playground for Whishaw and Grant, \u003cem>A Very English Scandal\u003c/em> soars. The actors starred together in \u003cem>Paddington 2\u003c/em>, of course, and over and above its manifold delights, it's fun to imagine this mini-series as a kind of alternate-universe sequel — one in which Paddington (voiced by Whishaw) ditches that lumpy, unflattering overcoat for a clingy top and flared polyester pants to hit the gay disco, undergoing, in the process, that rarest of all transformations possible in the gay community: From bear to twink.\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=%27A+Very+English+Scandal%27+Is+Veddy%2C+Veddy+Fun%2C+Indeed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003cem>you \u003c/em>in question is Ben Whishaw's Norman Scott, a wan and wispy stable boy who's shown up penniless to the Palace of Westminster office of the \u003cem>me \u003c/em>in question: Grant's (significantly older) Jeremy Thorpe, a Member of Parliament whose career, in the early 1960s, is on the rise.\u003c/p>\n\u003cp>The two men enter into a sexual relationship which, were it discovered, would lead to their arrest, public shaming and, in Thorpe's case, the ignominious end of a career in public service.\u003c/p>\n\u003cp>It gets discovered, of course, eventually. The resulting scandal — involving blackmail, conspiracy to commit murder and a spectacularly bungled attempted murder resulting in canicide — turns out to be, as the title suggests, very English indeed, in that it is fueled by the desire to avoid the one thing Brits fear more than death: embarrassment. The resulting trial, which takes up most of the third episode, is no slouch in the British department, either, what with its wigs and robes and \"I say!\"s and \"See here!\"s and arch diffidence and diffident archness and whatnot.\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/g7aUZRKv-bU'\n title='//www.youtube.com/embed/g7aUZRKv-bU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Watching this very — nay, \u003cem>achingly \u003c/em>-- English affair play out, and then flame out, is what a Brit might call \"a right old hoot.\" It's soapy, funny, by turns gorgeous and grubby, and performed with a kind of headlong verve that's never less than fascinating to behold.\u003c/p>\n\u003cp>In its central conflict between representatives of the old, toffee-nosed and deeply closeted upper classes and the young, hedonistic and exultantly out working class, the series wears its heart on its (flared) (paisley) sleeve. The screenplay is by Russell T. Davies (based on the 2016 novel by John Preston), and it's directed by Stephen Frears. The series dives into this gratifyingly dishy story in the hopes of making a larger point about gay history. It succeeds, mostly.\u003c/p>\n\u003cp>Thorpe and Scott began their affair while homosexuality was still illegal in the U.K., and it became public fast on the heels of decriminalization. We see Grant's Thorpe and Whishaw's Scott embrace those changing times along divergent tracks: Thorpe into marriage, family and respectability, Scott into partying, poverty and halting attempts at heterosexuality. To Davies and Frears, Scott is the hero of the piece, and they place their thumbs on the scale by supplying him plenty of moments — based on trial transcripts along with invented scenes — for him to express his out, loud and proud dignity, while Thorpe goes on stiffly dissembling, and stiffly prevaricating, and stiffly conspiring.\u003c/p>\n\u003cp>That's significant. Had \u003cem>A Very English Scandal\u003c/em> been made even ten years ago, the story might simply have been mined for its sordid details, of which there are plenty, without placing it in a meaningful context. But several wonderful actors show up to invest real emotion into scenes about the effect of the closet on themselves and their loved ones (look out for David Bamber's brief but moving turn as Lord Arran in episode two.) A queer sensibility pervades the series, colors it and ultimately \u003cem>informs \u003c/em>it in ways that pay off both in specific scenes and on the whole.\u003c/p>\n\u003cp>One small example: It frees Whishaw to queen it up to the heartwarming extent he does here, flouncing about the place in a way that feels as it should — natural and free and unconcerned, not soberly studied or practiced. Not, in other words, \u003cem>actorly\u003c/em>. Crucially, while the series sides squarely with his character, it doesn't falsely revere him — he's given the necessary room to be vain and impatient and selfish and whiny, and the result doesn't feel, as it otherwise might, like any kind of Statement About The Gays, but simply an intimate portrait of this one guy, and his \u003cem>seriously \u003c/em>impressive head of hair.\u003c/p>\n\u003cfigure id=\"attachment_104448\" class=\"wp-caption alignnone\" style=\"max-width: 687px\">\u003cimg class=\"size-full wp-image-104448\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/07/Screen-Shot-2018-07-01-at-4.49.35-PM.png\" alt=\"\" width=\"687\" height=\"384\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/07/Screen-Shot-2018-07-01-at-4.49.35-PM.png 687w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/Screen-Shot-2018-07-01-at-4.49.35-PM-160x89.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/Screen-Shot-2018-07-01-at-4.49.35-PM-240x134.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/Screen-Shot-2018-07-01-at-4.49.35-PM-375x210.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/Screen-Shot-2018-07-01-at-4.49.35-PM-520x291.png 520w\" sizes=\"(max-width: 687px) 100vw, 687px\">\u003cfigcaption class=\"wp-caption-text\">Hugh Grant and Ben Whishaw in 'A Very English Scandal'.\u003c/figcaption>\u003c/figure>\n\u003cp>For his part, Grant is playing a variation on the artistocratic cad he played in last year's \u003ca href=\"https://www.imdb.com/title/tt4468740/?ref_=fn_al_tt_1\">\u003cem>Paddington 2\u003c/em>\u003c/a>, substituting for that role's vaudeville ham something more centered, more sinister and — disturbingly but unfailingly — charming throughout. Sure, Grant's played a lot of supercilious jerks over the years, but it's very possible he's never had more fun — or been more fun to watch — than he is here. The man can make the simple act of stirring an egg into his steak tartare a tableau of supremely punchable self-satisfaction, and later make us feel his cornered, heart-thudding panic at being discovered, and still later allow us to see, behind the toothy grin-grimace that causes those blue eyes to crinkle so, his quiet, soul-sick desperation.\u003c/p>\n\u003cp>In \u003cem>A Very English Scandal\u003c/em>'s opening scene, the script calls for Thorpe to mimic the upper-class mannerisms of a colleague (\"I would be veddy veddy veddy disappointed\"). It's to Grant's credit that the actor slips so deftly between that caricature and a character with which, after all, it shares so veddy, veddy much in common — which is, of course, the joke.\u003c/p>\n\u003cp>Whenever the camera pans away from Grant and Whishaw, the tone of the mini-series tends go a bit wobbly. As would-be assassin 'Gino' Norton, Blake Harrison goes comically broad — like, early Coen Brothers broad — and never quite slips into the groove of the show around him, which is marked by so much sniffy, buttoned-up rectitude. And while Davies's script and Frears' direction expend considerable time and attention on the women in Thorpe's and Scott's lives, they never manage to emerge as clearly delineated characters in their own right.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But as a playground for Whishaw and Grant, \u003cem>A Very English Scandal\u003c/em> soars. The actors starred together in \u003cem>Paddington 2\u003c/em>, of course, and over and above its manifold delights, it's fun to imagine this mini-series as a kind of alternate-universe sequel — one in which Paddington (voiced by Whishaw) ditches that lumpy, unflattering overcoat for a clingy top and flared polyester pants to hit the gay disco, undergoing, in the process, that rarest of all transformations possible in the gay community: From bear to twink.\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=%27A+Very+English+Scandal%27+Is+Veddy%2C+Veddy+Fun%2C+Indeed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "ABC Picks Up 'Roseanne' Spin-Off, 'The Conners'",
"title": "ABC Picks Up 'Roseanne' Spin-Off, 'The Conners'",
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"content": "\u003cp>ABC canceled its lucrative reboot of \u003ca href=\"https://www.imdb.com/title/tt0094540/?ref_=nv_sr_1\">\u003cem>Roseanne\u003c/em>\u003c/a> in late May, after star Roseanne Barr published a tweet that compared Valerie Jarrett, a former aide to President Barack Obama, to an ape. ABC Entertainment president Channing Dungey \u003ca href=\"https://variety.com/2018/tv/news/roseanne-canceled-abc-1202824211/\">called the tweet\u003c/a> \"abhorrent, repugnant and inconsistent with our values.\" It looked like the network was willing to take a financial hit and part with a successful property in the name of, of all things, principle.\u003c/p>\n\u003cp>Not so fast.\u003c/p>\n\u003cp>On Thursday, the network announced that it is picking up the tentatively titled show \u003cem>The Conners. \u003c/em>It's a Roseanne-less \u003cem>Roseanne\u003c/em>. It went straight to series — meaning it doesn't have to produce a pilot to prove it can work, as other shows would. Instead, it will simply slide into the fall schedule just like it was going to before, except without its star. \"Roseanne Barr will have no financial or creative involvement in the new series,\" according to ABC's press release.\u003c/p>\n\u003cp>One way to look at this development is the way ABC is spinning it, which is that the characters still have plenty of stories to tell. \"The Conners' stories demonstrate that families can always find common ground through conversation, laughter and love,\" says the network. Another is the way Barr herself is spinning it in her own statement, as cited by Lesley Goldberg in \u003cem>The Hollywood Reporter:\u003c/em> \"I regret the circumstances that have caused me to be removed from \u003cem>Roseanne\u003c/em>. I agreed to the settlement in order that 200 jobs of beloved cast and crew could be saved, and I wish the best for everyone involved.\"\u003c/p>\n\u003cfigure id=\"attachment_104295\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-104295\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/06/rosedarlene_wide-c4eaa3a139055be3fb11c0a3d4ed39d7bad4d893-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/06/rosedarlene_wide-c4eaa3a139055be3fb11c0a3d4ed39d7bad4d893-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/rosedarlene_wide-c4eaa3a139055be3fb11c0a3d4ed39d7bad4d893-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/rosedarlene_wide-c4eaa3a139055be3fb11c0a3d4ed39d7bad4d893-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/rosedarlene_wide-c4eaa3a139055be3fb11c0a3d4ed39d7bad4d893-1020x573.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/rosedarlene_wide-c4eaa3a139055be3fb11c0a3d4ed39d7bad4d893-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/rosedarlene_wide-c4eaa3a139055be3fb11c0a3d4ed39d7bad4d893-1920x1079.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/rosedarlene_wide-c4eaa3a139055be3fb11c0a3d4ed39d7bad4d893-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/rosedarlene_wide-c4eaa3a139055be3fb11c0a3d4ed39d7bad4d893-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/rosedarlene_wide-c4eaa3a139055be3fb11c0a3d4ed39d7bad4d893-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/rosedarlene_wide-c4eaa3a139055be3fb11c0a3d4ed39d7bad4d893-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/rosedarlene_wide-c4eaa3a139055be3fb11c0a3d4ed39d7bad4d893-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sara Gilbert and Roseanne Barr in the return of ABC's 'Roseanne'. Gilbert will re-return in the spinoff 'The Conners.'\u003c/figcaption>\u003c/figure>\n\u003cp>But another is that the praise ABC received for doing \"the right thing\" is having its cake, and continuing to make money from having rebooted the show is eating it, too.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Barr's statement refers to a \"settlement,\" but the network says she will have no financial involvement in the new show. On June 16, \u003ca href=\"https://www.hollywoodreporter.com/live-feed/abcs-roseanne-spinoff-hinges-barr-relinquishing-fee-1120723\">Goldberg reported\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Barr had agreed in principle to walk away from the characters she helped create in order to allow the cast and crew to pursue a spinoff. But since Barr would be entitled to substantial fees and backend on a \u003cem>Roseanne\u003c/em> spinoff, the actress had to waive those rights before a new take could move forward. The last key hurdle was over what, if any, one-time payment Barr was to receive as \"go-away money,\" as one source put it. Barr will retain an executive producer credit on the new take, per WGA rules.\u003c/p>\u003c/blockquote>\n\u003cp>If Barr received \"go-away money\" to make it possible, then she's arguably profiting from the \u003cem>Conners\u003c/em> \"spin-off,\" as ABC is calling the starless vehicle. And she still makes money from the old seasons, which are more valuable the longer all of this is in the spotlight. What's more, if she retains the rights to the character for any future uses (including bringing Roseanne Conner somewhere else), then this is all enormously helpful to her prospects, compared with, say, putting the entire show in a great big bag, setting it on fire and throwing it into a ravine.\u003c/p>\n\u003cp>The bottom line is that Barr is likely to be worse off, certainly, than she would have been if the show had continued \u003cem>with \u003c/em>her, but better off than if this new spinoff weren't happening at all.\u003c/p>\n\u003cp>Moreover, this development allows the network, the other actors and everyone else who stands to profit to avoid reckoning with the choice they originally made. They chose to align themselves with Barr and place their faith in her, despite the fact that nothing about her Jarrett tweet was unexpected, given her history. There is something to be said for expecting people who gamble with a situation like this to swallow their losses. It's not, after all, the responsibility of viewers (or critics) to insure networks or actors against the foreseeable consequences of their actions.\u003c/p>\n\u003cp>Certainly, there are good stories to be mined from working-class people, as we know from \u003cem>One Day At A Time,\u003c/em> \u003cem>Superstore,\u003c/em> \u003cem>Bob's Burgers\u003c/em> and other currently airing shows. But it's possible to create those stories on sets that don't bear this particular legacy. Shows are canceled \u003cem>all the time,\u003c/em> including shows that are much better and more interesting than the \u003cem>Roseanne \u003c/em>reboot was.\u003c/p>\n\u003cp>There was a short-lived comedy called \u003cem>Enlisted,\u003c/em> about a group of brothers in the U.S. Army, that aired on Fox in 2014. Despite being excellent, funny, well-regarded and devoted to telling stories about people who are underrepresented on mainstream network TV, it was canceled. Back in the day, the wonderful \u003cem>Freaks and Geeks \u003c/em>was canceled, even though it starred Seth Rogen, James Franco, Jason Segel, Martin Starr — even though it was the product of the minds of Judd Apatow and Paul Feig. Cancellations happen. The list of shows that failed for whatever reason or combination of reasons is lengthy, but this is how TV works. Old shows go, and new shows arrive. In fact, old shows must go for new shows to arrive. And every year, shows with enormous potential aren't picked up, because there just isn't very much room on a broadcast schedule. Letting this go wouldn't have been one less show, just one \u003cem>other \u003c/em>show.\u003c/p>\n\u003cp>\"But,\" you say, \"you fool, you know that networks make decisions for financial reasons. That's the business!\"\u003c/p>\n\u003cp>Yes. Exactly. That's the business — where every time you hear that a decision is being made on principle, you should wait for the asterisk.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And one more thing, which amounts to speculation informed by experience: If Barr doesn't have additional public issues, wait and see how long it takes for there to be rumors that they might bring Barr back to \u003cem>The Conners\u003c/em>. Maybe just for a visit. Even if they kill her off, wait and see. Network executives standing on principle come and go, after all. Fictional characters have all the time in the world to wait, and her husband, Dan — thanks to a memory-wipe of most of the events of \u003cem>Roseanne\u003c/em>'s original ending — has already come back from the dead once.\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=%27Roseanne%27+Minus+Roseanne%3A+ABC+Picks+Up+%27The+Conners%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>ABC canceled its lucrative reboot of \u003ca href=\"https://www.imdb.com/title/tt0094540/?ref_=nv_sr_1\">\u003cem>Roseanne\u003c/em>\u003c/a> in late May, after star Roseanne Barr published a tweet that compared Valerie Jarrett, a former aide to President Barack Obama, to an ape. ABC Entertainment president Channing Dungey \u003ca href=\"https://variety.com/2018/tv/news/roseanne-canceled-abc-1202824211/\">called the tweet\u003c/a> \"abhorrent, repugnant and inconsistent with our values.\" It looked like the network was willing to take a financial hit and part with a successful property in the name of, of all things, principle.\u003c/p>\n\u003cp>Not so fast.\u003c/p>\n\u003cp>On Thursday, the network announced that it is picking up the tentatively titled show \u003cem>The Conners. \u003c/em>It's a Roseanne-less \u003cem>Roseanne\u003c/em>. It went straight to series — meaning it doesn't have to produce a pilot to prove it can work, as other shows would. Instead, it will simply slide into the fall schedule just like it was going to before, except without its star. \"Roseanne Barr will have no financial or creative involvement in the new series,\" according to ABC's press release.