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"content": "\u003cp>\u003cstrong>This piece discusses general \u003c/strong>\u003ca href=\"https://www.imdb.com/title/tt2467372/?ref_=nv_sr_3\">\u003cem>\u003cstrong>Brooklyn Nine-Nine \u003c/strong>\u003c/em>\u003c/a>\u003cstrong>plot developments through the fifth season finale that aired on Sunday night. \u003c/strong>\u003c/p>\n\u003cp>It is a truth universally acknowledged that people become publicly infuriated when their favorite shows are canceled. It is another truth universally acknowledged that from time to time, shows are rescued — either by a network that changes its mind, or more often by a transfer from one home to another.\u003c/p>\n\u003cp>But it's a mistake to think that the first truth is necessarily the cause of the second. By the time a network cancels a show with passionate fans, it knows those passionate fans exist; inadequate devotion from the people who already watch is not the reason shows are canceled, particularly in a broadcast setting. (Cable and streaming models can be a little different, given that loving a show enough can justify subscribing.)\u003c/p>\n\u003cp>Consider the recent case of the police comedy \u003cem>Brooklyn Nine-Nine\u003c/em>, which was canceled by Fox on May 10 and picked up by NBC on May 11. The outpouring — or the wailing, or the agonizing, or whatever term you want to use — seemed to startle a lot of people who didn't have it on their list of cult shows. Fans including Lin-Manuel Miranda and \u003ca href=\"https://twitter.com/realgdt/status/880015464310730753?lang=en\">Guillermo del Toro expressed their dismay\u003c/a> on Twitter, to say the least.\u003c/p>\n\u003cp>https://twitter.com/Lin_Manuel/status/994682340319391744?ref_src=twsrc%5Etfw&ref_url=http%3A%2F%2Fdeadline.com%2F2018%2F05%2Fbrooklyn-nine-nine-cast-producers-fans-reaction-cancellation-1202387984%2F&tfw_site=Deadline\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But nothing comes back to life in only a little over 24 hours because of an unanticipated Twitter explosion. When you \u003ca href=\"http://www.vulture.com/article/brooklyn-nine-nine-canceled-rescued-31-hours-story.html\">read about the process\u003c/a> of getting the show picked up, it's clear that those conversations about a new home for the show were starting before Fox announced the cancellation. They have more to do with boring things like ownership and who gets the revenue from various viewing habits than they do with an orchestra swelling as an NBC executive stands up and says, \"Dammit, I can't let them take this show away from \u003ca href=\"https://twitter.com/HamillHimself/status/998762289237901313\">loving fan Mark Hamill\u003c/a>! Get me the Benevolent Rescue Department on the horn, pronto!\"\u003c/p>\n\u003cp>Bringing shows back is a business decision, and business decisions are often both boring and opaque. What's more interesting is seeing cult-show passion for such a traditionally structured program. The kinds of comedies people attach to at this level are often a lot more offbeat and niche-y than this — they're sci-fi, or they involve complex mythologies. Or they're like \u003cem>Community\u003c/em>, which super-served fans with heavily referential, often experimental episodes that got weirder as the series progressed. \u003cem>Brooklyn \u003c/em>is not like that; it's a very silly, very big-hearted ensemble workplace show. It's just very good at it.\u003c/p>\n\u003cp>So what are they doing right that's so beloved?\u003c/p>\n\u003cp>\u003cstrong>Evolution. \u003c/strong>Early episodes of \u003cem>B99 \u003c/em>were about the slick and cocky Jake Peralta (Andy Samberg) feeling the pressure of his new, stricter boss, Captain Raymond Holt (Andre Braugher), who — for instance — wanted him to wear a tie. Jake's partner, Amy (Melissa Fumero) mostly resented him in the way rule-followers always resent rule-breakers. Elsewhere in the squad, Charles Boyle (Joe Lo Truglio) was in endless pursuit of Rosa Diaz (Stephanie Beatriz), and he would not take no for an answer.\u003c/p>\n\u003cp>Over time, affection between Jake and Holt proved to be funnier than conflict, and Samberg is much better as a guy who wants approval than he is as a smug jerk who thinks he knows everything. (Writer Nichole Perkins \u003ca href=\"https://twitter.com/tnwhiskeywoman/status/995303836075134976\">spoke eloquently\u003c/a> about the evolution of the Jake/Holt dynamic on Twitter recently.) So both of those characters have changed.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5nM1lSYTfII\u003c/p>\n\u003cp>Similarly, a comedic running gag about a guy at work who won't listen to a colleague say \"no\" to romantic advances — even if the guy is such a sap as to seem harmless — is off-putting to a lot of people, and indeed, Boyle's pursuit of Rosa went away.\u003c/p>\n\u003cp>In fact, one reason the initial cancellation of the show felt so painful is that it's continued to change and it didn't seem finished. \u003cem>B99 \u003c/em>had great fun when the writers were first experimenting with letting the deadpan Holt, played with such commitment by Braugher, show a glimmer of silliness. For instance, Holt once participated in a simple guessing game with the squad about why Amy was late — and when he turned out to be right, he yelled, \u003ca href=\"https://uproxx.com/tv/television-magic-andre-braugher-shouting-hot-damn-on-brooklyn-nine-nine/\">\"HOT DAMN!\"\u003c/a> It was delightful, because it was such a surprise.\u003c/p>\n\u003cp>But you can't push that button too many times, or it stops working — after you've seen HOT DAMN!, you're less surprised the next time he goes for a gag. So now, they draw him less as a man who never breaks and more as a man who's exploring a different side of himself with varying degrees of success, as when he came strolling into the squad room in a \u003ca href=\"https://twitter.com/brooklyn99fox/status/993332341085884416?lang=en\">red bowler hat\u003c/a>.\u003c/p>\n\u003cp>Even Jake and Amy's relationship, which predictably became a flirtation, didn't stall. They spent a reasonable amount of time flirting, then they started dating, then they got serious, and now — as of Sunday night's season finale — they're married. Every stage of that evolution has had its own jokes and its own dynamics.\u003c/p>\n\u003cp>The same goes for Jake and Charles: at first, it seemed like Charles was a weirdo who insisted he was Jake's best friend and Jake tolerated it, but now, he actually is Jake's best friend. On TV, upheaval can look desperate, but evolution feels confident — it means that you believe your writers and your cast can do new things and relate to each other differently. It's one of the reasons they're five seasons in and aren't carrying that weight of \"they seem about done\" that often starts to haunt shows much earlier than this.\u003c/p>\n\u003cp>\u003cstrong>A calling card. \u003c/strong>Plenty of shows have cold opens — little bits that happen before a credit sequence or a title card. But nobody does them better than this show right now. The theme music starts with a blast of horns, and they've figured out how to write and edit opens so that they slam into those horns in an effective way. As much as anything, they're a feat of editing.