\u003c/p>\n\u003cp>One way to look at this development is the way ABC is spinning it, which is that the characters still have plenty of stories to tell. \"The Conners' stories demonstrate that families can always find common ground through conversation, laughter and love,\" says the network. Another is the way Barr herself is spinning it in her own statement, as cited by Lesley Goldberg in \u003cem>The Hollywood Reporter:\u003c/em> \"I regret the circumstances that have caused me to be removed from \u003cem>Roseanne\u003c/em>. I agreed to the settlement in order that 200 jobs of beloved cast and crew could be saved, and I wish the best for everyone involved.\"\u003c/p>\n\u003cfigure id=\"attachment_104295\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-104295\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/06/rosedarlene_wide-c4eaa3a139055be3fb11c0a3d4ed39d7bad4d893-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/06/rosedarlene_wide-c4eaa3a139055be3fb11c0a3d4ed39d7bad4d893-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/rosedarlene_wide-c4eaa3a139055be3fb11c0a3d4ed39d7bad4d893-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/rosedarlene_wide-c4eaa3a139055be3fb11c0a3d4ed39d7bad4d893-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/rosedarlene_wide-c4eaa3a139055be3fb11c0a3d4ed39d7bad4d893-1020x573.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/rosedarlene_wide-c4eaa3a139055be3fb11c0a3d4ed39d7bad4d893-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/rosedarlene_wide-c4eaa3a139055be3fb11c0a3d4ed39d7bad4d893-1920x1079.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/rosedarlene_wide-c4eaa3a139055be3fb11c0a3d4ed39d7bad4d893-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/rosedarlene_wide-c4eaa3a139055be3fb11c0a3d4ed39d7bad4d893-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/rosedarlene_wide-c4eaa3a139055be3fb11c0a3d4ed39d7bad4d893-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/rosedarlene_wide-c4eaa3a139055be3fb11c0a3d4ed39d7bad4d893-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/rosedarlene_wide-c4eaa3a139055be3fb11c0a3d4ed39d7bad4d893-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sara Gilbert and Roseanne Barr in the return of ABC's 'Roseanne'. Gilbert will re-return in the spinoff 'The Conners.'\u003c/figcaption>\u003c/figure>\n\u003cp>But another is that the praise ABC received for doing \"the right thing\" is having its cake, and continuing to make money from having rebooted the show is eating it, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Barr's statement refers to a \"settlement,\" but the network says she will have no financial involvement in the new show. On June 16, \u003ca href=\"https://www.hollywoodreporter.com/live-feed/abcs-roseanne-spinoff-hinges-barr-relinquishing-fee-1120723\">Goldberg reported\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Barr had agreed in principle to walk away from the characters she helped create in order to allow the cast and crew to pursue a spinoff. But since Barr would be entitled to substantial fees and backend on a \u003cem>Roseanne\u003c/em> spinoff, the actress had to waive those rights before a new take could move forward. The last key hurdle was over what, if any, one-time payment Barr was to receive as \"go-away money,\" as one source put it. Barr will retain an executive producer credit on the new take, per WGA rules.\u003c/p>\u003c/blockquote>\n\u003cp>If Barr received \"go-away money\" to make it possible, then she's arguably profiting from the \u003cem>Conners\u003c/em> \"spin-off,\" as ABC is calling the starless vehicle. And she still makes money from the old seasons, which are more valuable the longer all of this is in the spotlight. What's more, if she retains the rights to the character for any future uses (including bringing Roseanne Conner somewhere else), then this is all enormously helpful to her prospects, compared with, say, putting the entire show in a great big bag, setting it on fire and throwing it into a ravine.\u003c/p>\n\u003cp>The bottom line is that Barr is likely to be worse off, certainly, than she would have been if the show had continued \u003cem>with \u003c/em>her, but better off than if this new spinoff weren't happening at all.\u003c/p>\n\u003cp>Moreover, this development allows the network, the other actors and everyone else who stands to profit to avoid reckoning with the choice they originally made. They chose to align themselves with Barr and place their faith in her, despite the fact that nothing about her Jarrett tweet was unexpected, given her history. There is something to be said for expecting people who gamble with a situation like this to swallow their losses. It's not, after all, the responsibility of viewers (or critics) to insure networks or actors against the foreseeable consequences of their actions.\u003c/p>\n\u003cp>Certainly, there are good stories to be mined from working-class people, as we know from \u003cem>One Day At A Time,\u003c/em> \u003cem>Superstore,\u003c/em> \u003cem>Bob's Burgers\u003c/em> and other currently airing shows. But it's possible to create those stories on sets that don't bear this particular legacy. Shows are canceled \u003cem>all the time,\u003c/em> including shows that are much better and more interesting than the \u003cem>Roseanne \u003c/em>reboot was.\u003c/p>\n\u003cp>There was a short-lived comedy called \u003cem>Enlisted,\u003c/em> about a group of brothers in the U.S. Army, that aired on Fox in 2014. Despite being excellent, funny, well-regarded and devoted to telling stories about people who are underrepresented on mainstream network TV, it was canceled. Back in the day, the wonderful \u003cem>Freaks and Geeks \u003c/em>was canceled, even though it starred Seth Rogen, James Franco, Jason Segel, Martin Starr — even though it was the product of the minds of Judd Apatow and Paul Feig. Cancellations happen. The list of shows that failed for whatever reason or combination of reasons is lengthy, but this is how TV works. Old shows go, and new shows arrive. In fact, old shows must go for new shows to arrive. And every year, shows with enormous potential aren't picked up, because there just isn't very much room on a broadcast schedule. Letting this go wouldn't have been one less show, just one \u003cem>other \u003c/em>show.\u003c/p>\n\u003cp>\"But,\" you say, \"you fool, you know that networks make decisions for financial reasons. That's the business!\"\u003c/p>\n\u003cp>Yes. Exactly. That's the business — where every time you hear that a decision is being made on principle, you should wait for the asterisk.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And one more thing, which amounts to speculation informed by experience: If Barr doesn't have additional public issues, wait and see how long it takes for there to be rumors that they might bring Barr back to \u003cem>The Conners\u003c/em>. Maybe just for a visit. Even if they kill her off, wait and see. Network executives standing on principle come and go, after all. Fictional characters have all the time in the world to wait, and her husband, Dan — thanks to a memory-wipe of most of the events of \u003cem>Roseanne\u003c/em>'s original ending — has already come back from the dead once.\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=%27Roseanne%27+Minus+Roseanne%3A+ABC+Picks+Up+%27The+Conners%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'You Just Serve as Much as You Can': Mj Rodriguez on Ball Culture and 'Pose'",
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"content": "\u003cp>High fashion, makeup, vogueing competitions. In the 1980s, New York City's drag balls were cultural events for the LGBTQ community, most of them black and Latino. But balls have largely been hidden from mainstream America.\u003c/p>\n\u003cp>Now, a new show on FX is putting them front and center. It's called \u003cem>Pose\u003c/em>, and \u003ca href=\"https://www.fxnetworks.com/shows/pose\">according to FX\u003c/a>, it has largest cast of transgender actors in series regular roles.\u003c/p>\n\u003cp>\"It's great that finally our stories are getting to be told from the lenses of our eyes,\" says transgender singer and actress Mj Rodriguez.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_t4YuPXdLZw\u003c/p>\n\u003cp>Rodriguez plays Blanca, an HIV-positive ball competitor who decides to leave her drag \"house\" to create a new one from scratch. She tells NPR that she and Blanca actually have a lot in common.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how Blanca's experience compares to her own \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So Blanca, she's like this rambunctious, very, very nurturing, compassionate, a little bit hardheaded, but ambitious spirit. And she's trying to leave a legacy with the news that she's received as far as her diagnosis as far as HIV, and she's trying to leave something behind so her [house] \"children\" can carry on her legacy. ...\u003c/p>\n\u003cp>Me and her have \u003cem>a lot\u003c/em> in common. There are some small differences, obviously, but these are also very, very true stories. And I've been ostracized from a specific part of my community, and I decided that I was not going to let that be the thing that brought me down. I was going to move forward and uplift. ...\u003c/p>\n\u003cp>There were moments where I was called many derogatory names. I've gotten into a couple of fights. People have jumped me. You know, I've had a lot of things that have happened to me, but I look past those things now and now I'm moving forward and I always believe that the experiences that you go through are what make you stronger and what help you push forward through life.\u003c/p>\n\u003cp>\u003cstrong>On landing the role of Angel, a street musician living with AIDS, in the 2011 off-Broadway revival of \u003c/strong>\u003cstrong>\u003cem>Rent\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Rent\u003c/em> was one of the main defining moments, and it was like the precipice of my transition. I had always known I was female, since I was 7 years old. But at that time there were no words that I could express, at the age of 7. But when I got to a certain age, which was 14, I knew. And then I carried that on through my career. So when I played that character, I was just like: Finally, I can have people see me for the woman I am and not have any doubts or thoughts or anything, just can simply be and simply live and pour my soul out onstage.\u003c/p>\n\u003cfigure id=\"attachment_104272\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-104272\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/06/fx-s-pose_101_2549r_wide-e3e61bd3ec6365a2825c9cff38942278e31090f8-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">\"She's like this rambunctious, very, very nurturing, compassionate, a little bit hardheaded, but ambitious spirit,\" Rodriguez says of Blanca.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how drag balls work\u003c/strong>\u003c/p>\n\u003cp>It's a refuge — it's a place of refuge for anyone of the LGBT community of color. And we go there just to find solace, to find family and just to find comfort.\u003c/p>\n\u003cp>And there are also ... many categories, which are like walking face, walking realness, vogueing, vogueing femme and also runway. Runway is one of the things that I walk, and that's when you literally walk down the runway in the ballroom culture and you just serve as much as you can. ... Bring it, honey, you have to \u003cem>bring it\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>On how it feels to be part of a large transgender cast\u003c/strong>\u003c/p>\n\u003cp>I think is beautiful. One, I'm glad because most of these women I've met or have worked with before, so that's the best part about it, we have already a connection. But most importantly, these [episodes] are telling different stories ... of each of these trans women's lives, and that we are living authentically just like anyone else who's walking this earth, and that we just literally need to come together and stop the BS, honestly.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Denise Guerra and Viet Le produced and edited this interview for broadcast. Nicole Cohen adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27You+Just+Serve+As+Much+As+You+Can%27%3A+Mj+Rodriguez+On+Ball+Culture+And+%27Pose%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>High fashion, makeup, vogueing competitions. In the 1980s, New York City's drag balls were cultural events for the LGBTQ community, most of them black and Latino. But balls have largely been hidden from mainstream America.\u003c/p>\n\u003cp>Now, a new show on FX is putting them front and center. It's called \u003cem>Pose\u003c/em>, and \u003ca href=\"https://www.fxnetworks.com/shows/pose\">according to FX\u003c/a>, it has largest cast of transgender actors in series regular roles.\u003c/p>\n\u003cp>\"It's great that finally our stories are getting to be told from the lenses of our eyes,\" says transgender singer and actress Mj Rodriguez.\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/_t4YuPXdLZw'\n title='//www.youtube.com/embed/_t4YuPXdLZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rodriguez plays Blanca, an HIV-positive ball competitor who decides to leave her drag \"house\" to create a new one from scratch. She tells NPR that she and Blanca actually have a lot in common.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how Blanca's experience compares to her own \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So Blanca, she's like this rambunctious, very, very nurturing, compassionate, a little bit hardheaded, but ambitious spirit. And she's trying to leave a legacy with the news that she's received as far as her diagnosis as far as HIV, and she's trying to leave something behind so her [house] \"children\" can carry on her legacy. ...\u003c/p>\n\u003cp>Me and her have \u003cem>a lot\u003c/em> in common. There are some small differences, obviously, but these are also very, very true stories. And I've been ostracized from a specific part of my community, and I decided that I was not going to let that be the thing that brought me down. I was going to move forward and uplift. ...\u003c/p>\n\u003cp>There were moments where I was called many derogatory names. I've gotten into a couple of fights. People have jumped me. You know, I've had a lot of things that have happened to me, but I look past those things now and now I'm moving forward and I always believe that the experiences that you go through are what make you stronger and what help you push forward through life.\u003c/p>\n\u003cp>\u003cstrong>On landing the role of Angel, a street musician living with AIDS, in the 2011 off-Broadway revival of \u003c/strong>\u003cstrong>\u003cem>Rent\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Rent\u003c/em> was one of the main defining moments, and it was like the precipice of my transition. I had always known I was female, since I was 7 years old. But at that time there were no words that I could express, at the age of 7. But when I got to a certain age, which was 14, I knew. And then I carried that on through my career. So when I played that character, I was just like: Finally, I can have people see me for the woman I am and not have any doubts or thoughts or anything, just can simply be and simply live and pour my soul out onstage.\u003c/p>\n\u003cfigure id=\"attachment_104272\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-104272\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/06/fx-s-pose_101_2549r_wide-e3e61bd3ec6365a2825c9cff38942278e31090f8-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">\"She's like this rambunctious, very, very nurturing, compassionate, a little bit hardheaded, but ambitious spirit,\" Rodriguez says of Blanca.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how drag balls work\u003c/strong>\u003c/p>\n\u003cp>It's a refuge — it's a place of refuge for anyone of the LGBT community of color. And we go there just to find solace, to find family and just to find comfort.\u003c/p>\n\u003cp>And there are also ... many categories, which are like walking face, walking realness, vogueing, vogueing femme and also runway. Runway is one of the things that I walk, and that's when you literally walk down the runway in the ballroom culture and you just serve as much as you can. ... Bring it, honey, you have to \u003cem>bring it\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>On how it feels to be part of a large transgender cast\u003c/strong>\u003c/p>\n\u003cp>I think is beautiful. One, I'm glad because most of these women I've met or have worked with before, so that's the best part about it, we have already a connection. But most importantly, these [episodes] are telling different stories ... of each of these trans women's lives, and that we are living authentically just like anyone else who's walking this earth, and that we just literally need to come together and stop the BS, honestly.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Denise Guerra and Viet Le produced and edited this interview for broadcast. Nicole Cohen adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27You+Just+Serve+As+Much+As+You+Can%27%3A+Mj+Rodriguez+On+Ball+Culture+And+%27Pose%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'This is a Moment, Honey': Jonathan and Antoni on the Magic of 'Queer Eye'",