\u003c/p>\n\u003cp>One genius example: Charles told Jake that he ... well, describing it is hopeless. \u003ca href=\"https://www.youtube.com/watch?v=38wXlpFPwYo\">Watch it on YouTube\u003c/a>. The bulk of that bit, after Charles says he got a \"Dianne Wiest infection\" from watching \u003cem>Bullets Over Broadway\u003c/em>, as Jake stares at him, is almost entirely an editing joke and a camera-zoom joke, and then Charles can't help yelling, \"LIKE \u003cem>YEAST\u003c/em>--\" and then the music cuts him off mid-sentence. If you think about it, that joke has no possible ending if it doesn't end there. The joke is really Jake's cold stare and the fact that Charles plows right through it. If Charles finishes the phrase, it just plunks to the ground and it's instantly less funny. But when you interrupt his gleeful exclamation and crash into the intro, into those horns, it suddenly works.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=38wXlpFPwYo\u003c/p>\n\u003cp>Sometimes, the cold opens are related to the plot, but often, they aren't. And they usually make sense even for people who don't know the show, as when \u003ca href=\"https://www.youtube.com/watch?v=ffyKY3Dj5ZE\">Jake recently held a very unorthodox lineup\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Inclusion. \u003c/strong>As befits a show that takes place in New York City, \u003cem>B99 \u003c/em>has always had a more diverse cast than many network shows, and that's given them options. As Perkins pointed out in her thread, Capt. Holt and Sgt. Terry Jeffords (Terry Crews) have talked about being black cops — and very different ones — in the environment the Nine-Nine is operating in. That couldn't have happened on the many shows that don't have two black men playing two very different black cops in the first place. Amy and Rosa are both Latina, but that exists more as character than plot; they occasionally reference a commonality that transcends their opposite personalities, but for the most part, they don't talk about it; it's just a fact.\u003c/p>\n\u003cp>Maybe the best example of how inclusion (in character and writing) works for the show comes very early on, when Holt talks about having been an out gay black cop in the 1980s — that's where his steely fearlessness comes from. It's not a character detail that's present for its own sake, but it's not invisible, either. Just like issues with his dad are part of Jake's history, having been gay in the NYPD for decades is part of Holt's. And while it is a clever inversion of a lot of tropes about stoic, tough cops, it's also a well-formed back story in its own right. And when Holt's husband Kevin (Marc Evan Jackson) admitted to Jake that he was unfriendly because he had adopted a policy of hostility to police officers because of the force's early treatment of Raymond, that made sense. It had weight.\u003c/p>\n\u003cp>\u003cstrong>Tonal control. \u003c/strong>When \u003cem>B99 \u003c/em>was first announced, a lot of critics — and I include myself — wondered whether it was really possible to make a comedy about police officers who would be investigating a lot of crime, including homicides. There have been other cop comedies, but how do you wring comedy out of murders?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=B9k1niRR7qc\u003c/p>\n\u003cp>As it turns out, the answer is to make the murder parts as ridiculous as possible. It might be counterintuitive, but if you tried to write the actual cop scenes (the ones that involve serious crimes) from a point of view of more earnestness, you'd get poor taste. Almost always, the comedy is at its broadest point whenever the squad is actually dealing with a crime. The \u003cem>B99 \u003c/em>criminals tend to be buffoons, if you see them at all.\u003c/p>\n\u003cp>What is heartfelt — which is a lot — takes place among the members of the squad. The paternal attitude Holt has toward Jake, and Jake's gratitude; those things are heartfelt. Jake and Amy's relationship, obviously. Rosa and Jake's friendship. Terry's love of his family. Those things are played with a ton of feeling. Generally, the cases aren't.\u003c/p>\n\u003cp>The tonal tightrope they're often walking works because everyone involved is in sync with the kind of ragged, almost sketch-like feel of the show. The camera work features a lot of handheld shots and punchy little zooms. The dialogue is heavy on absurdist jokes and often moves like a shopping cart barreling downhill, often seeming in the best way to be \u003cem>just barely \u003c/em>under control.\u003c/p>\n\u003cp>So no: shows don't come back from the dead just because people scream. And thinking they do will lead to a lot of unnecessary screaming. The reason shows find second homes more easily than they once did isn't necessarily because someone else figures out something that the old place didn't know, or appreciates the show where the old place didn't. \u003cem>Brooklyn Nine-Nine \u003c/em>is financially a different proposition at NBC than it was at Fox — NBC owns it; Fox was just airing it and making money from the ads. (\u003ca href=\"http://www.vulture.com/2018/05/brooklyn-nine-nine-nbc-acquisition-explained.html\">Read more about this arrangement\u003c/a> from Joe Adalian over at Vulture.) NBC can make money off it in different ways than Fox can. It's not all quite as magical as it felt.\u003c/p>\n\u003cp>But if this had to happen to somebody, if the business considerations had to come together to save a show in this ridiculous and dramatic way, it's nice that it's such a good show.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Besides, who wants to upset Guillermo del Toro?\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=Saving+%27Brooklyn+Nine-Nine%27+Was+Business%2C+But+The+Love+Of+It+Is+Real&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>This piece discusses general \u003c/strong>\u003ca href=\"https://www.imdb.com/title/tt2467372/?ref_=nv_sr_3\">\u003cem>\u003cstrong>Brooklyn Nine-Nine \u003c/strong>\u003c/em>\u003c/a>\u003cstrong>plot developments through the fifth season finale that aired on Sunday night. \u003c/strong>\u003c/p>\n\u003cp>It is a truth universally acknowledged that people become publicly infuriated when their favorite shows are canceled. It is another truth universally acknowledged that from time to time, shows are rescued — either by a network that changes its mind, or more often by a transfer from one home to another.\u003c/p>\n\u003cp>But it's a mistake to think that the first truth is necessarily the cause of the second. By the time a network cancels a show with passionate fans, it knows those passionate fans exist; inadequate devotion from the people who already watch is not the reason shows are canceled, particularly in a broadcast setting. (Cable and streaming models can be a little different, given that loving a show enough can justify subscribing.)\u003c/p>\n\u003cp>Consider the recent case of the police comedy \u003cem>Brooklyn Nine-Nine\u003c/em>, which was canceled by Fox on May 10 and picked up by NBC on May 11. The outpouring — or the wailing, or the agonizing, or whatever term you want to use — seemed to startle a lot of people who didn't have it on their list of cult shows. Fans including Lin-Manuel Miranda and \u003ca href=\"https://twitter.com/realgdt/status/880015464310730753?lang=en\">Guillermo del Toro expressed their dismay\u003c/a> on Twitter, to say the least.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But nothing comes back to life in only a little over 24 hours because of an unanticipated Twitter explosion. When you \u003ca href=\"http://www.vulture.com/article/brooklyn-nine-nine-canceled-rescued-31-hours-story.html\">read about the process\u003c/a> of getting the show picked up, it's clear that those conversations about a new home for the show were starting before Fox announced the cancellation. They have more to do with boring things like ownership and who gets the revenue from various viewing habits than they do with an orchestra swelling as an NBC executive stands up and says, \"Dammit, I can't let them take this show away from \u003ca href=\"https://twitter.com/HamillHimself/status/998762289237901313\">loving fan Mark Hamill\u003c/a>! Get me the Benevolent Rescue Department on the horn, pronto!