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"content": "\u003cp>Grab the tissues — the Fab Five are back with a second season of Netflix's \u003ca href=\"https://www.imdb.com/title/tt7259746/?ref_=nv_sr_1\">\u003cem>Queer Eye\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>For the uninitiated, \u003cem>Queer Eye\u003c/em> is a makeover show where five gay men with different areas of expertise (fashion, food, grooming, interior design) have a week to help change the life of one person, who they refer to as a \"hero.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=97Gh0LRdKu4\u003c/p>\n\u003cp>The show is based on \u003ca href=\"https://www.imdb.com/title/tt0358332/?ref_=nv_sr_1\">\u003cem>Queer Eye for the Straight Guy\u003c/em>\u003c/a>, which aired on Bravo in the 2000s. But the Netflix series has moved beyond the original, which focused on men. Season two opens with a hero named Tammye Hicks, an active church member who talks about how she came to accept her gay son.\u003c/p>\n\u003cp>Cast member Antoni Porowski (food) says, \"That was really an episode where I think the tables were turned. I feel like with a lot of the heroes, we tend to try to bring out parts of them that they want to discuss, and we sort of help facilitate that. With Tammye, it really switched and I feel like she called us out on a lot of our stuff and really brought a lot of things to light.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Porowski and Jonathan Van Ness (grooming) tell NPR about the heartwarming Tammye episode and how they respond to the show's critics.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On why\u003c/strong> \u003cstrong>Porowski was especially moved by Tammye's story\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Porowski: \u003c/strong>I'll kind of leave it as I've had a problematic relationship growing up with my parents. Things are a lot better right now, but it's definitely been a work in progress, and unconditional love from a parent is not something that I take for granted.\u003c/p>\n\u003cp>And to see somebody like Tammye, who is so embedded in her religion — it's something that's very important to her — and was able to realize it wasn't the Bible, it wasn't religion; it was the way that she chose to look at her son being gay, and how he was or wasn't accepted into the church. And for somebody to sort of have that humility and realize: No, the problem is me. It's the way that I'm looking at the situation. The facts are all the same, it's just the angle at which I'm looking at the situation — specifically, her son being gay. That's something that really touched me.\u003c/p>\n\u003cfigure id=\"attachment_104257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-104257 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tammye Hicks (far right) thanks the Fab Five (Karamo Brown, Porowski, Tan France, Bobby Berk, Van Ness) at the end of the season two premiere. (Pictured at far left: Tammye's son, Myles Hicks.) (Courtesy of Netflix)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On a common struggle for the show's heroes\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Van Ness:\u003c/strong> So much of what [Tammye] struggles with so many moms and women, and men actually — a lot of men struggle with that thing that Tammye did, which is just nurturing other people to a point where you lost sight of taking care of yourself, and equating self-care with selfishness. And so I was really excited for Tammye for that because it's like that whole airplane adage — like, you gotta put your little mask on first, because if your little mask isn't on, how are you gonna help me get my mask on? ...\u003c/p>\n\u003cp>And so I'm like, \"Tammye, giving so much of yourself all the time, you won't have much left to give if you don't nurture yourself a little bit.\" And I think that's something that we all struggle with because I think most of us want to do the best that we can, and I think a lot of us struggle with people pleasing. I know I do. And sometimes, you know, saying, \"No, I'm going to do this for myself,\" is very difficult.\u003c/p>\n\u003cp>\u003cstrong>On whether it was hurtful when some viewers started questioning Porowski's cooking abilities\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Porowski: \u003c/strong>It was at first, especially because as soon as the show came out it was like this explosion of love and nothing but praise, and then suddenly you see like one bad thing, and it's like, \u003cem>Oh my gosh\u003c/em>. I mean luckily for the bad, it's very troll-y, blog-y; for the most part no publication that I really deeply respect very much. But it's still — if I'm going to be taking the good, I have to take the bad with it as well. ...\u003c/p>\n\u003cp>\u003cstrong>Van Ness:\u003c/strong> That whole cooking-gate thing, that was really painful for me personally because I ate your gorgeous oatmeal all the time. I ate your gorgeous smoothies all the time. I ate your gorgeous fajitas all the time. ... And when anyone brings it up it makes me want to — like, next thing I know my finger is going, my neck is going, I'm having a whole thing. I'm like, \"Do you want a menu? What do you need from me to make you understand how good he cooks? What do you need?\"\u003c/p>\n\u003cp>\u003cstrong>On why the reboot has been such a hit\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Van Ness:\u003c/strong> People are so hungry for something that's not so divisive and not so mean. ... I call it the British baking effect, like \u003ca href=\"https://www.npr.org/sections/monkeysee/2016/07/01/484184090/the-bun-also-rises-why-we-love-the-great-british-baking-show\">the British baking show effect\u003c/a>, because I watch this show like morning, noon and night, all the time. It's like my all-the-time palate cleanser from the news. We just want to feel good about something, and I think that \u003cem>Queer Eye\u003c/em> I has a little bit of that magic.\u003c/p>\n\u003cp>\u003cstrong>On adjusting to their newfound celebrity\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Van Ness: \u003c/strong>We just had Pride in L.A. last weekend and I was on this float just living my best Pride life, but I was kind of hidden on this float just kind of waving and popping out. But then this boy on an intercom on the float started being like, \"Jonathan Van Ness from \u003cem>Queer Eye\u003c/em>.\" And ... people would literally point and start shaking and crying to a point where I was like, \"Oh my God.\" ... This is how people were reacting to Meghan Markle. When they would see me, it's like an imaginary person would like punch them in the stomach and they would just start pointing and crying. Not everyone, but a lot of people. And I was like, \"This feels like Meghan Markle! This is a moment, honey!\" ...\u003c/p>\n\u003cp>\u003cstrong>Porowski:\u003c/strong> There's something so weirdly overwhelming about it. One thing I did that has managed to really dissipate in a big way, and I'm really happy about, is like the whole impostor syndrome. Like: Oh my God, I tricked everyone into thinking I can cook and actually be on TV and present myself and make complete sentences without like mumbling and jumbling my words, like I just did. So that part I sort of got over. But then it's like God forbid I accept the fact of what's going on right now. Like, what would happen then if I actually — my voice quivers thinking about it, it's sort of like letting yourself enjoy it which is a hard thing for me.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Kevin Tidmarsh and Andrew Jones produced and edited this interview for broadcast. Nicole Cohen adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27This+Is+A+Moment%2C+Honey%27%3A+%27Queer+Eye%27+Gurus+Jonathan+And+Antoni+On+The+Show%27s+Magic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Grab the tissues — the Fab Five are back with a second season of Netflix's \u003ca href=\"https://www.imdb.com/title/tt7259746/?ref_=nv_sr_1\">\u003cem>Queer Eye\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>For the uninitiated, \u003cem>Queer Eye\u003c/em> is a makeover show where five gay men with different areas of expertise (fashion, food, grooming, interior design) have a week to help change the life of one person, who they refer to as a \"hero.\"\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/97Gh0LRdKu4'\n title='//www.youtube.com/embed/97Gh0LRdKu4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The show is based on \u003ca href=\"https://www.imdb.com/title/tt0358332/?ref_=nv_sr_1\">\u003cem>Queer Eye for the Straight Guy\u003c/em>\u003c/a>, which aired on Bravo in the 2000s. But the Netflix series has moved beyond the original, which focused on men. Season two opens with a hero named Tammye Hicks, an active church member who talks about how she came to accept her gay son.\u003c/p>\n\u003cp>Cast member Antoni Porowski (food) says, \"That was really an episode where I think the tables were turned. I feel like with a lot of the heroes, we tend to try to bring out parts of them that they want to discuss, and we sort of help facilitate that. With Tammye, it really switched and I feel like she called us out on a lot of our stuff and really brought a lot of things to light.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Porowski and Jonathan Van Ness (grooming) tell NPR about the heartwarming Tammye episode and how they respond to the show's critics.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On why\u003c/strong> \u003cstrong>Porowski was especially moved by Tammye's story\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Porowski: \u003c/strong>I'll kind of leave it as I've had a problematic relationship growing up with my parents. Things are a lot better right now, but it's definitely been a work in progress, and unconditional love from a parent is not something that I take for granted.\u003c/p>\n\u003cp>And to see somebody like Tammye, who is so embedded in her religion — it's something that's very important to her — and was able to realize it wasn't the Bible, it wasn't religion; it was the way that she chose to look at her son being gay, and how he was or wasn't accepted into the church. And for somebody to sort of have that humility and realize: No, the problem is me. It's the way that I'm looking at the situation. The facts are all the same, it's just the angle at which I'm looking at the situation — specifically, her son being gay. That's something that really touched me.\u003c/p>\n\u003cfigure id=\"attachment_104257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-104257 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tammye Hicks (far right) thanks the Fab Five (Karamo Brown, Porowski, Tan France, Bobby Berk, Van Ness) at the end of the season two premiere. (Pictured at far left: Tammye's son, Myles Hicks.) (Courtesy of Netflix)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On a common struggle for the show's heroes\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Van Ness:\u003c/strong> So much of what [Tammye] struggles with so many moms and women, and men actually — a lot of men struggle with that thing that Tammye did, which is just nurturing other people to a point where you lost sight of taking care of yourself, and equating self-care with selfishness. And so I was really excited for Tammye for that because it's like that whole airplane adage — like, you gotta put your little mask on first, because if your little mask isn't on, how are you gonna help me get my mask on? ...\u003c/p>\n\u003cp>And so I'm like, \"Tammye, giving so much of yourself all the time, you won't have much left to give if you don't nurture yourself a little bit.\" And I think that's something that we all struggle with because I think most of us want to do the best that we can, and I think a lot of us struggle with people pleasing. I know I do. And sometimes, you know, saying, \"No, I'm going to do this for myself,\" is very difficult.\u003c/p>\n\u003cp>\u003cstrong>On whether it was hurtful when some viewers started questioning Porowski's cooking abilities\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Porowski: \u003c/strong>It was at first, especially because as soon as the show came out it was like this explosion of love and nothing but praise, and then suddenly you see like one bad thing, and it's like, \u003cem>Oh my gosh\u003c/em>. I mean luckily for the bad, it's very troll-y, blog-y; for the most part no publication that I really deeply respect very much. But it's still — if I'm going to be taking the good, I have to take the bad with it as well. ...\u003c/p>\n\u003cp>\u003cstrong>Van Ness:\u003c/strong> That whole cooking-gate thing, that was really painful for me personally because I ate your gorgeous oatmeal all the time. I ate your gorgeous smoothies all the time. I ate your gorgeous fajitas all the time. ... And when anyone brings it up it makes me want to — like, next thing I know my finger is going, my neck is going, I'm having a whole thing. I'm like, \"Do you want a menu? What do you need from me to make you understand how good he cooks? What do you need?\"\u003c/p>\n\u003cp>\u003cstrong>On why the reboot has been such a hit\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Van Ness:\u003c/strong> People are so hungry for something that's not so divisive and not so mean. ... I call it the British baking effect, like \u003ca href=\"https://www.npr.org/sections/monkeysee/2016/07/01/484184090/the-bun-also-rises-why-we-love-the-great-british-baking-show\">the British baking show effect\u003c/a>, because I watch this show like morning, noon and night, all the time. It's like my all-the-time palate cleanser from the news. We just want to feel good about something, and I think that \u003cem>Queer Eye\u003c/em> I has a little bit of that magic.\u003c/p>\n\u003cp>\u003cstrong>On adjusting to their newfound celebrity\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Van Ness: \u003c/strong>We just had Pride in L.A. last weekend and I was on this float just living my best Pride life, but I was kind of hidden on this float just kind of waving and popping out. But then this boy on an intercom on the float started being like, \"Jonathan Van Ness from \u003cem>Queer Eye\u003c/em>.\" And ... people would literally point and start shaking and crying to a point where I was like, \"Oh my God.\" ... This is how people were reacting to Meghan Markle. When they would see me, it's like an imaginary person would like punch them in the stomach and they would just start pointing and crying. Not everyone, but a lot of people. And I was like, \"This feels like Meghan Markle! This is a moment, honey!\" ...\u003c/p>\n\u003cp>\u003cstrong>Porowski:\u003c/strong> There's something so weirdly overwhelming about it. One thing I did that has managed to really dissipate in a big way, and I'm really happy about, is like the whole impostor syndrome. Like: Oh my God, I tricked everyone into thinking I can cook and actually be on TV and present myself and make complete sentences without like mumbling and jumbling my words, like I just did. So that part I sort of got over. But then it's like God forbid I accept the fact of what's going on right now. Like, what would happen then if I actually — my voice quivers thinking about it, it's sort of like letting yourself enjoy it which is a hard thing for me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The history of television and film portrayals of people of color is pretty abysmal. Either we are not present, just in the background and stereotyped, or we're cast as maids, gardeners, servants or the comic buffoon. In my lifetime, I have never been exposed consistently to characters who either look like me, act like me or reflect my reality of those around me.\u003c/p>\n\u003cp>Notice I said \u003cem>consistently\u003c/em>. There have been exceptions, but it seems we've had to wait patiently for portrayals that we recognize as being significant to our lives.\u003c/p>\n\u003cp>So when a show like \u003ca href=\"https://www.imdb.com/title/tt7725422/?ref_=nv_sr_1\">\u003cem>Vida\u003c/em>\u003c/a> comes around, it is worth taking time to examine what and who makes it worth watching.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.starz.com/\">Starz\u003c/a> drama features an all-Latinx ensemble cast, as well as many behind the scenes roles for women and people of color, from video editing to casting, production design, and an all-Latinx writer's room. It's set in Boyle Heights, a longtime working-class Chicano enclave in East Los Angeles.\u003c/p>\n\u003cp>The premise: Two estranged sisters, Lyn (Melissa Barrera) and Emma (Mishel Prada) are brought back to Boyle Heights by the death of their mother, Vidalia — the titular Vida. In the difficult homecoming, the sisters learn more about their mother than she revealed in her life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k0Ha20Njsf0\u003c/p>\n\u003cp>Over the course of six brief episodes, \u003cem>Vida \u003c/em>deftly takes on themes of sexual identity in communities of color, assimilation, fraught sibling dynamics, discrimination and \u003cem>gentefication\u003c/em>: the type of gentrification that happens when Latinos leave their neighborhoods and later come back to buy up real estate, open businesses and, sometimes, push out older residents in the process. Boyle Heights becomes as much a character in the series as its female protagonists.\u003c/p>\n\u003cp>At the heart of any TV production, the show runner is the all-important producer that sets the tone by keeping all things running smoothly in the studio and fills crucial positions like the cast and writers. \u003ca href=\"https://www.imdb.com/name/nm2571374/\">Tanya Saracho \u003c/a>is the show runner for \u003cem>Vida\u003c/em> and she joins \u003ca href=\"https://www.npr.org/sections/altlatino/\">NPR's Alt.Latino show\u003c/a> this week to talk about how the show made it to a major cable network, as well as some of her thoughts about portrayals of characters of color on TV and film in general.\u003c/p>\n\u003cp>\"I think there's going to come a time that everyone — like, everyone, the people holding the pen to draw and the people holding the pen to write it — hopefully, will all be Latinx,\" Saracho says of her show's place in the canon of media that tell Latinx stories. \"Because that is possible.\"\u003c/p>\n\u003cp>Alt.Latino will also hear from NPR's TV critic \u003ca href=\"https://www.npr.org/people/243254424/eric-deggans\">Eric Deggans\u003c/a>, and the crew from NPR's \u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\">Pop Culture Happy Hour\u003c/a> podcast shares its thoughts on the show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When a show this important comes around, lots of people pay attention. Alt.Latino wants to share some of those discussions and get you to weigh in. Check out the show this week, \u003ca href=\"https://www.starz.com/series/vida/episodes\">watch\u003c/a> \u003cem>Vida\u003c/em> and share what you think \u003ca href=\"https://twitter.com/AltLatino\">on Tuíter\u003c/a>.\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=%27Vida%2C%27+The+Groundbreaking+Cable+Show+That+Gets+Latinx+Narratives+Right&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cdiv>\u003cem>In the original version of this story Alt.Latino was referred to in the first person.\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/k0Ha20Njsf0'\n title='//www.youtube.com/embed/k0Ha20Njsf0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Over the course of six brief episodes, \u003cem>Vida \u003c/em>deftly takes on themes of sexual identity in communities of color, assimilation, fraught sibling dynamics, discrimination and \u003cem>gentefication\u003c/em>: the type of gentrification that happens when Latinos leave their neighborhoods and later come back to buy up real estate, open businesses and, sometimes, push out older residents in the process. Boyle Heights becomes as much a character in the series as its female protagonists.\u003c/p>\n\u003cp>At the heart of any TV production, the show runner is the all-important producer that sets the tone by keeping all things running smoothly in the studio and fills crucial positions like the cast and writers. \u003ca href=\"https://www.imdb.com/name/nm2571374/\">Tanya Saracho \u003c/a>is the show runner for \u003cem>Vida\u003c/em> and she joins \u003ca href=\"https://www.npr.org/sections/altlatino/\">NPR's Alt.Latino show\u003c/a> this week to talk about how the show made it to a major cable network, as well as some of her thoughts about portrayals of characters of color on TV and film in general.\u003c/p>\n\u003cp>\"I think there's going to come a time that everyone — like, everyone, the people holding the pen to draw and the people holding the pen to write it — hopefully, will all be Latinx,\" Saracho says of her show's place in the canon of media that tell Latinx stories. \"Because that is possible.\"\u003c/p>\n\u003cp>Alt.Latino will also hear from NPR's TV critic \u003ca href=\"https://www.npr.org/people/243254424/eric-deggans\">Eric Deggans\u003c/a>, and the crew from NPR's \u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\">Pop Culture Happy Hour\u003c/a> podcast shares its thoughts on the show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When a show this important comes around, lots of people pay attention. Alt.Latino wants to share some of those discussions and get you to weigh in. Check out the show this week, \u003ca href=\"https://www.starz.com/series/vida/episodes\">watch\u003c/a> \u003cem>Vida\u003c/em> and share what you think \u003ca href=\"https://twitter.com/AltLatino\">on Tuíter\u003c/a>.\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=%27Vida%2C%27+The+Groundbreaking+Cable+Show+That+Gets+Latinx+Narratives+Right&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cdiv>\u003cem>In the original version of this story Alt.Latino was referred to in the first person.\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>\u003cem>The following contains spoilers for \u003c/em>Fear the Walking Dead\u003cem>, Season 4. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I am a \u003ca href=\"https://www.imdb.com/title/tt1520211/?ref_=nv_sr_2\">\u003cem>Walking Dead\u003c/em>\u003c/a> nerd. My Sunday schedule and cable subscription revolve around the show, and have done for years. My friends have stopped inviting me to viewing parties because, if I’m there, no one is allowed to talk. When Michonne and Rick first hooked up, I made a noise so loud, my next door neighbor heard me (and laughed at me the next day). You get the idea.\u003c/p>\n\u003cp>Because of my level of investment in the show, its ill-conceived spin-off, \u003ca href=\"https://www.imdb.com/title/tt3743822/?ref_=fn_al_tt_1\">\u003cem>Fear the Walking Dead,\u003c/em>\u003c/a> has been nothing but a burden to me since it started three years ago. I wanted so badly to love it that I tolerated the splintered story lines, aimless roaming, endless subtitles, and interminably dull characters, in the hope that it would, one day, go somewhere good. It was partway through Season 3 that I had to call it a day. “If I don’t care about the fact that Travis just fell out of that helicopter,” I concluded, “I am never going to care about\u003cem> any\u003c/em> of this.” Reluctantly, but resigned, I quit the show, despite my love and admiration for Frank Dillane as Nick, because one interesting, well-drawn character does not a great show make.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J70l9yG7F_g\u003c/p>\n\u003cp>When I heard that Morgan from the original \u003cem>Walking Dead\u003c/em> was crossing over into \u003cem>Fear\u003c/em>, I was pleased. Not because I thought it would make the show better, but rather because Morgan has, to me, always been the most boring major character on \u003cem>Walking Dead\u003c/em>. It seemed perfect! Send the boring guy who keeps making infuriating decisions (\u003ca href=\"https://www.youtube.com/watch?v=M3W-hYHT6wE\">Wolf in the basement, anyone?\u003c/a>) to the boring show where \u003cem>everyone\u003c/em> makes infuriating decisions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then curiosity got the better of me, as the showrunners undoubtedly knew it would. I \u003cem>had\u003c/em> to watch the first episode of the fourth season of \u003cem>Fear — \u003c/em>all of us nerds did\u003cem> —\u003c/em> because it showed how Morgan ended up leaving his old crew. \u003ca href=\"https://www.youtube.com/watch?v=IGliL-u2A-g\">Other \u003cem>Walking Dead\u003c/em> characters, including Rick, made appearances\u003c/a> and so, not wishing to be left with any plot holes in my favorite show, I tuned in. It was a manipulative but savvy move by the \u003cem>Fear\u003c/em> creators to get viewers like me to come back — and it \u003cem>worked\u003c/em>. Because, thanks to some kind of illogical magic, when it comes to Morgan and \u003cem>Fear\u003c/em> in combination, two wrongs somehow make a right. Putting the two boring things together made them both more interesting. It makes almost entirely no sense, but it is true. Suddenly, I am a convert to both.\u003c/p>\n\u003cp>In \u003cem>The Walking Dead\u003c/em>, Morgan — even as a fan favorite — always felt like a side-note. As a pacifist, his “All life is precious” refrain kept him somehow separate from everyone else; as a fighter, his mental health issues did the same. But in \u003cem>Fear\u003c/em>, Morgan acts as a grounding and centering force. In this world, his pacifism isn’t the cause of trouble (as it has been in \u003cem>The Walking Dead\u003c/em>); it has been redeeming, and a unifier. In the mid-season 4 finale, his philosophy — and fearlessness in exercising it — manages to bring together two groups who were trying to murder each other literally five minutes before. The loss of Nick, immediately after he ignored Morgan’s advice to turn the other cheek, made Morgan’s presence suddenly weighty and essential. He was never a leader in \u003cem>The Walking Dead;\u003c/em> in\u003cem> Fear\u003c/em>, he is the guiding light.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ixdi8XdYHMQ\u003c/p>\n\u003cp>\u003cem>Fear the Walking Dead\u003c/em> has upped the ante on every level during Season 4. It’s obvious that, behind the scenes, big moves were made to try and rescue a show that had been going nowhere for far too long. The dual timelines, bold aesthetic choices, and a batch of new and interesting characters (my attachment to \u003ca href=\"https://www.youtube.com/watch?v=KKRR1VgDXfY\">John Dorie\u003c/a> is already at Daryl Dixon levels) infused the show with the lifeblood it has so desperately needed this entire time. The presence of Morgan was the thing that, most unexpectedly, brought it all together.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you quit \u003cem>Fear\u003c/em> back when I did (or before), please rest assured that it’s safe to come back. A year ago, I’d have told you \u003cem>Fear the Walking Dead\u003c/em> should just be canceled and quickly forgotten as a failed experiment. Now I’ll be marking its return date in my day planner, as I do with \u003cem>The Walking Dead — \u003c/em>and all because my least favorite character showed up.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then curiosity got the better of me, as the showrunners undoubtedly knew it would. I \u003cem>had\u003c/em> to watch the first episode of the fourth season of \u003cem>Fear — \u003c/em>all of us nerds did\u003cem> —\u003c/em> because it showed how Morgan ended up leaving his old crew. \u003ca href=\"https://www.youtube.com/watch?v=IGliL-u2A-g\">Other \u003cem>Walking Dead\u003c/em> characters, including Rick, made appearances\u003c/a> and so, not wishing to be left with any plot holes in my favorite show, I tuned in. It was a manipulative but savvy move by the \u003cem>Fear\u003c/em> creators to get viewers like me to come back — and it \u003cem>worked\u003c/em>. Because, thanks to some kind of illogical magic, when it comes to Morgan and \u003cem>Fear\u003c/em> in combination, two wrongs somehow make a right. Putting the two boring things together made them both more interesting. It makes almost entirely no sense, but it is true. Suddenly, I am a convert to both.\u003c/p>\n\u003cp>In \u003cem>The Walking Dead\u003c/em>, Morgan — even as a fan favorite — always felt like a side-note. As a pacifist, his “All life is precious” refrain kept him somehow separate from everyone else; as a fighter, his mental health issues did the same. But in \u003cem>Fear\u003c/em>, Morgan acts as a grounding and centering force. In this world, his pacifism isn’t the cause of trouble (as it has been in \u003cem>The Walking Dead\u003c/em>); it has been redeeming, and a unifier. In the mid-season 4 finale, his philosophy — and fearlessness in exercising it — manages to bring together two groups who were trying to murder each other literally five minutes before. The loss of Nick, immediately after he ignored Morgan’s advice to turn the other cheek, made Morgan’s presence suddenly weighty and essential. He was never a leader in \u003cem>The Walking Dead;\u003c/em> in\u003cem> Fear\u003c/em>, he is the guiding light.\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/Ixdi8XdYHMQ'\n title='//www.youtube.com/embed/Ixdi8XdYHMQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Fear the Walking Dead\u003c/em> has upped the ante on every level during Season 4. It’s obvious that, behind the scenes, big moves were made to try and rescue a show that had been going nowhere for far too long. The dual timelines, bold aesthetic choices, and a batch of new and interesting characters (my attachment to \u003ca href=\"https://www.youtube.com/watch?v=KKRR1VgDXfY\">John Dorie\u003c/a> is already at Daryl Dixon levels) infused the show with the lifeblood it has so desperately needed this entire time. The presence of Morgan was the thing that, most unexpectedly, brought it all together.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you quit \u003cem>Fear\u003c/em> back when I did (or before), please rest assured that it’s safe to come back. A year ago, I’d have told you \u003cem>Fear the Walking Dead\u003c/em> should just be canceled and quickly forgotten as a failed experiment. Now I’ll be marking its return date in my day planner, as I do with \u003cem>The Walking Dead — \u003c/em>and all because my least favorite character showed up.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Goodbye, Casting Couch! Four Major TV Networks Say #TimesUp",
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"content": "\u003cp>The largest actors' union in the U.S. has reached a tentative agreement with four television networks to try to eliminate the so-called casting couch, and prevent sexual harassment and assault. SAG-AFTRA struck a new deal with ABC, CBS, NBC and Fox, which limits private meetings in off-site locations, including hotel rooms and private residences.\u003c/p>\n\u003cp>SAG-AFTRA is the union that represents the journalists at NPR, among 160,000 others in the media and entertainment industries, including actors, announcers, broadcast journalists, dancers, DJs, news writers, and news editors.\u003c/p>\n\u003cp>\u003ca href=\"https://www.reuters.com/article/us-usa-actors-conduct/u-s-actors-tv-networks-agree-to-end-casting-couch-idUSKCN1J601M\">Reuters reports that Gabrielle Carteris, the president of SAG-AFTRA\u003c/a>, said the agreement aims to eliminate opportunities for \"predators to exploit performers behind closed doors under the guise of a professional meeting.\" She said the new guideline is a \"partial realization of our work toward industry culture change.\"\u003c/p>\n\u003cp>Ari Wilkenfeld, a civil rights lawyer who represents victims of sexual harassment and assault, said of the agreement by SAG-AFTRA and the television networks, \"I would like to characterize this as the very first step, in a very long marathon that we have to walk to clean things up.\"\u003c/p>\n\u003cp>\u003ca href=\"https://www.sagaftra.org/sag-aftra-reaches-tentative-agreement-major-broadcast-television-networks-0\">The new, three-year contract also includes pay increases\u003c/a>, and improvement to harassment prevention language. It follows SAG-AFTRA's decision in February to release a \u003ca href=\"https://www.sagaftra.org/sag-aftra-releases-sexual-harassment-code-conduct-0\">Code of Conduct on Sexual Harassment\u003c/a>, and an initiative called \u003ca href=\"https://www.sagaftra.org/files/call_to_action_final.pdf\">Four Pillars of Change\u003c/a>. The new rules include updated guidelines, and expand education and intervention efforts. The code also provides a definition of sexual harassment and what constitutes a hostile work environment, and detailed employers' legal obligations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"To truly change the culture we must be courageous and willing,\" Carteris said in February, \u003ca href=\"https://variety.com/2018/film/news/sag-aftra-code-of-conduct-sexual-harassment-2-1202694631/\">according to \u003cem>Variety\u003c/em>\u003c/a>. \"At its most basic, this Code will ultimately help better define what harassment is, and what members' rights are in real world situations. We are going further, however, with the launch of our Four Pillars of Change initiative to achieve safe workplaces and advance equity.\"\u003c/p>\n\u003cp>\u003ca href=\"https://www.sagaftra.org/files/sag-aftra_guideline1.pdf\">In April, SAG-AFTRA issued a new code of conduct guideline\u003c/a> for members, emphasizing that professional meetings need to take place in professional locations. It read in part:\u003c/p>\n\u003cblockquote>\u003cp>\"We call on producers and other decision makers with influence or control over decisions that can impact a career, to STOP holding professional meetings in these high-risk locations and find alternative, appropriate locations for professional meetings. Furthermore, we call on SAG-AFTRA members and their representatives to STOP agreeing to professional meetings in these high-risk locations.\"\u003c/p>\u003c/blockquote>\n\u003cp>It also called for union members to bring a \"support peer\" to meetings that have to be held in private, off-site locations:\u003c/p>\n\u003cblockquote>\u003cp>\"In the unlikely event that there is no reasonable alternative forum for a professional meeting, we strongly encourage members go only with the support of a second individual – of their own choosing – who attends the meeting to serve as a 'Support Peer.' The Support Peer should be allowed to maintain physical access to the member at all times during the meeting (e.g., no closed doors blocking the member and Support Peer).\"\u003c/p>\u003c/blockquote>\n\u003cp>The new guidelines from SAG-AFTRA and television networks come as the #MeToo movement has worked to end sexual misconduct from the workplace. Last year, more than 80 women accused Harvey Weinstein of sexual assault.\u003c/p>\n\u003cfigure id=\"attachment_104116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-104116 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/06/GettyImages-967818690-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/06/GettyImages-967818690-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/GettyImages-967818690-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/GettyImages-967818690-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/GettyImages-967818690-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/GettyImages-967818690-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/GettyImages-967818690-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/GettyImages-967818690-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/GettyImages-967818690-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/GettyImages-967818690-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/GettyImages-967818690-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/GettyImages-967818690-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harvey Weinstein leaves State Supreme Court with attorney Benjamin Brafman following Weinstein's arraignment on June 5, 2018 in New York City. Weinstein has denied all allegations of nonconsensual sexual activity and is currently free after posting $1 million cash bail. (Photo by Kevin Hagen/ Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>Their accusations led to similar allegations against prominent men across several industries, including media and entertainment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On May 25, a\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614339339/harvey-weinstein-surrenders-to-authorities-on-sexual-assault-charges\"> New York criminal court charged Harvey Weinstein\u003c/a> with rape and other abuse violations. Weinstein has pleaded not guilty to those charges.