\"\u003c/p>\n\u003cp>Bringing shows back is a business decision, and business decisions are often both boring and opaque. What's more interesting is seeing cult-show passion for such a traditionally structured program. The kinds of comedies people attach to at this level are often a lot more offbeat and niche-y than this — they're sci-fi, or they involve complex mythologies. Or they're like \u003cem>Community\u003c/em>, which super-served fans with heavily referential, often experimental episodes that got weirder as the series progressed. \u003cem>Brooklyn \u003c/em>is not like that; it's a very silly, very big-hearted ensemble workplace show. It's just very good at it.\u003c/p>\n\u003cp>So what are they doing right that's so beloved?\u003c/p>\n\u003cp>\u003cstrong>Evolution. \u003c/strong>Early episodes of \u003cem>B99 \u003c/em>were about the slick and cocky Jake Peralta (Andy Samberg) feeling the pressure of his new, stricter boss, Captain Raymond Holt (Andre Braugher), who — for instance — wanted him to wear a tie. Jake's partner, Amy (Melissa Fumero) mostly resented him in the way rule-followers always resent rule-breakers. Elsewhere in the squad, Charles Boyle (Joe Lo Truglio) was in endless pursuit of Rosa Diaz (Stephanie Beatriz), and he would not take no for an answer.\u003c/p>\n\u003cp>Over time, affection between Jake and Holt proved to be funnier than conflict, and Samberg is much better as a guy who wants approval than he is as a smug jerk who thinks he knows everything. (Writer Nichole Perkins \u003ca href=\"https://twitter.com/tnwhiskeywoman/status/995303836075134976\">spoke eloquently\u003c/a> about the evolution of the Jake/Holt dynamic on Twitter recently.) So both of those characters have changed.\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/5nM1lSYTfII'\n title='//www.youtube.com/embed/5nM1lSYTfII'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Similarly, a comedic running gag about a guy at work who won't listen to a colleague say \"no\" to romantic advances — even if the guy is such a sap as to seem harmless — is off-putting to a lot of people, and indeed, Boyle's pursuit of Rosa went away.\u003c/p>\n\u003cp>In fact, one reason the initial cancellation of the show felt so painful is that it's continued to change and it didn't seem finished. \u003cem>B99 \u003c/em>had great fun when the writers were first experimenting with letting the deadpan Holt, played with such commitment by Braugher, show a glimmer of silliness. For instance, Holt once participated in a simple guessing game with the squad about why Amy was late — and when he turned out to be right, he yelled, \u003ca href=\"https://uproxx.com/tv/television-magic-andre-braugher-shouting-hot-damn-on-brooklyn-nine-nine/\">\"HOT DAMN!\"\u003c/a> It was delightful, because it was such a surprise.\u003c/p>\n\u003cp>But you can't push that button too many times, or it stops working — after you've seen HOT DAMN!, you're less surprised the next time he goes for a gag. So now, they draw him less as a man who never breaks and more as a man who's exploring a different side of himself with varying degrees of success, as when he came strolling into the squad room in a \u003ca href=\"https://twitter.com/brooklyn99fox/status/993332341085884416?lang=en\">red bowler hat\u003c/a>.\u003c/p>\n\u003cp>Even Jake and Amy's relationship, which predictably became a flirtation, didn't stall. They spent a reasonable amount of time flirting, then they started dating, then they got serious, and now — as of Sunday night's season finale — they're married. Every stage of that evolution has had its own jokes and its own dynamics.\u003c/p>\n\u003cp>The same goes for Jake and Charles: at first, it seemed like Charles was a weirdo who insisted he was Jake's best friend and Jake tolerated it, but now, he actually is Jake's best friend. On TV, upheaval can look desperate, but evolution feels confident — it means that you believe your writers and your cast can do new things and relate to each other differently. It's one of the reasons they're five seasons in and aren't carrying that weight of \"they seem about done\" that often starts to haunt shows much earlier than this.\u003c/p>\n\u003cp>\u003cstrong>A calling card. \u003c/strong>Plenty of shows have cold opens — little bits that happen before a credit sequence or a title card. But nobody does them better than this show right now. The theme music starts with a blast of horns, and they've figured out how to write and edit opens so that they slam into those horns in an effective way. As much as anything, they're a feat of editing.\u003c/p>\n\u003cp>One genius example: Charles told Jake that he ... well, describing it is hopeless. \u003ca href=\"https://www.youtube.com/watch?v=38wXlpFPwYo\">Watch it on YouTube\u003c/a>. The bulk of that bit, after Charles says he got a \"Dianne Wiest infection\" from watching \u003cem>Bullets Over Broadway\u003c/em>, as Jake stares at him, is almost entirely an editing joke and a camera-zoom joke, and then Charles can't help yelling, \"LIKE \u003cem>YEAST\u003c/em>--\" and then the music cuts him off mid-sentence. If you think about it, that joke has no possible ending if it doesn't end there. The joke is really Jake's cold stare and the fact that Charles plows right through it. If Charles finishes the phrase, it just plunks to the ground and it's instantly less funny. But when you interrupt his gleeful exclamation and crash into the intro, into those horns, it suddenly works.\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/38wXlpFPwYo'\n title='//www.youtube.com/embed/38wXlpFPwYo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sometimes, the cold opens are related to the plot, but often, they aren't. And they usually make sense even for people who don't know the show, as when \u003ca href=\"https://www.youtube.com/watch?v=ffyKY3Dj5ZE\">Jake recently held a very unorthodox lineup\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Inclusion. \u003c/strong>As befits a show that takes place in New York City, \u003cem>B99 \u003c/em>has always had a more diverse cast than many network shows, and that's given them options. As Perkins pointed out in her thread, Capt. Holt and Sgt. Terry Jeffords (Terry Crews) have talked about being black cops — and very different ones — in the environment the Nine-Nine is operating in. That couldn't have happened on the many shows that don't have two black men playing two very different black cops in the first place. Amy and Rosa are both Latina, but that exists more as character than plot; they occasionally reference a commonality that transcends their opposite personalities, but for the most part, they don't talk about it; it's just a fact.\u003c/p>\n\u003cp>Maybe the best example of how inclusion (in character and writing) works for the show comes very early on, when Holt talks about having been an out gay black cop in the 1980s — that's where his steely fearlessness comes from. It's not a character detail that's present for its own sake, but it's not invisible, either. Just like issues with his dad are part of Jake's history, having been gay in the NYPD for decades is part of Holt's. And while it is a clever inversion of a lot of tropes about stoic, tough cops, it's also a well-formed back story in its own right. And when Holt's husband Kevin (Marc Evan Jackson) admitted to Jake that he was unfriendly because he had adopted a policy of hostility to police officers because of the force's early treatment of Raymond, that made sense. It had weight.