\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=SAG-AFTRA+And+TV+Networks+Move+To+Eliminate+Casting+Couch&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The largest actors' union in the U.S. has reached a tentative agreement with four television networks to try to eliminate the so-called casting couch, and prevent sexual harassment and assault. SAG-AFTRA struck a new deal with ABC, CBS, NBC and Fox, which limits private meetings in off-site locations, including hotel rooms and private residences.\u003c/p>\n\u003cp>SAG-AFTRA is the union that represents the journalists at NPR, among 160,000 others in the media and entertainment industries, including actors, announcers, broadcast journalists, dancers, DJs, news writers, and news editors.\u003c/p>\n\u003cp>\u003ca href=\"https://www.reuters.com/article/us-usa-actors-conduct/u-s-actors-tv-networks-agree-to-end-casting-couch-idUSKCN1J601M\">Reuters reports that Gabrielle Carteris, the president of SAG-AFTRA\u003c/a>, said the agreement aims to eliminate opportunities for \"predators to exploit performers behind closed doors under the guise of a professional meeting.\" She said the new guideline is a \"partial realization of our work toward industry culture change.\"\u003c/p>\n\u003cp>Ari Wilkenfeld, a civil rights lawyer who represents victims of sexual harassment and assault, said of the agreement by SAG-AFTRA and the television networks, \"I would like to characterize this as the very first step, in a very long marathon that we have to walk to clean things up.\"\u003c/p>\n\u003cp>\u003ca href=\"https://www.sagaftra.org/sag-aftra-reaches-tentative-agreement-major-broadcast-television-networks-0\">The new, three-year contract also includes pay increases\u003c/a>, and improvement to harassment prevention language. It follows SAG-AFTRA's decision in February to release a \u003ca href=\"https://www.sagaftra.org/sag-aftra-releases-sexual-harassment-code-conduct-0\">Code of Conduct on Sexual Harassment\u003c/a>, and an initiative called \u003ca href=\"https://www.sagaftra.org/files/call_to_action_final.pdf\">Four Pillars of Change\u003c/a>. The new rules include updated guidelines, and expand education and intervention efforts. The code also provides a definition of sexual harassment and what constitutes a hostile work environment, and detailed employers' legal obligations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"To truly change the culture we must be courageous and willing,\" Carteris said in February, \u003ca href=\"https://variety.com/2018/film/news/sag-aftra-code-of-conduct-sexual-harassment-2-1202694631/\">according to \u003cem>Variety\u003c/em>\u003c/a>. \"At its most basic, this Code will ultimately help better define what harassment is, and what members' rights are in real world situations. We are going further, however, with the launch of our Four Pillars of Change initiative to achieve safe workplaces and advance equity.\"\u003c/p>\n\u003cp>\u003ca href=\"https://www.sagaftra.org/files/sag-aftra_guideline1.pdf\">In April, SAG-AFTRA issued a new code of conduct guideline\u003c/a> for members, emphasizing that professional meetings need to take place in professional locations. It read in part:\u003c/p>\n\u003cblockquote>\u003cp>\"We call on producers and other decision makers with influence or control over decisions that can impact a career, to STOP holding professional meetings in these high-risk locations and find alternative, appropriate locations for professional meetings. Furthermore, we call on SAG-AFTRA members and their representatives to STOP agreeing to professional meetings in these high-risk locations.\"\u003c/p>\u003c/blockquote>\n\u003cp>It also called for union members to bring a \"support peer\" to meetings that have to be held in private, off-site locations:\u003c/p>\n\u003cblockquote>\u003cp>\"In the unlikely event that there is no reasonable alternative forum for a professional meeting, we strongly encourage members go only with the support of a second individual – of their own choosing – who attends the meeting to serve as a 'Support Peer.' The Support Peer should be allowed to maintain physical access to the member at all times during the meeting (e.g., no closed doors blocking the member and Support Peer).\"\u003c/p>\u003c/blockquote>\n\u003cp>The new guidelines from SAG-AFTRA and television networks come as the #MeToo movement has worked to end sexual misconduct from the workplace. Last year, more than 80 women accused Harvey Weinstein of sexual assault.\u003c/p>\n\u003cfigure id=\"attachment_104116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-104116 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/06/GettyImages-967818690-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/06/GettyImages-967818690-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/GettyImages-967818690-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/GettyImages-967818690-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/GettyImages-967818690-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/GettyImages-967818690-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/GettyImages-967818690-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/GettyImages-967818690-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/GettyImages-967818690-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/GettyImages-967818690-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/GettyImages-967818690-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/GettyImages-967818690-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harvey Weinstein leaves State Supreme Court with attorney Benjamin Brafman following Weinstein's arraignment on June 5, 2018 in New York City. Weinstein has denied all allegations of nonconsensual sexual activity and is currently free after posting $1 million cash bail. (Photo by Kevin Hagen/ Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>Their accusations led to similar allegations against prominent men across several industries, including media and entertainment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On May 25, a\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614339339/harvey-weinstein-surrenders-to-authorities-on-sexual-assault-charges\"> New York criminal court charged Harvey Weinstein\u003c/a> with rape and other abuse violations. Weinstein has pleaded not guilty to those charges.\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=SAG-AFTRA+And+TV+Networks+Move+To+Eliminate+Casting+Couch&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Dear '13 Reasons Why,' Tattoos and Self-Harm Aren't Interchangeable",
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"content": "\u003cp>There are many things that Season 1 of Netflix drama \u003ca href=\"https://www.youtube.com/watch?v=ia0ZjmuvyQk\">\u003cem>13 Reasons Why\u003c/em>\u003c/a> did phenomenally well. It was an unflinching look at the oft-dismissed hardships of being a teenager; it was an examination of the lack of assistance for young rape survivors; and it understood that, even when kids come from loving, supportive homes, they don't necessarily know where to go when they're in trouble. What made the show even more vital was that it was a major, unexpected conversation-starter among young people and parents alike.\u003c/p>\n\u003cp>Season 2 knows this, and, as a result, is far more heavy-handed about, well, everything. In addition to the sexual assault themes started in the first season, we now have heroin addiction, school shootings, a Brock Turner-esque court case, and self harm, courtesy of Clay's heavily tattooed love interest, Skye.\u003c/p>\n\u003cp>When it comes to the teenage personalities in the show, Skye represents the laziest caricature. She's not the only tattooed person in \u003cem>13 Reasons Why\u003c/em>, but she is the only one almost entirely defined by them. Her first appearance in the new season is literally at a tattoo shop, where her ability to handle pain is contrasted starkly with Clay, who passes out halfway through getting a semicolon tattooed on his wrist. It's a preamble to Skye's next appearance, in which Clay discovers she is still self-harming (a subject that was only briefly touched on in Season 1).\u003c/p>\n\u003cp>When it comes to Skye, \u003cem>13 Reasons Why\u003c/em> repeatedly draws a misleading and damaging parallel between body art and self-harm. Skye herself puts them in the same category, during an exchange with Clay that occurs after he is too emotionally distracted to perform sexually. “Are you ashamed of me?\" she asks. \"It doesn’t have to do with the way that I look? Or that I have tattoos and piercings and cuts all over?” After Clay reassures her that he doesn't \"care about that stuff,\" she gets out of bed, visibly upset and says, \"You don't care.\" Here, her body modifications and cutting are one and the same -- a cry for help. She promptly goes home and hurts herself to such a degree that she winds up in hospital.\u003c/p>\n\u003cp>The end of Skye's story arc sees her inside a mental health facility, very much on the road to recovery, in a better mood and committed to healing. It's no coincidence that, in these scenes, her lip piercing has been removed and all of her tattoos are covered up. It's symbolic of the fact that she's no longer screwed up, angry, and hurting herself. Here, she expresses a desire to \"hit the reset button,\" and covering her body art seems to be part of that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ia0ZjmuvyQk\u003c/p>\n\u003cp>Given how seriously the series takes itself in terms of getting \u003ca href=\"https://13reasonswhy.info/\">real-life help to real-life kids who need it\u003c/a>, \u003cem>13 Reasons Why'\u003c/em>s commitment to drawing a parallel between tattoos and poor mental health doesn't just do a disservice to tattooed people, it encourages stereotypes about who is mostly likely to self-harm. It also doubles down on old-fashioned, conservative ideas about the kinds of women who get tattooed. (\"Think of poor, frail Amy Winehouse, her emaciated limbs decorated,\" implores \u003ca href=\"http://www.dailymail.co.uk/debate/article-2654596/SARAH-VINE-Body-art-No-tattoos-hideous-self-harm.html\">the Daily Mail\u003c/a>.)\u003c/p>\n\u003cp>\u003ca href=\"https://www.bigtattooplanet.com/features/regional/tattooing-and-self-harm\">\u003cem>Big Tattoo Planet\u003c/em>\u003c/a> points out the difference between tattooing and self-harm in these handy lists:\u003c/p>\n\u003cp style=\"text-align: left\">\u003cem>Tattoo:\u003c/em>\u003cbr>\n\u003cem> • Pre-meditated and considered behaviour\u003c/em>\u003cbr>\n\u003cem> • Results usually for purposeful display\u003c/em>\u003cbr>\n\u003cem> • Primary attention gains\u003c/em>\u003cbr>\n\u003cem> • Proud of results\u003c/em>\u003cbr>\n\u003cem> • Result is key focus\u003c/em>\u003c/p>\n\u003cp style=\"text-align: left\">\u003cem>Self-Harm:\u003c/em>\u003cbr>\n\u003cem> • Reactive, compulsive behaviour\u003c/em>\u003cbr>\n\u003cem> • Results not usually for display\u003c/em>\u003cbr>\n\u003cem> • Secondary attention gains\u003c/em>\u003cbr>\n\u003cem> • Not proud of results\u003c/em>\u003cbr>\n\u003cem> • Process is key focus\u003c/em>\u003c/p>\n\u003cp>In an article for \u003ca href=\"https://www.psychologytoday.com/us/blog/the-scarred-soul/200912/tattoos-and-piercings-self-injury\">\u003cem>Psychology Today\u003c/em>\u003c/a>, Tracy Alderman Ph.D. backs up those differentiations, writing that \"overwhelmingly, self-injury is a distinct behavior, in definition, method and purpose, from tattooing and piercing… Self-injurers go to great lengths to cover and disguise their wounds and scars. Self-injurers are not proud of their new decorations.\"\u003c/p>\n\u003cp>That's not to say that self-harmers don't ever get tattooed. In a \u003ca href=\"https://www.ncbi.nlm.nih.gov/pubmed/18815984\">2008 study\u003c/a>, researchers found that, in a survey of tattooed people, \"Twenty-seven percent of the participants admitted self-cutting during childhood,\" but \"\u003ca href=\"https://digest.bps.org.uk/2008/07/16/tattoos-body-piercings-and-self-harm-is-there-a-link/\">most people who partake\u003c/a> in body modification clearly do not do it because they have any psychological problems.\"\u003c/p>\n\u003cp>In fact, tattooing is frequently employed by ex-self-harmers as a sign of closure and healing, as with the woman in the BBC video below. Her artist, \u003ca href=\"https://www.instagram.com/poppysmallhandstattoo/\">Poppy Segger\u003c/a> notes: “For a lot of people that I've tattooed, especially over scarring from them self-harming, they do have a whole new outlook after because that’s a part they can just put to bed now. Let it go.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j780be5nngs\u003c/p>\n\u003cp>Another ex-cutter \u003ca href=\"https://www.vice.com/en_us/article/gqm534/summer-is-the-hardest-time-to-hide-self-harm-scars-511\">told \u003cem>Vice\u003c/em>:\u003c/a> \"After years and years of hiding that part of your body, all of a sudden you're proud of it. I wanted to show people. It changed my life.\" Another interviewee said: \"It is something that was a decision: Did I want to have my body on display as a harmed thing or did I want to display it with something I had chosen?\"\u003c/p>\n\u003cp>A \u003ca href=\"https://onlinelibrary.wiley.com/doi/pdf/10.1002/erv.612\">2005 study conducted by the Wiley Library\u003c/a> backs up the anecdotal evidence. In relation to patients with eating disorders, the conclusion was drawn that \"piercing and tattooing seem to reflect more self‐care, and might protect some patients against more self‐harm.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Back in \u003cem>13 Reasons Why\u003c/em>-land, the idea that Skye would get a lot of tattoos in parallel with her self-harm, then cover them up as part of her recovery, is in direct contradiction to reality for the vast majority of real-life self-harmers. Portraying her character in this way is likely to strike fear in a lot of parents of alternative kids, while also encouraging assumptions among teens and young people about their tattooed peers. The fact that \u003cem>13 Reasons Why\u003c/em> just gave bullies extra ammunition to harass weird kids isn't just ironic, it's irresponsible.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are many things that Season 1 of Netflix drama \u003ca href=\"https://www.youtube.com/watch?v=ia0ZjmuvyQk\">\u003cem>13 Reasons Why\u003c/em>\u003c/a> did phenomenally well. It was an unflinching look at the oft-dismissed hardships of being a teenager; it was an examination of the lack of assistance for young rape survivors; and it understood that, even when kids come from loving, supportive homes, they don't necessarily know where to go when they're in trouble. What made the show even more vital was that it was a major, unexpected conversation-starter among young people and parents alike.\u003c/p>\n\u003cp>Season 2 knows this, and, as a result, is far more heavy-handed about, well, everything. In addition to the sexual assault themes started in the first season, we now have heroin addiction, school shootings, a Brock Turner-esque court case, and self harm, courtesy of Clay's heavily tattooed love interest, Skye.\u003c/p>\n\u003cp>When it comes to the teenage personalities in the show, Skye represents the laziest caricature. She's not the only tattooed person in \u003cem>13 Reasons Why\u003c/em>, but she is the only one almost entirely defined by them. Her first appearance in the new season is literally at a tattoo shop, where her ability to handle pain is contrasted starkly with Clay, who passes out halfway through getting a semicolon tattooed on his wrist. It's a preamble to Skye's next appearance, in which Clay discovers she is still self-harming (a subject that was only briefly touched on in Season 1).\u003c/p>\n\u003cp>When it comes to Skye, \u003cem>13 Reasons Why\u003c/em> repeatedly draws a misleading and damaging parallel between body art and self-harm. Skye herself puts them in the same category, during an exchange with Clay that occurs after he is too emotionally distracted to perform sexually. “Are you ashamed of me?\" she asks. \"It doesn’t have to do with the way that I look? Or that I have tattoos and piercings and cuts all over?” After Clay reassures her that he doesn't \"care about that stuff,\" she gets out of bed, visibly upset and says, \"You don't care.\" Here, her body modifications and cutting are one and the same -- a cry for help. She promptly goes home and hurts herself to such a degree that she winds up in hospital.\u003c/p>\n\u003cp>The end of Skye's story arc sees her inside a mental health facility, very much on the road to recovery, in a better mood and committed to healing. It's no coincidence that, in these scenes, her lip piercing has been removed and all of her tattoos are covered up. It's symbolic of the fact that she's no longer screwed up, angry, and hurting herself. Here, she expresses a desire to \"hit the reset button,\" and covering her body art seems to be part of that.\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/ia0ZjmuvyQk'\n title='//www.youtube.com/embed/ia0ZjmuvyQk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Given how seriously the series takes itself in terms of getting \u003ca href=\"https://13reasonswhy.info/\">real-life help to real-life kids who need it\u003c/a>, \u003cem>13 Reasons Why'\u003c/em>s commitment to drawing a parallel between tattoos and poor mental health doesn't just do a disservice to tattooed people, it encourages stereotypes about who is mostly likely to self-harm. It also doubles down on old-fashioned, conservative ideas about the kinds of women who get tattooed. (\"Think of poor, frail Amy Winehouse, her emaciated limbs decorated,\" implores \u003ca href=\"http://www.dailymail.co.uk/debate/article-2654596/SARAH-VINE-Body-art-No-tattoos-hideous-self-harm.html\">the Daily Mail\u003c/a>.)