\u003c/p>\n\u003cp>\u003cstrong>Tonal control. \u003c/strong>When \u003cem>B99 \u003c/em>was first announced, a lot of critics — and I include myself — wondered whether it was really possible to make a comedy about police officers who would be investigating a lot of crime, including homicides. There have been other cop comedies, but how do you wring comedy out of murders?\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/B9k1niRR7qc'\n title='//www.youtube.com/embed/B9k1niRR7qc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As it turns out, the answer is to make the murder parts as ridiculous as possible. It might be counterintuitive, but if you tried to write the actual cop scenes (the ones that involve serious crimes) from a point of view of more earnestness, you'd get poor taste. Almost always, the comedy is at its broadest point whenever the squad is actually dealing with a crime. The \u003cem>B99 \u003c/em>criminals tend to be buffoons, if you see them at all.\u003c/p>\n\u003cp>What is heartfelt — which is a lot — takes place among the members of the squad. The paternal attitude Holt has toward Jake, and Jake's gratitude; those things are heartfelt. Jake and Amy's relationship, obviously. Rosa and Jake's friendship. Terry's love of his family. Those things are played with a ton of feeling. Generally, the cases aren't.\u003c/p>\n\u003cp>The tonal tightrope they're often walking works because everyone involved is in sync with the kind of ragged, almost sketch-like feel of the show. The camera work features a lot of handheld shots and punchy little zooms. The dialogue is heavy on absurdist jokes and often moves like a shopping cart barreling downhill, often seeming in the best way to be \u003cem>just barely \u003c/em>under control.\u003c/p>\n\u003cp>So no: shows don't come back from the dead just because people scream. And thinking they do will lead to a lot of unnecessary screaming. The reason shows find second homes more easily than they once did isn't necessarily because someone else figures out something that the old place didn't know, or appreciates the show where the old place didn't. \u003cem>Brooklyn Nine-Nine \u003c/em>is financially a different proposition at NBC than it was at Fox — NBC owns it; Fox was just airing it and making money from the ads. (\u003ca href=\"http://www.vulture.com/2018/05/brooklyn-nine-nine-nbc-acquisition-explained.html\">Read more about this arrangement\u003c/a> from Joe Adalian over at Vulture.) NBC can make money off it in different ways than Fox can. It's not all quite as magical as it felt.\u003c/p>\n\u003cp>But if this had to happen to somebody, if the business considerations had to come together to save a show in this ridiculous and dramatic way, it's nice that it's such a good show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Besides, who wants to upset Guillermo del Toro?\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=Saving+%27Brooklyn+Nine-Nine%27+Was+Business%2C+But+The+Love+Of+It+Is+Real&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>VICE has been describing its new show, \u003ca href=\"https://www.facebook.com/TheScarletLetterReports/?ref=br_rs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Scarlet Letter Reports\u003c/em>\u003c/a>, as an \"unscripted series exploring the gendered nature of public shaming\"—but, based on the first four episodes alone, it's much more than that.\u003c/p>\n\u003cp>Hosted by \u003ca href=\"http://www.amandaknox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Amanda Knox\u003c/a>, the series exclusively gives voice to women the public still holds varying degrees of distrust for—usually for issues relating to their sex lives—and gives them space to bond with each other over their shared traumas, without being backed into the defensive corners they so often find themselves shoved in.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jbPyCQra_OY\u003c/p>\n\u003cp>The guest list for \u003cem>The Scarlet Letter Reports\u003c/em> has been masterfully curated. There's SlutWalk popularizer, \u003ca href=\"https://www.facebook.com/TheScarletLetterReports/videos/639091173090565/\" target=\"_blank\" rel=\"noopener noreferrer\">Amber Rose;\u003c/a> rape survivor and \u003ca href=\"http://www.safebae.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Safebae.org\u003c/a> founder, Daisy Coleman, who was subjected to a barrage of vicious online abuse for reporting her attackers; The \u003cem>O.C.\u003c/em> star Mischa Barton, who was \u003ca href=\"https://jezebel.com/mischa-barton-says-she-is-being-blackmailed-with-a-sex-1793819299\" target=\"_blank\" rel=\"noopener noreferrer\">blackmailed with a sex tape\u003c/a> last year; and adult film star and model, Brett Rossi, who \u003ca href=\"http://people.com/crime/charlie-sheens-ex-brett-rossi-opens-up-about-allegedly-abusive-relationship/\" target=\"_blank\" rel=\"noopener noreferrer\">filed charges against ex-fiancé\u003c/a> Charlie Sheen in 2015 over abusive behavior.\u003c/p>\n\u003cp>All of these women, to varying degrees, continue to find themselves either hated or treated with suspicion by specific sections of the public, for reasons that are frequently rooted in sexism and a fear of women who aren't stereotypical \"good girls.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/TheScarletLetterReports/videos/636176423382040/\" target=\"_blank\" rel=\"noopener noreferrer\">Knox's first guest was Anita Sarkeesian\u003c/a>: the center of \u003ca href=\"https://en.wikipedia.org/wiki/Gamergate_controversy\" target=\"_blank\" rel=\"noopener noreferrer\">Gamergate\u003c/a>, and a woman who received so many rape and death threats after speaking out about misogyny and objectification in video games, she was forced to flee her own home. Many gamers remain suspicious of Sarkeesian and her perceived infractions against the community.\u003c/p>\n\u003cp>There are a multitude of blogs and YouTube videos still dedicated to bashing Sarkeesian. On \u003ca href=\"https://www.facebook.com/TheScarletLetterReports/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Scarlet Letter Reports'\u003c/em> own Facebook page\u003c/a>, one man left a comment saying \"I can’t believe Amanda Knox would put her and Anita on the same level. Anita has never been a real victim at all…\"\u003c/p>\n\u003cp>The fact that Amanda Knox is hosting the series speaks volumes about \u003cem>The Scarlet Letter Reports'\u003c/em> intentions. Despite a lack of evidence, and her 2015 acquittal, there are people all over the world still laboring under the assumption that Knox had a hand in the \u003ca href=\"https://en.wikipedia.org/wiki/Murder_of_Meredith_Kercher\" target=\"_blank\" rel=\"noopener noreferrer\">horrific 2007 murder of her roommate, Meredith Kercher\u003c/a>. Netflix documentary \u003ca href=\"https://www.netflix.com/title/80081155\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Amanda Knox\u003c/em>\u003c/a> helped some understand just what had happened to this woman at the hands of a salacious tabloid press, but misinformation about her character has continued to persist.