\u003c/p>\n\u003cp>\u003ca href=\"https://www.bigtattooplanet.com/features/regional/tattooing-and-self-harm\">\u003cem>Big Tattoo Planet\u003c/em>\u003c/a> points out the difference between tattooing and self-harm in these handy lists:\u003c/p>\n\u003cp style=\"text-align: left\">\u003cem>Tattoo:\u003c/em>\u003cbr>\n\u003cem> • Pre-meditated and considered behaviour\u003c/em>\u003cbr>\n\u003cem> • Results usually for purposeful display\u003c/em>\u003cbr>\n\u003cem> • Primary attention gains\u003c/em>\u003cbr>\n\u003cem> • Proud of results\u003c/em>\u003cbr>\n\u003cem> • Result is key focus\u003c/em>\u003c/p>\n\u003cp style=\"text-align: left\">\u003cem>Self-Harm:\u003c/em>\u003cbr>\n\u003cem> • Reactive, compulsive behaviour\u003c/em>\u003cbr>\n\u003cem> • Results not usually for display\u003c/em>\u003cbr>\n\u003cem> • Secondary attention gains\u003c/em>\u003cbr>\n\u003cem> • Not proud of results\u003c/em>\u003cbr>\n\u003cem> • Process is key focus\u003c/em>\u003c/p>\n\u003cp>In an article for \u003ca href=\"https://www.psychologytoday.com/us/blog/the-scarred-soul/200912/tattoos-and-piercings-self-injury\">\u003cem>Psychology Today\u003c/em>\u003c/a>, Tracy Alderman Ph.D. backs up those differentiations, writing that \"overwhelmingly, self-injury is a distinct behavior, in definition, method and purpose, from tattooing and piercing… Self-injurers go to great lengths to cover and disguise their wounds and scars. Self-injurers are not proud of their new decorations.\"\u003c/p>\n\u003cp>That's not to say that self-harmers don't ever get tattooed. In a \u003ca href=\"https://www.ncbi.nlm.nih.gov/pubmed/18815984\">2008 study\u003c/a>, researchers found that, in a survey of tattooed people, \"Twenty-seven percent of the participants admitted self-cutting during childhood,\" but \"\u003ca href=\"https://digest.bps.org.uk/2008/07/16/tattoos-body-piercings-and-self-harm-is-there-a-link/\">most people who partake\u003c/a> in body modification clearly do not do it because they have any psychological problems.\"\u003c/p>\n\u003cp>In fact, tattooing is frequently employed by ex-self-harmers as a sign of closure and healing, as with the woman in the BBC video below. Her artist, \u003ca href=\"https://www.instagram.com/poppysmallhandstattoo/\">Poppy Segger\u003c/a> notes: “For a lot of people that I've tattooed, especially over scarring from them self-harming, they do have a whole new outlook after because that’s a part they can just put to bed now. Let it go.”\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/j780be5nngs'\n title='//www.youtube.com/embed/j780be5nngs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another ex-cutter \u003ca href=\"https://www.vice.com/en_us/article/gqm534/summer-is-the-hardest-time-to-hide-self-harm-scars-511\">told \u003cem>Vice\u003c/em>:\u003c/a> \"After years and years of hiding that part of your body, all of a sudden you're proud of it. I wanted to show people. It changed my life.\" Another interviewee said: \"It is something that was a decision: Did I want to have my body on display as a harmed thing or did I want to display it with something I had chosen?\"\u003c/p>\n\u003cp>A \u003ca href=\"https://onlinelibrary.wiley.com/doi/pdf/10.1002/erv.612\">2005 study conducted by the Wiley Library\u003c/a> backs up the anecdotal evidence. In relation to patients with eating disorders, the conclusion was drawn that \"piercing and tattooing seem to reflect more self‐care, and might protect some patients against more self‐harm.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Back in \u003cem>13 Reasons Why\u003c/em>-land, the idea that Skye would get a lot of tattoos in parallel with her self-harm, then cover them up as part of her recovery, is in direct contradiction to reality for the vast majority of real-life self-harmers. Portraying her character in this way is likely to strike fear in a lot of parents of alternative kids, while also encouraging assumptions among teens and young people about their tattooed peers. The fact that \u003cem>13 Reasons Why\u003c/em> just gave bullies extra ammunition to harass weird kids isn't just ironic, it's irresponsible.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Hindsight is 20/20 for the US, the UK, and Mrs. Waterford of 'Handmaid's Tale'",
"title": "Hindsight is 20/20 for the US, the UK, and Mrs. Waterford of 'Handmaid's Tale'",
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"content": "\u003cp>Earlier this year at the \u003ca href=\"https://www.youtube.com/watch?v=DDbx1uArVOM\">White House Correspondents' Dinner,\u003c/a> comedian Michelle Wolf told Press Secretary Sarah Huckabee Sanders, \"I love you as Aunt Lydia in \u003cem>The Handmaid's Tale\u003c/em>.\" A more accurate comparison from Margaret Atwood's story, however, might have been to Mrs. Serena Joy Waterford. Aunt Lydia is responsible for training new handmaids and keeping them in line by any means necessary (cattle prods and hand-burning ceremonies included), but it is Mrs. Waterford that poses the most complex questions for 2018 audiences.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=56k-NHHpbAw\u003c/p>\n\u003cp>Though Season 1 made clear that Mrs. Waterford had a hand in the formation of Gilead and its policies, Season 2 is now showing the full extent of it. In episode 6 -- \"First Blood\" -- we see her, in her pre-Gilead life, enthusiastically taking on speaking engagements about her family values book, \"A Woman's Place,\" in the face of increasingly hostile protesters.\u003c/p>\n\u003cp>In 2018, scenes of angry division are soberingly familiar. In recent years, the world has seen all manner of guest speakers cause chaos on college campuses. In 2015, second-wave feminist \u003ca href=\"https://www.theguardian.com/books/2015/nov/18/transgender-activists-protest-germaine-greer-lecture-cardiff-university\">Germaine Greer faced protesters\u003c/a> at a British University over her anti-transgender comments, and Milo Yiannopoulos caused \u003ca href=\"https://www.chronicle.com/article/Milo-Yiannopoulos-s/240564\">chaos on his own college tour\u003c/a>. Earlier this year, \u003ca href=\"https://reason.com/blog/2018/03/06/christina-hoff-sommers-lewis-and-clark\">protesters disrupted\u003c/a> a talk from anti-feminist figure Christina Hoff Sommers.\u003c/p>\n\u003cp>Mrs Waterford isn't just realistic then, she is totally recognizable. We already know her. She is a woman who does not support the rights of other women. She is a woman whose ideas about gender roles are informed by her religious leanings. And if she existed in real life, you can bet your bonnet she'd be heading up a local chapter of \u003ca href=\"https://landing.concernedwomen.org/women/?pid=6258273&red=donation1/?initiativekey=SI6B4RJHK7ND&gclid=CjwKCAjwopTYBRAzEiwAnU4kbyiaLSfOvTOCF1r6Bk2wALMatGejtNZ1wYEs-z8mnRlNU92kGCudKhoCOlcQAvD_BwE\">Concerned Women for America\u003c/a> (an organization that, like the Waterfords, believes \"secular thought threatens the values we hold dear\"). She'd also probably be \u003ca href=\"https://www.youtube.com/watch?v=aNFjjylAZqc\">hitting Fox News\u003c/a> to talk about it at every opportunity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CrSdGdusCwQ\u003c/p>\n\u003cp>The reason Mrs. Waterford is such an important figure to have on television right now goes deeper than all that though. Having achieved all of the societal changes she once fought for -- a return to traditional gender roles and an unerring focus on producing children (even if it involves the systematic rape and dehumanization of other women) -- she finds herself a profoundly unhappy and lonely woman. Now the fight is over, and her right to an intellectual life has been outlawed, she is isolated from both her husband and all of the other (enslaved) women in her midst. When \u003ca href=\"https://www.youtube.com/watch?v=idDarKrq_0U\">Mrs. Waterford is spiteful to, or violently lashes out\u003c/a> at, the women beneath her, it's not mindless sadism -- it's out of sheer frustration with her own situation.\u003c/p>\n\u003cp>Mrs. Waterford's theories about Gilead were infinitely simpler than the reality, and the stress and regret of it all radiates through her face (thanks to a masterful portrayal by Yvonne Strahovski). \u003cem>The Handmaid's Tale\u003c/em> is most often viewed through a lens focused on the importance of women's rights, but in Mrs. Waterford's storyline, there are lessons to be learned about the power of indoctrination and blind faith. She is someone who wanted to inflict her fervent beliefs on others, without fully thinking through what the consequences of them might be for herself. She is someone who saw only the big picture, not the smaller details that would ultimately ruin her life. She forged ahead, laboring under the idea that what she was doing was for the greater good.\u003c/p>\n\u003cp>Mrs. Waterford's slow, painful realization that she is living in a hell of her own making is also reminiscent of modern politics in more ways than one. In the UK, \"leave\" voters are \u003ca href=\"https://www.theguardian.com/politics/2017/nov/25/protest-vote-regret-voting-leave-brexit\">expressing regret, en masse, over Brexit\u003c/a>. Similarly, there is a rash of Trump voters who have begun to express woe over their chosen President's policies. There are now so many of these individuals, there is \u003ca href=\"https://twitter.com/trump_regrets?lang=en\">an entire Twitter account\u003c/a> dedicated to unifying their voices.\u003c/p>\n\u003cp>In a recent article by business owner and Trump voter, Mary Buchzeiger, she wrote: \"I'm angry and scared… for my community and my country, which is about to be blindsided by a bad policy forged of best intentions.\" You can imagine Mrs. Waterford experiencing similar thoughts, as it dawns on her just how trapped by her own (and her husband's) ideas she really is.\u003c/p>\n\u003cp>Mrs. Waterford is a reminder of how 2016's political pandemonium was shaped. In an article about \u003ca href=\"https://www.theguardian.com/politics/2017/nov/25/protest-vote-regret-voting-leave-brexit\">Brexit for \u003cem>The Guardian\u003c/em>\u003c/a>, Jane Green, a co-director of the British Election Study, pointed out what we now know all too well. “When you have a strong view about something, you’re likely to reject information that’s contrary to your view, reject the source of the information and rationalise the information. We select information that’s consistent with our views, because it’s more comfortable and reaffirming.” Mrs. Waterford's blinkered beliefs got her into this mess -- and thanks to recent world events, we can completely understand how and why.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a different social and political period, Serena Joy Waterford would simply be a Lady Macbeth for modern times: power hungry at the expense of all else, belittling of her husband any time he shows even a moment of weakness, and destroyed in slow motion by her own misguided ambitions. But in our current climate, she is a reminder that a willingness to sacrifice other people's well-being in the pursuit of your own is likely to end badly for everyone. Ultimately, her story is a reflection of -- and a warning about -- the dire consequences of political isolationism.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this year at the \u003ca href=\"https://www.youtube.com/watch?v=DDbx1uArVOM\">White House Correspondents' Dinner,\u003c/a> comedian Michelle Wolf told Press Secretary Sarah Huckabee Sanders, \"I love you as Aunt Lydia in \u003cem>The Handmaid's Tale\u003c/em>.\" A more accurate comparison from Margaret Atwood's story, however, might have been to Mrs. Serena Joy Waterford. Aunt Lydia is responsible for training new handmaids and keeping them in line by any means necessary (cattle prods and hand-burning ceremonies included), but it is Mrs. Waterford that poses the most complex questions for 2018 audiences.\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/56k-NHHpbAw'\n title='//www.youtube.com/embed/56k-NHHpbAw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though Season 1 made clear that Mrs. Waterford had a hand in the formation of Gilead and its policies, Season 2 is now showing the full extent of it. In episode 6 -- \"First Blood\" -- we see her, in her pre-Gilead life, enthusiastically taking on speaking engagements about her family values book, \"A Woman's Place,\" in the face of increasingly hostile protesters.\u003c/p>\n\u003cp>In 2018, scenes of angry division are soberingly familiar. In recent years, the world has seen all manner of guest speakers cause chaos on college campuses. In 2015, second-wave feminist \u003ca href=\"https://www.theguardian.com/books/2015/nov/18/transgender-activists-protest-germaine-greer-lecture-cardiff-university\">Germaine Greer faced protesters\u003c/a> at a British University over her anti-transgender comments, and Milo Yiannopoulos caused \u003ca href=\"https://www.chronicle.com/article/Milo-Yiannopoulos-s/240564\">chaos on his own college tour\u003c/a>. Earlier this year, \u003ca href=\"https://reason.com/blog/2018/03/06/christina-hoff-sommers-lewis-and-clark\">protesters disrupted\u003c/a> a talk from anti-feminist figure Christina Hoff Sommers.\u003c/p>\n\u003cp>Mrs Waterford isn't just realistic then, she is totally recognizable. We already know her. She is a woman who does not support the rights of other women. She is a woman whose ideas about gender roles are informed by her religious leanings. And if she existed in real life, you can bet your bonnet she'd be heading up a local chapter of \u003ca href=\"https://landing.concernedwomen.org/women/?pid=6258273&red=donation1/?initiativekey=SI6B4RJHK7ND&gclid=CjwKCAjwopTYBRAzEiwAnU4kbyiaLSfOvTOCF1r6Bk2wALMatGejtNZ1wYEs-z8mnRlNU92kGCudKhoCOlcQAvD_BwE\">Concerned Women for America\u003c/a> (an organization that, like the Waterfords, believes \"secular thought threatens the values we hold dear\"). She'd also probably be \u003ca href=\"https://www.youtube.com/watch?v=aNFjjylAZqc\">hitting Fox News\u003c/a> to talk about it at every opportunity.\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/CrSdGdusCwQ'\n title='//www.youtube.com/embed/CrSdGdusCwQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The reason Mrs. Waterford is such an important figure to have on television right now goes deeper than all that though. Having achieved all of the societal changes she once fought for -- a return to traditional gender roles and an unerring focus on producing children (even if it involves the systematic rape and dehumanization of other women) -- she finds herself a profoundly unhappy and lonely woman. Now the fight is over, and her right to an intellectual life has been outlawed, she is isolated from both her husband and all of the other (enslaved) women in her midst. When \u003ca href=\"https://www.youtube.com/watch?v=idDarKrq_0U\">Mrs. Waterford is spiteful to, or violently lashes out\u003c/a> at, the women beneath her, it's not mindless sadism -- it's out of sheer frustration with her own situation.\u003c/p>\n\u003cp>Mrs. Waterford's theories about Gilead were infinitely simpler than the reality, and the stress and regret of it all radiates through her face (thanks to a masterful portrayal by Yvonne Strahovski). \u003cem>The Handmaid's Tale\u003c/em> is most often viewed through a lens focused on the importance of women's rights, but in Mrs. Waterford's storyline, there are lessons to be learned about the power of indoctrination and blind faith. She is someone who wanted to inflict her fervent beliefs on others, without fully thinking through what the consequences of them might be for herself. She is someone who saw only the big picture, not the smaller details that would ultimately ruin her life. She forged ahead, laboring under the idea that what she was doing was for the greater good.\u003c/p>\n\u003cp>Mrs. Waterford's slow, painful realization that she is living in a hell of her own making is also reminiscent of modern politics in more ways than one. In the UK, \"leave\" voters are \u003ca href=\"https://www.theguardian.com/politics/2017/nov/25/protest-vote-regret-voting-leave-brexit\">expressing regret, en masse, over Brexit\u003c/a>. Similarly, there is a rash of Trump voters who have begun to express woe over their chosen President's policies. There are now so many of these individuals, there is \u003ca href=\"https://twitter.com/trump_regrets?lang=en\">an entire Twitter account\u003c/a> dedicated to unifying their voices.\u003c/p>\n\u003cp>In a recent article by business owner and Trump voter, Mary Buchzeiger, she wrote: \"I'm angry and scared… for my community and my country, which is about to be blindsided by a bad policy forged of best intentions.\" You can imagine Mrs. Waterford experiencing similar thoughts, as it dawns on her just how trapped by her own (and her husband's) ideas she really is.\u003c/p>\n\u003cp>Mrs. Waterford is a reminder of how 2016's political pandemonium was shaped. In an article about \u003ca href=\"https://www.theguardian.com/politics/2017/nov/25/protest-vote-regret-voting-leave-brexit\">Brexit for \u003cem>The Guardian\u003c/em>\u003c/a>, Jane Green, a co-director of the British Election Study, pointed out what we now know all too well. “When you have a strong view about something, you’re likely to reject information that’s contrary to your view, reject the source of the information and rationalise the information. We select information that’s consistent with our views, because it’s more comfortable and reaffirming.” Mrs. Waterford's blinkered beliefs got her into this mess -- and thanks to recent world events, we can completely understand how and why.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a different social and political period, Serena Joy Waterford would simply be a Lady Macbeth for modern times: power hungry at the expense of all else, belittling of her husband any time he shows even a moment of weakness, and destroyed in slow motion by her own misguided ambitions. But in our current climate, she is a reminder that a willingness to sacrifice other people's well-being in the pursuit of your own is likely to end badly for everyone. Ultimately, her story is a reflection of -- and a warning about -- the dire consequences of political isolationism.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "This Season's 'SNL' Musical Guests, Cruelly Ranked",