\u003c/p>\n\u003cp>Print media wasn't just a nightmare for Knox during her trial, it didn't let up during her appeal either. Even one of the more reputable newspapers in the UK, \u003cem>The Telegraph\u003c/em>, published a story in 2011 titled \u003ca href=\"https://www.telegraph.co.uk/news/worldnews/europe/italy/8803077/Amanda-Knox-Guilty-or-innocent-five-reasons-why.html\" target=\"_blank\" rel=\"noopener noreferrer\">\"Five Reasons Knox is Guilty.\"\u003c/a> The tabloids may finally have moved on in 2018, but they made such a huge impact initially, that many have found those accusations hard to forget.\u003c/p>\n\u003cp>In a \u003ca href=\"http://www.debate.org/opinions/is-amanda-knox-guilty\" target=\"_blank\" rel=\"noopener noreferrer\">Debate.org poll\u003c/a> titled \"Is Amanda Knox guilty?\" 71% voted yes. As with Sarkeesian, YouTube continues to be awash with new-ish videos about her case, titled things like \"Was Amanda Knox really guilty?\"; \"11 Lies in the Amanda Knox Documentary\"; \"Amanda Knox: the facts against her.\"\u003c/p>\n\u003cp>Even when \u003ca href=\"https://www.eonline.com/news/798763/why-the-amanda-knox-case-still-doesn-t-make-any-sense-inside-a-shockingly-misogynistic-murder-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">E! News called Knox's case \"shockingly misogynistic\"\u003c/a> in 2016, the outlet still felt it appropriate to accompany the piece with a Nancy Grace video interview, in which the outspoken legal commentator said:\u003c/p>\n\u003cblockquote>\u003cp>\"You know what I loved about the Amanda Knox case? That she, like OJ Simpson, had a dream—as if she were clairvoyant. Amanda Knox dreamed of the moment her roommate was murdered. And she dreamed that she was right there in the apartment when it happened. Now, isn’t that a co-inn-kee-dink?\"\u003c/p>\u003c/blockquote>\n\u003cp>Make no mistake: The selection of Knox to host a show about the public shaming of complicated women is both a carefully considered and extremely bold one. The fact that Knox lost four years of her life to an Italian prison sets an appropriately serious tone for the series, one that is frequently missing when these women are being publicly scrutinized and dismissed online. Knox's presence allows her guests to open up, safe in the knowledge that the person they're talking to understands exactly what they have gone through. When you've been judged in such a harsh and prolonged way as Amanda Knox has, there's no way you're going to judge other vilified women, so the guests are given the rare opportunity to present themselves as the full human beings that they are.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2j4o4Zi5q7Q\u003c/p>\n\u003cp>Prior to #MeToo prompting a broad swell of empathy, none of these women could or would have been given this kind of platform. These are women who have been marginalized and judged because of an unfair focus on their imperfections. \u003cem>The Scarlet Letter Reports\u003c/em> is stretching the #MeToo conversation beyond sexual assault and harassment to effectively demonstrate how women—especially ones that end up in the spotlight for reasons they never could have anticipated—can also be victimized in a multitude of other ways. It is an important reminder that you don't have to be in the same room as a bad guy to be subjected to abuse.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Knox, Sarkeesian, Rose, Barton, Rossi, and Coleman have all had their lives irretrievably altered by judgmental misogyny. Each of them, Knox notes in one episode, has \"been rendered two-dimensional\" by the public and/or media. Most importantly though, each of them has taken those experiences and attempted to transform them into something constructive. Allowing them to share their truths isn't just valuable, it's an acknowledgement of a dark and looming thread that unites pockets of largely unheard women all over the country. Doing so finally allows publicly maligned women to say \"Me Too\" too.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>VICE has been describing its new show, \u003ca href=\"https://www.facebook.com/TheScarletLetterReports/?ref=br_rs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Scarlet Letter Reports\u003c/em>\u003c/a>, as an \"unscripted series exploring the gendered nature of public shaming\"—but, based on the first four episodes alone, it's much more than that.\u003c/p>\n\u003cp>Hosted by \u003ca href=\"http://www.amandaknox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Amanda Knox\u003c/a>, the series exclusively gives voice to women the public still holds varying degrees of distrust for—usually for issues relating to their sex lives—and gives them space to bond with each other over their shared traumas, without being backed into the defensive corners they so often find themselves shoved in.\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/jbPyCQra_OY'\n title='//www.youtube.com/embed/jbPyCQra_OY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The guest list for \u003cem>The Scarlet Letter Reports\u003c/em> has been masterfully curated. There's SlutWalk popularizer, \u003ca href=\"https://www.facebook.com/TheScarletLetterReports/videos/639091173090565/\" target=\"_blank\" rel=\"noopener noreferrer\">Amber Rose;\u003c/a> rape survivor and \u003ca href=\"http://www.safebae.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Safebae.org\u003c/a> founder, Daisy Coleman, who was subjected to a barrage of vicious online abuse for reporting her attackers; The \u003cem>O.C.\u003c/em> star Mischa Barton, who was \u003ca href=\"https://jezebel.com/mischa-barton-says-she-is-being-blackmailed-with-a-sex-1793819299\" target=\"_blank\" rel=\"noopener noreferrer\">blackmailed with a sex tape\u003c/a> last year; and adult film star and model, Brett Rossi, who \u003ca href=\"http://people.com/crime/charlie-sheens-ex-brett-rossi-opens-up-about-allegedly-abusive-relationship/\" target=\"_blank\" rel=\"noopener noreferrer\">filed charges against ex-fiancé\u003c/a> Charlie Sheen in 2015 over abusive behavior.\u003c/p>\n\u003cp>All of these women, to varying degrees, continue to find themselves either hated or treated with suspicion by specific sections of the public, for reasons that are frequently rooted in sexism and a fear of women who aren't stereotypical \"good girls.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/TheScarletLetterReports/videos/636176423382040/\" target=\"_blank\" rel=\"noopener noreferrer\">Knox's first guest was Anita Sarkeesian\u003c/a>: the center of \u003ca href=\"https://en.wikipedia.org/wiki/Gamergate_controversy\" target=\"_blank\" rel=\"noopener noreferrer\">Gamergate\u003c/a>, and a woman who received so many rape and death threats after speaking out about misogyny and objectification in video games, she was forced to flee her own home. Many gamers remain suspicious of Sarkeesian and her perceived infractions against the community.\u003c/p>\n\u003cp>There are a multitude of blogs and YouTube videos still dedicated to bashing Sarkeesian. On \u003ca href=\"https://www.facebook.com/TheScarletLetterReports/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Scarlet Letter Reports'\u003c/em> own Facebook page\u003c/a>, one man left a comment saying \"I can’t believe Amanda Knox would put her and Anita on the same level. Anita has never been a real victim at all…\"\u003c/p>\n\u003cp>The fact that Amanda Knox is hosting the series speaks volumes about \u003cem>The Scarlet Letter Reports'\u003c/em> intentions. Despite a lack of evidence, and her 2015 acquittal, there are people all over the world still laboring under the assumption that Knox had a hand in the \u003ca href=\"https://en.wikipedia.org/wiki/Murder_of_Meredith_Kercher\" target=\"_blank\" rel=\"noopener noreferrer\">horrific 2007 murder of her roommate, Meredith Kercher\u003c/a>. Netflix documentary \u003ca href=\"https://www.netflix.com/title/80081155\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Amanda Knox\u003c/em>\u003c/a> helped some understand just what had happened to this woman at the hands of a salacious tabloid press, but misinformation about her character has continued to persist.