"title": "This Season's 'SNL' Musical Guests, Cruelly Ranked",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Its quality has varied in its 43-year history, but \u003ca href=\"https://www.imdb.com/title/tt0072562/?ref_=fn_al_tt_1\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> has never lost its luster as a showcase for star musicians. \u003ca href=\"https://www.nbc.com/saturday-night-live/episodes\">The series' 2017-18 season\u003c/a> wrapped this weekend with a performance by Nicki Minaj, closing out a 21-episode run that spotlighted major players in hip-hop (Jay-Z, Minaj, Eminem, Cardi B), pop (Miley Cyrus, Taylor Swift, Pink), R&B (SZA), rock (U2, Jack White, Foo Fighters), country (Chris Stapleton, Kacey Musgraves) and whatever earth-shattering genre hybrid we're using to describe Childish Gambino now.\u003c/p>\n\u003cp>The \u003cem>SNL\u003c/em> stage isn't always kind to musicians: As with other late-night shows, the energy and sound mix often aren't quite right, and the singers are attempting to win over a crowd that's been watching comedy all evening. But every season, many of the musical guests do something extra with the \u003cem>SNL\u003c/em> space and find a way to make something riveting, visually arresting or at least interesting. Still, attempting to subjectively rank such a broad assortment of apples and oranges is a truly cruel and stupid endeavor.\u003c/p>\n\u003cp>So here goes.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>21. James Bay\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Pink Lemonade,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=I22DVDwc0aw\">\u003cstrong>Wild Love\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=4&v=I22DVDwc0aw\u003c/p>\n\u003cp>It's hard to figure out what to make of James Bay, whose name, voice and physical presence all seem to represent a composite sketch of every singer you've ever heard and thought, \"Wait, \u003cem>who\u003c/em> is this again?\"\u003c/p>\n\u003cp>Bay gives it a go in the peppy \"Pink Lemonade,\" but by the time he gets to \"Wild Love,\" well... let's just agree that nothing says \"I wanna give you wild love\" quite like standing stock-still in leather pants while performing what might be the most bloodless song ever written.\u003c/p>\n\u003cp>\u003cstrong>20. Sam Smith\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=BpT3gx3s0ns\">\u003cstrong>Too Good At Goodbyes\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=dU72UuhrYzU\">\u003cstrong>Pray\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>Sam Smith knows how to write ballads that convey longing and loss, but if his TV appearances are any indication, those just don't translate into onstage dynamism. In \"Too Good At Goodbyes,\" Smith shows up clad in a short-sleeved, tucked-in red blazer, a look that suggests he's not only working hard for your love, but also toiling at a \u003cem>second\u003c/em> job as an assistant manager at Hardee's. Smith pours every ounce of his expended energy into his vocals — which means, in turn, that he sounds nice, while leaving the charisma to his busy backing choir.\u003c/p>\n\u003cp>\u003cstrong>19. Troye Sivan\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=C59j0Rmucss\">\u003cstrong>My My My!\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=DnSO5Uhobvo\">\u003cstrong>The Good Side\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>Troye Sivan's springy dance-pop concoctions play better in the studio than on the stage: It's nice to see a live band kicking up a bit of dust during \"My My My!,\" but Sivan's vocals — especially during the breathier bits in between choruses — are so listless that at times he sounds like he's humming along to himself in the car. As for \"The Good Side,\" it's a ballad that keeps threatening to build to something grand, only to wobble back to a standstill.\u003c/p>\n\u003cp>\u003cstrong>18. Dua Lipa\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"New Rules,\" \"Homesick\"\u003c/strong>\u003c/p>\n\u003cp>Just by reading the words \"New Rules,\" you have doomed yourself to another three days in which those seven little words — \"I've got new rules, I count 'em\" — are lodged hopelessly in your brain, stuck in an eternal loop from which your battered psyche can find no respite. So, you know, apologies for that. As for Dua Lipa's \u003cem>performance\u003c/em> on SNL, it feels a little rote: Her vocals remain on point throughout \"New Rules\" and the ballad \"Homesick,\" but she seems strangely detached from the material.\u003c/p>\n\u003cp>\u003cstrong>17. Arcade Fire\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Creature Comfort,\" \"Put Your Money On Me\"\u003c/strong>\u003c/p>\n\u003cp>Arcade Fire's \u003cem>Everything Now\u003c/em> is an album-length commentary on the numbing excess of modern life, so you can't get too bent out of shape when its songs and live performances feel... well, numbingly excessive. But these two performances — especially the strobe-lit seizure factory \"Creature Comfort\" — can border on being migraine-inducing. The band gets points for the ambition of its stagecraft, but more isn't always more.\u003c/p>\n\u003cp>\u003cstrong>16. Nicki Minaj\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Chun-Li,\" \"Poke It Out\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nJUcecTVyGs\u003c/p>\n\u003cp>Hoo boy, where to begin? As performed this past Saturday, Minaj's lively and impeccably choreographed \"Chun-Li\" is basically a tutorial in cultural appropriation, making it both exciting to hear and infuriating to watch; it was widely condemned (and defended, and condemned again) as the minutes and hours unwound, to the point where the song's actual quality hasn't ended up mattering much. Then, instead of showcasing more of her own material — say, \u003ca href=\"https://www.youtube.com/watch?v=BidS_rcf7UU\">another single\u003c/a> from the album she's got coming out next month — Minaj turned her second slot over to Playboi Carti and his song \"Poke It Out.\" She guests on the track, both here and on his album, but doesn't even hit the stage until 90 seconds in.\u003c/p>\n\u003cp>\u003cstrong>15. Jack White\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Over and Over and Over,\" \"Connected By Love\"\u003c/strong>\u003c/p>\n\u003cp>This year's \u003cem>Boarding House Reach\u003c/em> sounds like the work of a fussy studio wizard who's decided to prioritize technical skill over coherent songcraft. As such, the singles Jack White trots out here only occasionally hang together in any meaningful way, most often in the guitar solos. White, who always surrounds himself with top-notch talent, brings on The McCrary Sisters to sing backup. But the songs themselves feel even more undercooked than they do on the album.\u003c/p>\n\u003cp>\u003cstrong>14. Halsey\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Bad At Love,\" \"Him & I\"\u003c/strong>\u003c/p>\n\u003cp>Halsey broke through via guest appearances on others' songs, so it's nice to hear the pop singer grab a headlining spot. She struts and soars through \"Bad At Love\" while wearing what appears to be Big Bird's pelt. But \"Him & I\" once again finds her spotlight diminished, in this case by slick-haired rapper G-Eazy, who's given roughly equal time both here and in the single itself. \u003cem>We were promised Halsey!\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>13. Migos\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=8CF0ucvv1kw\">\u003cstrong>Stir Fry\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=Epdp90Qg9uI\">\u003cstrong>Narcos\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>Trap music rarely gets an \u003cem>SNL\u003c/em> showcase, so Migos decided to go big, from a bright red-and-gold set to a live backing band to a whole bunch of lackadaisical (but fully committed!) old-school dancing. The energy is somehow strangely muted, with copious Auto-Tune and a slurred sound mix that doesn't do Migos many favors, but the overall spectacle wins out in the end.\u003c/p>\n\u003cp>\u003cstrong>12. U2\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=VLHubsghTOM\">\u003cstrong>American Soul\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=LGqhFw1RTZQ\">\u003cstrong>Get Out Of Your Own Way\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VLHubsghTOM\u003c/p>\n\u003cp>Say what you will about U2, but the band knows how to work a room. Still, \"American Soul\" feels like a tiny bit of a letdown coming out of its gripping animated intro, which features Kendrick Lamar; the rapper's absence is felt throughout an otherwise workmanlike song and performance. Of course, Bono can't help but trot out the ol' megaphone \u003cem>again\u003c/em> in \"Get Out of Your Own Way,\" which never quite soars the way it's supposed to.\u003c/p>\n\u003cp>\u003cstrong>11. Kacey Musgraves\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"High Horse,\" \"Slow Burn\"\u003c/strong>\u003c/p>\n\u003cp>For \"High Horse,\" Kacey Musgraves piles up the flash: Her huge band is decked out in matching outfits, and everyone on stage does their thing in the small shadow of... is that a saddle made of jewels, dangling from the ceiling? It looks like a cross between a disco ball and the tiny Stonehenge in \u003cem>This Is Spinal Tap\u003c/em>. Anyway, the song's energy is muted and midtempo — even more so here than in the original version. The appropriately titled \"Slow Burn\" fares better, as the band stays in the shadows, the bejeweled saddle gets mothballed and Musgraves lets her softly radiant voice carry the day.\u003c/p>\n\u003cp>\u003cstrong>10. Miley Cyrus\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Bad Mood,\" \"I Would Die For You\"\u003c/strong>\u003c/p>\n\u003cp>Miley Cyrus' awards-show performances have caused some to question her judgment — twerking is one thing, but twerking \u003cem>alongside\u003c/em> \u003cem>Robin Thicke\u003c/em>?! Still, her vocal talent remains \u003ca href=\"https://www.youtube.com/watch?v=2mjvfnUAfyo\">undeniable\u003c/a>. Last year's \u003cem>Younger Now\u003c/em> was all about reclaiming Cyrus' polished pop sound while maintaining a broad stylistic range, so it's no surprise that her SNL set is a picture of weaponized confidence and poise. Still, while \"Bad Mood\" pops as a gritty vocal showcase, the ballad \"I Would Die For You\" sands her personality down to a nub.\u003c/p>\n\u003cp>\u003cstrong>9. Eminem\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=GxkLy_mvGXE\">\u003cstrong>Walk On Water/Stan/Love The Way You Lie\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=429&v=GxkLy_mvGXE\u003c/p>\n\u003cp>Hand it to Eminem: He opted for an ambitious and unusual arrangement that allows his limitations to be tested. \"Walk on Water\" sets the rapper's paranoid self-pity against a stately arrangement that features singer Skylar Grey and a small orchestra; from there, instead of fading to commercial, the assembled players launch into lengthy excerpts from a pair of Eminem's biggest hits. (You won't hear the words \"Once again, Eminem\" in this telecast.) As for the rapper himself, he gains more focus and intensity as he goes along, as if he knows a train wreck has been narrowly but decisively averted.\u003c/p>\n\u003cp>\u003cstrong>8. Foo Fighters\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"The Sky Is A Neighborhood,\" \"Everlong/Christmas (Baby Please Come Home)/Linus And Lucy\"\u003c/strong>\u003c/p>\n\u003cp>\u003cem>SNL\u003c/em> performances often bear the burden of promotional obligation: When there's a new album to flog, most artists stick to the latest singles at the expense of the songs casual fans would be most excited to hear. But Foo Fighters' Dave Grohl, the affable incumbent mayor of rock and roll, is nothing if not eager to please, which means a decent new track (\"The Sky Is a Neighborhood\") gives way to a fun and incredibly ingratiating medley of one old favorite (\"Everlong,\" performed mostly solo) and two holiday staples: \"Christmas (Baby Please Come Home)\" and the Peanuts classic \"Linus and Lucy.\"\u003c/p>\n\u003cp>\u003cstrong>7. Taylor Swift\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"...Ready For It?,\" \"Call It What You Want\"\u003c/strong>\u003c/p>\n\u003cp>Dragging Taylor Swift online has become a pastime, if not an art form, and her live performances on TV have been getting mixed reviews for years. But these two songs from \u003cem>Reputation\u003c/em>, which had come out just a day earlier, are rendered with considerable skill: \"...Ready For It?\" gives every dancer onstage a workout, including Swift herself, while \"Call It What You Want\" gets a muted acoustic arrangement — it's just her, her acoustic guitar, a cellist, and her backup singers — that spotlights her clear, confident vocals.\u003c/p>\n\u003cp>\u003cstrong>6. Chris Stapleton\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=kZLBVi_0ENU\">\u003cstrong>Midnight Train to Memphis\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=OKMZ-_t7w6A\">\u003cstrong>Hard Livin'\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>Some superstars seem constrained by the relatively modest size of \u003cem>SNL\u003c/em>'s stage — especially the ones whose live shows are known to sprawl across stadiums. But Chris Stapleton has played enough bars and theaters to make the transition seamlessly, aided by a killer band and the prominent contributions of another decorated Kentuckian: Sturgill Simpson. Together, they make a meat-and-potatoes meal of Stapleton's hard-churning roots music.\u003c/p>\n\u003cp>\u003cstrong>5. Cardi B\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Bodak Yellow/Bartier Cardi,\" \"Be Careful\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mPU2n8CxH4k\u003c/p>\n\u003cp>The headlines coming out of Cardi B's set were all about the big reveal — the way the camera panned down late in \"Be Careful\" to show the baby bump she'd kept hidden earlier in the evening (and in the months preceding her appearance). But as lovely as that news is, it needn't overshadow the Swiss-watch precision and explosive charisma on display in her medley of \"Bodak Yellow\" and \"Bartier Cardi.\" In the past few months, Cardi B has proved herself a star capable of truly enduring: a funny and ingratiating multimedia presence with a boundless capacity for commanding attention.\u003c/p>\n\u003cp>\u003cstrong>4. Pink\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"What About Us,\" \"Beautiful Trauma\"\u003c/strong>\u003c/p>\n\u003cp>Remember the 2010 Grammys, when Pink blew every other performer off the stage by singing a song — beautifully — while spinning in midair on some sort of trapeze? She could have shown up at \u003cem>SNL\u003c/em> in a trucker cap and bathrobe and sung these songs while lolling in a beanbag chair, and we'd all be like, \"Sure, but remember the 2010 Grammys?\" Here, Pink seems to be having the time of her life as she belts her face off (at one point wearing what looks like a tablecloth, a shiny pink lifejacket and... a banner of some kind?), which is more than any of us deserve after the 2010 Grammys.\u003c/p>\n\u003cp>\u003cstrong>3. Jay-Z\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Bam,\" \"4:44\"\u003c/strong>\u003c/p>\n\u003cp>Jay-Z's performance opened\u003cem> SNL\u003c/em>'s 43rd season by \u003ca href=\"https://www.npr.org/sections/therecord/2017/10/02/554954068/jay-zs-snl-performance-as-political-protest-and-personal-redemption\">making news\u003c/a>, mostly for his pointed display of a Colin Kaepernick jersey during \"Bam,\" on which he teams up with singer Damian Marley. But the title track from last year's \u003cem>4:44\u003c/em> proves more powerful still, as Jay performs the song — a bracing and vulnerable apology to his family for his much-documented infidelity — alone with his eyes closed, the mic pressed tightly to his face. It's a remarkably inward-facing performance, raw and exposed.\u003c/p>\n\u003cp>\u003cstrong>2. SZA\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"The Weekend,\" \"Love Galore\"\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Ctrl\u003c/em> was one of 2017's best albums, so SZA came into this \u003cem>SNL\u003c/em> showcase with a significant advantage in terms of raw material. But her performance takes a huge swing anyway, as she trots out two album highlights with the aid of a choir, a tiny orchestra and vivid, ambitious set design. SZA's vocals are tight throughout, but what \u003cem>really\u003c/em> jumps out is the boldness of the arrangements: \"Love Galore\" subtracts Travis Scott (while adding a new verse!) and incorporates every unlikely ingredient on the stage, yet still evokes the mood of the original.\u003c/p>\n\u003cp>\u003cstrong>1. Childish Gambino\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Saturday,\" \"This Is America\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=l2P2qbr-_Ps\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Donald Glover might have claimed this spot purely on the strength of \u003ca href=\"https://www.youtube.com/watch?v=VYOjWnS4cMY\">his \"This Is America\" video\u003c/a>, a chart-topping conversation-starter he dropped the night of his \u003cem>SNL\u003c/em> appearance. He might also have claimed it on versatility alone: on his ability to host a 90-minute comedy show, appear in every sketch \u003cem>and\u003c/em> perform two songs as the musical guest. (Of course, then there's his groundbreaking work on \u003cem>Atlanta\u003c/em>, his star-making comic turn on \u003cem>Community\u003c/em> and his role in the forthcoming \u003cem>Solo: A Star Wars Story\u003c/em>, to say nothing of \u003cem>Magic Mike XXL\u003c/em>.) But both of the night's brand-new Childish Gambino songs are also terrific: \"Saturday\" is a funky-but-slight slice of summer fun, while \"This Is America\" functions as an actual, honest-to-goodness showstopper. To introduce the world to \u003cem>that\u003c/em> song in the legendarily uneven final half-hour of SNL, knowing that it'll \u003cem>still\u003c/em> resonate for weeks — and probably years — to come? That is boldness personified, and fully justified.