\u003c/p>\n\u003cp>Print media wasn't just a nightmare for Knox during her trial, it didn't let up during her appeal either. Even one of the more reputable newspapers in the UK, \u003cem>The Telegraph\u003c/em>, published a story in 2011 titled \u003ca href=\"https://www.telegraph.co.uk/news/worldnews/europe/italy/8803077/Amanda-Knox-Guilty-or-innocent-five-reasons-why.html\" target=\"_blank\" rel=\"noopener noreferrer\">\"Five Reasons Knox is Guilty.\"\u003c/a> The tabloids may finally have moved on in 2018, but they made such a huge impact initially, that many have found those accusations hard to forget.\u003c/p>\n\u003cp>In a \u003ca href=\"http://www.debate.org/opinions/is-amanda-knox-guilty\" target=\"_blank\" rel=\"noopener noreferrer\">Debate.org poll\u003c/a> titled \"Is Amanda Knox guilty?\" 71% voted yes. As with Sarkeesian, YouTube continues to be awash with new-ish videos about her case, titled things like \"Was Amanda Knox really guilty?\"; \"11 Lies in the Amanda Knox Documentary\"; \"Amanda Knox: the facts against her.\"\u003c/p>\n\u003cp>Even when \u003ca href=\"https://www.eonline.com/news/798763/why-the-amanda-knox-case-still-doesn-t-make-any-sense-inside-a-shockingly-misogynistic-murder-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">E! News called Knox's case \"shockingly misogynistic\"\u003c/a> in 2016, the outlet still felt it appropriate to accompany the piece with a Nancy Grace video interview, in which the outspoken legal commentator said:\u003c/p>\n\u003cblockquote>\u003cp>\"You know what I loved about the Amanda Knox case? That she, like OJ Simpson, had a dream—as if she were clairvoyant. Amanda Knox dreamed of the moment her roommate was murdered. And she dreamed that she was right there in the apartment when it happened. Now, isn’t that a co-inn-kee-dink?\"\u003c/p>\u003c/blockquote>\n\u003cp>Make no mistake: The selection of Knox to host a show about the public shaming of complicated women is both a carefully considered and extremely bold one. The fact that Knox lost four years of her life to an Italian prison sets an appropriately serious tone for the series, one that is frequently missing when these women are being publicly scrutinized and dismissed online. Knox's presence allows her guests to open up, safe in the knowledge that the person they're talking to understands exactly what they have gone through. When you've been judged in such a harsh and prolonged way as Amanda Knox has, there's no way you're going to judge other vilified women, so the guests are given the rare opportunity to present themselves as the full human beings that they are.\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/2j4o4Zi5q7Q'\n title='//www.youtube.com/embed/2j4o4Zi5q7Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Prior to #MeToo prompting a broad swell of empathy, none of these women could or would have been given this kind of platform. These are women who have been marginalized and judged because of an unfair focus on their imperfections. \u003cem>The Scarlet Letter Reports\u003c/em> is stretching the #MeToo conversation beyond sexual assault and harassment to effectively demonstrate how women—especially ones that end up in the spotlight for reasons they never could have anticipated—can also be victimized in a multitude of other ways. It is an important reminder that you don't have to be in the same room as a bad guy to be subjected to abuse.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Knox, Sarkeesian, Rose, Barton, Rossi, and Coleman have all had their lives irretrievably altered by judgmental misogyny. Each of them, Knox notes in one episode, has \"been rendered two-dimensional\" by the public and/or media. Most importantly though, each of them has taken those experiences and attempted to transform them into something constructive. Allowing them to share their truths isn't just valuable, it's an acknowledgement of a dark and looming thread that unites pockets of largely unheard women all over the country. Doing so finally allows publicly maligned women to say \"Me Too\" too.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Was Marlon Brando or Elvis Better at Sex? Rita Moreno Will Tell You",
"title": "Was Marlon Brando or Elvis Better at Sex? Rita Moreno Will Tell You",
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"content": "\u003cp>\u003cem>This piece was inspired by an episode of \u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\">The Cooler\u003c/a>, KQED’s weekly pop culture podcast. Give it a listen!\u003c/em>\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/thecooler/2018/05/NSRJ.mp3\" title=\"The Not So Rural Juror\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/05/liz.lemon_.2.jpg\"]\u003c/p>\n\u003cp>Rita Moreno is a delightful gem of a human. Most of us have known this for quite some time. Those that didn't received the message loud and clear, when she showed up to \u003ca href=\"https://www.kqed.org/pop/102336/the-very-best-gifs-from-the-2018-oscars\">this year's Oscars\u003c/a> wearing the same dress she wore when she won for her work in \u003cem>West Side Story\u003c/em> back in 1962. Usually, presenters nervously walk to the mic and bore us with pre-scripted banter. But not Rita.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/05/rita-moreno-oscars-2018.gif\">\u003cimg class=\"aligncenter size-medium wp-image-103671\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/05/rita-moreno-oscars-2018.gif\" alt=\"\" width=\"480\" height=\"247\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/05/rita-moreno-drinking-oscars-2018.gif\">\u003cimg class=\"aligncenter size-medium wp-image-103670\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/05/rita-moreno-drinking-oscars-2018.gif\" alt=\"\" width=\"480\" height=\"264\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last week, Rita visited \u003cem>The Wendy Williams Show\u003c/em> and turned another snoozy medium -- the daytime talk show interview -- into must-see television. Wendy asked questions so nosy they border on rude (that's her brand after all), but the 86-year-old EGOT legend didn't bat a lash and spilled all the salacious details about her past-hookups.\u003c/p>\n\u003cfigure id=\"attachment_103687\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg class=\"size-large wp-image-103687\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-1020x1020.jpg\" alt=\"\" width=\"640\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-1200x1200.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Credit: (Photo by Matt Sayles/A.M.P.A.S via Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>On her eight-year romance with Marlon Brando: \"He slayed me good 'cause he was the king of everything. EEEEEVERYTHING! He was really one of the most sexual men on Earth.\"\u003c/p>\n\u003cp>Rita eventually caught Marlon cheating, and went on a date with none other than Elvis to get even. When asked who was the better lover, Rita did not mince words: \"Oh, honey, that's like a two-year-old and the king. [Elvis wasn't good.] Bless his heart. He was a sweet fellow. He was very shy, a handsome boy. But you know, Elvis Presley and Marlon Brando? Come on! Amateur night!\"\u003c/p>\n\u003cp>Mind you, she said all of this in front of her daughter. What an icon.\u003c/p>\n\u003cp>I dare you to watch this and not be completely charmed:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CsrV_Bqwh_0\u003c/p>\n\u003cp>\u003cem>This piece was inspired by an episode of \u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\">The Cooler\u003c/a>, KQED’s weekly pop culture podcast. Give it a listen!\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/thecooler/2018/05/NSRJ.mp3\" title=\"The Not So Rural Juror\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/05/liz.lemon_.2.jpg\"]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rita Moreno is a delightful gem of a human. Most of us have known this for quite some time. Those that didn't received the message loud and clear, when she showed up to \u003ca href=\"https://www.kqed.org/pop/102336/the-very-best-gifs-from-the-2018-oscars\">this year's Oscars\u003c/a> wearing the same dress she wore when she won for her work in \u003cem>West Side Story\u003c/em> back in 1962. Usually, presenters nervously walk to the mic and bore us with pre-scripted banter. But not Rita.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/05/rita-moreno-oscars-2018.gif\">\u003cimg class=\"aligncenter size-medium wp-image-103671\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/05/rita-moreno-oscars-2018.gif\" alt=\"\" width=\"480\" height=\"247\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/05/rita-moreno-drinking-oscars-2018.gif\">\u003cimg class=\"aligncenter size-medium wp-image-103670\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/05/rita-moreno-drinking-oscars-2018.gif\" alt=\"\" width=\"480\" height=\"264\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last week, Rita visited \u003cem>The Wendy Williams Show\u003c/em> and turned another snoozy medium -- the daytime talk show interview -- into must-see television. Wendy asked questions so nosy they border on rude (that's her brand after all), but the 86-year-old EGOT legend didn't bat a lash and spilled all the salacious details about her past-hookups.\u003c/p>\n\u003cfigure id=\"attachment_103687\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg class=\"size-large wp-image-103687\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-1020x1020.jpg\" alt=\"\" width=\"640\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-1200x1200.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/12/2018/05/TheCooler_Rita_QuotePicture_5.16.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Credit: (Photo by Matt Sayles/A.M.P.A.S via Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>On her eight-year romance with Marlon Brando: \"He slayed me good 'cause he was the king of everything. EEEEEVERYTHING! He was really one of the most sexual men on Earth.\"\u003c/p>\n\u003cp>Rita eventually caught Marlon cheating, and went on a date with none other than Elvis to get even. When asked who was the better lover, Rita did not mince words: \"Oh, honey, that's like a two-year-old and the king. [Elvis wasn't good.] Bless his heart. He was a sweet fellow. He was very shy, a handsome boy. But you know, Elvis Presley and Marlon Brando? Come on! Amateur night!\"\u003c/p>\n\u003cp>Mind you, she said all of this in front of her daughter. What an icon.\u003c/p>\n\u003cp>I dare you to watch this and not be completely charmed:\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/CsrV_Bqwh_0'\n title='//www.youtube.com/embed/CsrV_Bqwh_0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>This piece was inspired by an episode of \u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\">The Cooler\u003c/a>, KQED’s weekly pop culture podcast. Give it a listen!\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Something From Nothing: 20 Years On, the Enduring Yada-Yada of 'Seinfeld'",
"title": "Something From Nothing: 20 Years On, the Enduring Yada-Yada of 'Seinfeld'",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>It was the show that made something out of nothing.\u003c/p>\n\u003cp>Twenty years ago, NBC aired the final episode of \u003cem>Seinfeld, \u003c/em>which followed the ramblings of four friends — Jerry, George, Elaine and Kramer in '90s New York. The show was wildly popular during its initial nine-season run and has remained a cultural touchstone in the decades since it went off the air.\u003c/p>\n\u003cp>I spent many weeknights watching reruns of \u003cem>Seinfeld\u003c/em> with my dad. The show's enduring popularity after it went into syndication — and later streamed on Hulu — highlights the inter-generational appeal of the show.\u003c/p>\n\u003cp>Much of the humor in\u003cem> Seinfeld\u003c/em> – Kramer playing a \u003ca href=\"https://www.youtube.com/watch?v=N_jLykcWPn0\">Moviefone operator\u003c/a>, Jerry and Elaine \u003ca href=\"https://www.youtube.com/watch?v=ghCTZF61ey0\">getting stranded\u003c/a> at a party on Long Island (no Ubers to call), Elaine's careful consideration of whether a potential hookup is worth the use of a \u003ca href=\"https://www.youtube.com/watch?v=gfDyOyrY-zM\">discontinued birth-control sponge\u003c/a> – are relics of American life, but the show's humor endures, says Carol Leifer, a writer for \u003cem>Seinfeld\u003c/em> during seasons five, six and seven.\u003c/p>\n\u003cp>\"When I was growing up I used to watch \u003cem>I Love Lucy\u003c/em> and that was a show that was an old timey show back then, but it's funny,\" \u003ca href=\"http://www.wbur.org/hereandnow/2018/05/14/seinfeld-finale-20-years-later\">she tells\u003c/a> \u003cem>Here & Now's\u003c/em> Jeremy Hobson. \"And I'm just so proud to have been part of a show that's really withstood the test of time.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=102&v=WnG4ZXklyp4\u003c/p>\n\u003cp>Created by comedians Jerry Seinfeld and Larry David, Seinfeld aired 172 episodes from July 1989 to May 14, 1998. The show presented an obsessively close look at the frustrations and irritations of everyday life for a group of 30-somethings in Manhattan.\u003c/p>\n\u003cp>Often referred to as \"the show about nothing,\" each episode saw the four friends – Seinfeld playing a version of himself, Jason Alexander as George Costanza, Michael Richards as Cosmo Kramer and Julia Louis-Dreyfus as Elaine Benes — encounter a seemingly small problem that spirals into unexplained mayhem.\u003c/p>\n\u003cp>Some of the best episodes centered on a simple premise that often left network executives confused as to how it would play with the audience. In one particularly iconic episode, \"The Chinese Restaurant,\" Jerry, George and Elaine spend the entire half hour waiting for a table.\u003c/p>\n\u003cp>A ravenous Elaine \u003ca href=\"https://www.youtube.com/watch?v=zLLTQnZsx8c\">tries to bribe\u003c/a> a group of people for an egg roll off their plate; Jerry runs into a woman he knows but \u003ca href=\"https://www.youtube.com/watch?v=I_kX-hmH2FQ\">blanks on her name\u003c/a>, and George – trying to get in touch with a woman he's seeing named Tatiana – \u003ca href=\"https://www.youtube.com/watch?v=WnG4ZXklyp4\">has an outburst\u003c/a> in the middle of the restaurant because others are hogging the pay phone.