\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=This+Season%27s+%27SNL%27+Musical+Guests%2C+Cruelly+Ranked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The 2017-18 season of 'SNL' is over, so let's rank all 21 musical guests! (Sorry in advance, Sam Smith.)",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Its quality has varied in its 43-year history, but \u003ca href=\"https://www.imdb.com/title/tt0072562/?ref_=fn_al_tt_1\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> has never lost its luster as a showcase for star musicians. \u003ca href=\"https://www.nbc.com/saturday-night-live/episodes\">The series' 2017-18 season\u003c/a> wrapped this weekend with a performance by Nicki Minaj, closing out a 21-episode run that spotlighted major players in hip-hop (Jay-Z, Minaj, Eminem, Cardi B), pop (Miley Cyrus, Taylor Swift, Pink), R&B (SZA), rock (U2, Jack White, Foo Fighters), country (Chris Stapleton, Kacey Musgraves) and whatever earth-shattering genre hybrid we're using to describe Childish Gambino now.\u003c/p>\n\u003cp>The \u003cem>SNL\u003c/em> stage isn't always kind to musicians: As with other late-night shows, the energy and sound mix often aren't quite right, and the singers are attempting to win over a crowd that's been watching comedy all evening. But every season, many of the musical guests do something extra with the \u003cem>SNL\u003c/em> space and find a way to make something riveting, visually arresting or at least interesting. Still, attempting to subjectively rank such a broad assortment of apples and oranges is a truly cruel and stupid endeavor.\u003c/p>\n\u003cp>So here goes.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>21. James Bay\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Pink Lemonade,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=I22DVDwc0aw\">\u003cstrong>Wild Love\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\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/I22DVDwc0aw'\n title='//www.youtube.com/embed/I22DVDwc0aw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It's hard to figure out what to make of James Bay, whose name, voice and physical presence all seem to represent a composite sketch of every singer you've ever heard and thought, \"Wait, \u003cem>who\u003c/em> is this again?\"\u003c/p>\n\u003cp>Bay gives it a go in the peppy \"Pink Lemonade,\" but by the time he gets to \"Wild Love,\" well... let's just agree that nothing says \"I wanna give you wild love\" quite like standing stock-still in leather pants while performing what might be the most bloodless song ever written.\u003c/p>\n\u003cp>\u003cstrong>20. Sam Smith\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=BpT3gx3s0ns\">\u003cstrong>Too Good At Goodbyes\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=dU72UuhrYzU\">\u003cstrong>Pray\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>Sam Smith knows how to write ballads that convey longing and loss, but if his TV appearances are any indication, those just don't translate into onstage dynamism. In \"Too Good At Goodbyes,\" Smith shows up clad in a short-sleeved, tucked-in red blazer, a look that suggests he's not only working hard for your love, but also toiling at a \u003cem>second\u003c/em> job as an assistant manager at Hardee's. Smith pours every ounce of his expended energy into his vocals — which means, in turn, that he sounds nice, while leaving the charisma to his busy backing choir.\u003c/p>\n\u003cp>\u003cstrong>19. Troye Sivan\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=C59j0Rmucss\">\u003cstrong>My My My!\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=DnSO5Uhobvo\">\u003cstrong>The Good Side\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>Troye Sivan's springy dance-pop concoctions play better in the studio than on the stage: It's nice to see a live band kicking up a bit of dust during \"My My My!,\" but Sivan's vocals — especially during the breathier bits in between choruses — are so listless that at times he sounds like he's humming along to himself in the car. As for \"The Good Side,\" it's a ballad that keeps threatening to build to something grand, only to wobble back to a standstill.\u003c/p>\n\u003cp>\u003cstrong>18. Dua Lipa\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"New Rules,\" \"Homesick\"\u003c/strong>\u003c/p>\n\u003cp>Just by reading the words \"New Rules,\" you have doomed yourself to another three days in which those seven little words — \"I've got new rules, I count 'em\" — are lodged hopelessly in your brain, stuck in an eternal loop from which your battered psyche can find no respite. So, you know, apologies for that. As for Dua Lipa's \u003cem>performance\u003c/em> on SNL, it feels a little rote: Her vocals remain on point throughout \"New Rules\" and the ballad \"Homesick,\" but she seems strangely detached from the material.\u003c/p>\n\u003cp>\u003cstrong>17. Arcade Fire\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Creature Comfort,\" \"Put Your Money On Me\"\u003c/strong>\u003c/p>\n\u003cp>Arcade Fire's \u003cem>Everything Now\u003c/em> is an album-length commentary on the numbing excess of modern life, so you can't get too bent out of shape when its songs and live performances feel... well, numbingly excessive. But these two performances — especially the strobe-lit seizure factory \"Creature Comfort\" — can border on being migraine-inducing. The band gets points for the ambition of its stagecraft, but more isn't always more.\u003c/p>\n\u003cp>\u003cstrong>16. Nicki Minaj\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Chun-Li,\" \"Poke It Out\"\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nJUcecTVyGs'\n title='//www.youtube.com/embed/nJUcecTVyGs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hoo boy, where to begin? As performed this past Saturday, Minaj's lively and impeccably choreographed \"Chun-Li\" is basically a tutorial in cultural appropriation, making it both exciting to hear and infuriating to watch; it was widely condemned (and defended, and condemned again) as the minutes and hours unwound, to the point where the song's actual quality hasn't ended up mattering much. Then, instead of showcasing more of her own material — say, \u003ca href=\"https://www.youtube.com/watch?v=BidS_rcf7UU\">another single\u003c/a> from the album she's got coming out next month — Minaj turned her second slot over to Playboi Carti and his song \"Poke It Out.\" She guests on the track, both here and on his album, but doesn't even hit the stage until 90 seconds in.\u003c/p>\n\u003cp>\u003cstrong>15. Jack White\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Over and Over and Over,\" \"Connected By Love\"\u003c/strong>\u003c/p>\n\u003cp>This year's \u003cem>Boarding House Reach\u003c/em> sounds like the work of a fussy studio wizard who's decided to prioritize technical skill over coherent songcraft. As such, the singles Jack White trots out here only occasionally hang together in any meaningful way, most often in the guitar solos. White, who always surrounds himself with top-notch talent, brings on The McCrary Sisters to sing backup. But the songs themselves feel even more undercooked than they do on the album.\u003c/p>\n\u003cp>\u003cstrong>14. Halsey\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Bad At Love,\" \"Him & I\"\u003c/strong>\u003c/p>\n\u003cp>Halsey broke through via guest appearances on others' songs, so it's nice to hear the pop singer grab a headlining spot. She struts and soars through \"Bad At Love\" while wearing what appears to be Big Bird's pelt. But \"Him & I\" once again finds her spotlight diminished, in this case by slick-haired rapper G-Eazy, who's given roughly equal time both here and in the single itself. \u003cem>We were promised Halsey!\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>13. Migos\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=8CF0ucvv1kw\">\u003cstrong>Stir Fry\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=Epdp90Qg9uI\">\u003cstrong>Narcos\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>Trap music rarely gets an \u003cem>SNL\u003c/em> showcase, so Migos decided to go big, from a bright red-and-gold set to a live backing band to a whole bunch of lackadaisical (but fully committed!) old-school dancing. The energy is somehow strangely muted, with copious Auto-Tune and a slurred sound mix that doesn't do Migos many favors, but the overall spectacle wins out in the end.\u003c/p>\n\u003cp>\u003cstrong>12. U2\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=VLHubsghTOM\">\u003cstrong>American Soul\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=LGqhFw1RTZQ\">\u003cstrong>Get Out Of Your Own Way\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VLHubsghTOM'\n title='//www.youtube.com/embed/VLHubsghTOM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Say what you will about U2, but the band knows how to work a room. Still, \"American Soul\" feels like a tiny bit of a letdown coming out of its gripping animated intro, which features Kendrick Lamar; the rapper's absence is felt throughout an otherwise workmanlike song and performance. Of course, Bono can't help but trot out the ol' megaphone \u003cem>again\u003c/em> in \"Get Out of Your Own Way,\" which never quite soars the way it's supposed to.\u003c/p>\n\u003cp>\u003cstrong>11. Kacey Musgraves\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"High Horse,\" \"Slow Burn\"\u003c/strong>\u003c/p>\n\u003cp>For \"High Horse,\" Kacey Musgraves piles up the flash: Her huge band is decked out in matching outfits, and everyone on stage does their thing in the small shadow of... is that a saddle made of jewels, dangling from the ceiling? It looks like a cross between a disco ball and the tiny Stonehenge in \u003cem>This Is Spinal Tap\u003c/em>. Anyway, the song's energy is muted and midtempo — even more so here than in the original version. The appropriately titled \"Slow Burn\" fares better, as the band stays in the shadows, the bejeweled saddle gets mothballed and Musgraves lets her softly radiant voice carry the day.\u003c/p>\n\u003cp>\u003cstrong>10. Miley Cyrus\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Bad Mood,\" \"I Would Die For You\"\u003c/strong>\u003c/p>\n\u003cp>Miley Cyrus' awards-show performances have caused some to question her judgment — twerking is one thing, but twerking \u003cem>alongside\u003c/em> \u003cem>Robin Thicke\u003c/em>?! Still, her vocal talent remains \u003ca href=\"https://www.youtube.com/watch?v=2mjvfnUAfyo\">undeniable\u003c/a>. Last year's \u003cem>Younger Now\u003c/em> was all about reclaiming Cyrus' polished pop sound while maintaining a broad stylistic range, so it's no surprise that her SNL set is a picture of weaponized confidence and poise. Still, while \"Bad Mood\" pops as a gritty vocal showcase, the ballad \"I Would Die For You\" sands her personality down to a nub.\u003c/p>\n\u003cp>\u003cstrong>9. Eminem\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=GxkLy_mvGXE\">\u003cstrong>Walk On Water/Stan/Love The Way You Lie\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GxkLy_mvGXE'\n title='//www.youtube.com/embed/GxkLy_mvGXE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hand it to Eminem: He opted for an ambitious and unusual arrangement that allows his limitations to be tested. \"Walk on Water\" sets the rapper's paranoid self-pity against a stately arrangement that features singer Skylar Grey and a small orchestra; from there, instead of fading to commercial, the assembled players launch into lengthy excerpts from a pair of Eminem's biggest hits. (You won't hear the words \"Once again, Eminem\" in this telecast.) As for the rapper himself, he gains more focus and intensity as he goes along, as if he knows a train wreck has been narrowly but decisively averted.\u003c/p>\n\u003cp>\u003cstrong>8. Foo Fighters\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"The Sky Is A Neighborhood,\" \"Everlong/Christmas (Baby Please Come Home)/Linus And Lucy\"\u003c/strong>\u003c/p>\n\u003cp>\u003cem>SNL\u003c/em> performances often bear the burden of promotional obligation: When there's a new album to flog, most artists stick to the latest singles at the expense of the songs casual fans would be most excited to hear. But Foo Fighters' Dave Grohl, the affable incumbent mayor of rock and roll, is nothing if not eager to please, which means a decent new track (\"The Sky Is a Neighborhood\") gives way to a fun and incredibly ingratiating medley of one old favorite (\"Everlong,\" performed mostly solo) and two holiday staples: \"Christmas (Baby Please Come Home)\" and the Peanuts classic \"Linus and Lucy.\"\u003c/p>\n\u003cp>\u003cstrong>7. Taylor Swift\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"...Ready For It?,\" \"Call It What You Want\"\u003c/strong>\u003c/p>\n\u003cp>Dragging Taylor Swift online has become a pastime, if not an art form, and her live performances on TV have been getting mixed reviews for years. But these two songs from \u003cem>Reputation\u003c/em>, which had come out just a day earlier, are rendered with considerable skill: \"...Ready For It?\" gives every dancer onstage a workout, including Swift herself, while \"Call It What You Want\" gets a muted acoustic arrangement — it's just her, her acoustic guitar, a cellist, and her backup singers — that spotlights her clear, confident vocals.\u003c/p>\n\u003cp>\u003cstrong>6. Chris Stapleton\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=kZLBVi_0ENU\">\u003cstrong>Midnight Train to Memphis\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=OKMZ-_t7w6A\">\u003cstrong>Hard Livin'\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>Some superstars seem constrained by the relatively modest size of \u003cem>SNL\u003c/em>'s stage — especially the ones whose live shows are known to sprawl across stadiums. But Chris Stapleton has played enough bars and theaters to make the transition seamlessly, aided by a killer band and the prominent contributions of another decorated Kentuckian: Sturgill Simpson. Together, they make a meat-and-potatoes meal of Stapleton's hard-churning roots music.\u003c/p>\n\u003cp>\u003cstrong>5. Cardi B\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Bodak Yellow/Bartier Cardi,\" \"Be Careful\"\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mPU2n8CxH4k'\n title='//www.youtube.com/embed/mPU2n8CxH4k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The headlines coming out of Cardi B's set were all about the big reveal — the way the camera panned down late in \"Be Careful\" to show the baby bump she'd kept hidden earlier in the evening (and in the months preceding her appearance). But as lovely as that news is, it needn't overshadow the Swiss-watch precision and explosive charisma on display in her medley of \"Bodak Yellow\" and \"Bartier Cardi.\" In the past few months, Cardi B has proved herself a star capable of truly enduring: a funny and ingratiating multimedia presence with a boundless capacity for commanding attention.\u003c/p>\n\u003cp>\u003cstrong>4. Pink\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"What About Us,\" \"Beautiful Trauma\"\u003c/strong>\u003c/p>\n\u003cp>Remember the 2010 Grammys, when Pink blew every other performer off the stage by singing a song — beautifully — while spinning in midair on some sort of trapeze? 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SZA's vocals are tight throughout, but what \u003cem>really\u003c/em> jumps out is the boldness of the arrangements: \"Love Galore\" subtracts Travis Scott (while adding a new verse!) and incorporates every unlikely ingredient on the stage, yet still evokes the mood of the original.\u003c/p>\n\u003cp>\u003cstrong>1. Childish Gambino\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Saturday,\" \"This Is America\"\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/l2P2qbr-_Ps'\n title='//www.youtube.com/embed/l2P2qbr-_Ps'\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>Donald Glover might have claimed this spot purely on the strength of \u003ca href=\"https://www.youtube.com/watch?v=VYOjWnS4cMY\">his \"This Is America\" video\u003c/a>, a chart-topping conversation-starter he dropped the night of his \u003cem>SNL\u003c/em> appearance. He might also have claimed it on versatility alone: on his ability to host a 90-minute comedy show, appear in every sketch \u003cem>and\u003c/em> perform two songs as the musical guest. (Of course, then there's his groundbreaking work on \u003cem>Atlanta\u003c/em>, his star-making comic turn on \u003cem>Community\u003c/em> and his role in the forthcoming \u003cem>Solo: A Star Wars Story\u003c/em>, to say nothing of \u003cem>Magic Mike XXL\u003c/em>.) But both of the night's brand-new Childish Gambino songs are also terrific: \"Saturday\" is a funky-but-slight slice of summer fun, while \"This Is America\" functions as an actual, honest-to-goodness showstopper. To introduce the world to \u003cem>that\u003c/em> song in the legendarily uneven final half-hour of SNL, knowing that it'll \u003cem>still\u003c/em> resonate for weeks — and probably years — to come? That is boldness personified, and fully justified.\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=This+Season%27s+%27SNL%27+Musical+Guests%2C+Cruelly+Ranked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"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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"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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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "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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"planet-money": {
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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",
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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",
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"pri-the-world": {
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"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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},
"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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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
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