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=71&v=QfuuXwQMDyE\u003c/p>\n\u003cp>\"It's like the thesis of the whole show,\" Jennifer Keishin Armstrong, author of \u003cem>Seinfeldia: How a Show About Nothing Changed Everything\u003c/em>, \u003ca href=\"http://www.wbur.org/hereandnow/2016/08/03/seinfeldia-keishin-armstrong\">told Hobson in 2016\u003c/a>. \"This was a particularly groundbreaking episode because nothing happens. ... The plot is, you know, the log line is they go to a Chinese restaurant, they wait for a table, they don't get it, they leave. That doesn't sound like a story to network executives.\"\u003c/p>\n\u003cp>In fact, after the first preview of the pilot episode, Brandon Tartikoff, the head of NBC entertainment, \u003ca href=\"https://www.wsj.com/articles/no-hugging-no-learning-the-seinfeld-credo-1471032667?ns=prod/accounts-wsj&ns=prod/accounts-wsj\">asked his colleagues\u003c/a>: \"Who will want to see Jews wandering around New York acting neurotic?\" Turns out, the lives of four irrational New Yorkers would be more relatable than executives suspected.\u003c/p>\n\u003cp>Many of the ideas for the show actually came from the writers' real-life experiences, Leifer says. She says one of the most famous scenes — when Jerry \u003ca href=\"https://www.youtube.com/watch?v=QfuuXwQMDyE\">tries to wrestle\u003c/a> a marble rye from an elderly woman on the street — actually came from her friend's unusual dinner party experience.\u003c/p>\n\u003cp>\"She said, 'The funniest thing happened to me. My husband and I had a couple over for dinner, and they brought a bread, and I forgot to put it out. And I realized at the end of the evening that they had taken the bread home with them,' \" Leifer says. \"And as my friend was telling me this story, I said to her, 'Oh my God, I cannot wait to pitch that.' \"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AfdaTWOCTnk\u003c/p>\n\u003cp>Not only did Seinfeld find humor in the mundane, but it opened the door for the TV anti-heroes that came after – the mobsters of \u003cem>The Sopranos\u003c/em>, \u003cem>Breaking Bad's\u003c/em> meth-cooking Walter White and the four entitled 20-somethings on \u003cem>Girls\u003c/em>. The characters in \u003cem>Seinfeld\u003c/em> didn't evolve, and they were funnier that way. As Larry David would say on set, there is \"no hugging, no learning.\"\u003c/p>\n\u003cp>Even the show's series finale – which was watched by 76 million people and vilified by almost all of them – ends with the four friends going to prison for \u003ca href=\"https://www.youtube.com/watch?v=zPnK0NCn_MQ\">violating a Good Samaritan law\u003c/a> in Massachusetts. Jerry, Elaine, George and Kramer witness an overweight man being robbed, but instead of helping him they relentlessly mock him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In some ways, it was a fitting ending for the selfish group of Manhattanites, whose no-cares attitude was as equally cringe worthy as it was inspiring. As Elaine once \u003ca href=\"https://www.youtube.com/watch?v=1kcYdNdlCfU\">said in a toast\u003c/a> to colleagues at an office party, \"Here's to those who wish us well, and those who don't can go to hell.\"\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=Something+From+Nothing%3A+20+Years+On%2C+The+Enduring+Yada+Yada+Of+%27Seinfeld%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was the show that made something out of nothing.\u003c/p>\n\u003cp>Twenty years ago, NBC aired the final episode of \u003cem>Seinfeld, \u003c/em>which followed the ramblings of four friends — Jerry, George, Elaine and Kramer in '90s New York. The show was wildly popular during its initial nine-season run and has remained a cultural touchstone in the decades since it went off the air.\u003c/p>\n\u003cp>I spent many weeknights watching reruns of \u003cem>Seinfeld\u003c/em> with my dad. The show's enduring popularity after it went into syndication — and later streamed on Hulu — highlights the inter-generational appeal of the show.\u003c/p>\n\u003cp>Much of the humor in\u003cem> Seinfeld\u003c/em> – Kramer playing a \u003ca href=\"https://www.youtube.com/watch?v=N_jLykcWPn0\">Moviefone operator\u003c/a>, Jerry and Elaine \u003ca href=\"https://www.youtube.com/watch?v=ghCTZF61ey0\">getting stranded\u003c/a> at a party on Long Island (no Ubers to call), Elaine's careful consideration of whether a potential hookup is worth the use of a \u003ca href=\"https://www.youtube.com/watch?v=gfDyOyrY-zM\">discontinued birth-control sponge\u003c/a> – are relics of American life, but the show's humor endures, says Carol Leifer, a writer for \u003cem>Seinfeld\u003c/em> during seasons five, six and seven.\u003c/p>\n\u003cp>\"When I was growing up I used to watch \u003cem>I Love Lucy\u003c/em> and that was a show that was an old timey show back then, but it's funny,\" \u003ca href=\"http://www.wbur.org/hereandnow/2018/05/14/seinfeld-finale-20-years-later\">she tells\u003c/a> \u003cem>Here & Now's\u003c/em> Jeremy Hobson. \"And I'm just so proud to have been part of a show that's really withstood the test of time.\"\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/WnG4ZXklyp4'\n title='//www.youtube.com/embed/WnG4ZXklyp4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Created by comedians Jerry Seinfeld and Larry David, Seinfeld aired 172 episodes from July 1989 to May 14, 1998. The show presented an obsessively close look at the frustrations and irritations of everyday life for a group of 30-somethings in Manhattan.\u003c/p>\n\u003cp>Often referred to as \"the show about nothing,\" each episode saw the four friends – Seinfeld playing a version of himself, Jason Alexander as George Costanza, Michael Richards as Cosmo Kramer and Julia Louis-Dreyfus as Elaine Benes — encounter a seemingly small problem that spirals into unexplained mayhem.\u003c/p>\n\u003cp>Some of the best episodes centered on a simple premise that often left network executives confused as to how it would play with the audience. In one particularly iconic episode, \"The Chinese Restaurant,\" Jerry, George and Elaine spend the entire half hour waiting for a table.\u003c/p>\n\u003cp>A ravenous Elaine \u003ca href=\"https://www.youtube.com/watch?v=zLLTQnZsx8c\">tries to bribe\u003c/a> a group of people for an egg roll off their plate; Jerry runs into a woman he knows but \u003ca href=\"https://www.youtube.com/watch?v=I_kX-hmH2FQ\">blanks on her name\u003c/a>, and George – trying to get in touch with a woman he's seeing named Tatiana – \u003ca href=\"https://www.youtube.com/watch?v=WnG4ZXklyp4\">has an outburst\u003c/a> in the middle of the restaurant because others are hogging the pay phone.\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/QfuuXwQMDyE'\n title='//www.youtube.com/embed/QfuuXwQMDyE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"It's like the thesis of the whole show,\" Jennifer Keishin Armstrong, author of \u003cem>Seinfeldia: How a Show About Nothing Changed Everything\u003c/em>, \u003ca href=\"http://www.wbur.org/hereandnow/2016/08/03/seinfeldia-keishin-armstrong\">told Hobson in 2016\u003c/a>. \"This was a particularly groundbreaking episode because nothing happens. ... The plot is, you know, the log line is they go to a Chinese restaurant, they wait for a table, they don't get it, they leave. That doesn't sound like a story to network executives.\"\u003c/p>\n\u003cp>In fact, after the first preview of the pilot episode, Brandon Tartikoff, the head of NBC entertainment, \u003ca href=\"https://www.wsj.com/articles/no-hugging-no-learning-the-seinfeld-credo-1471032667?ns=prod/accounts-wsj&ns=prod/accounts-wsj\">asked his colleagues\u003c/a>: \"Who will want to see Jews wandering around New York acting neurotic?\" Turns out, the lives of four irrational New Yorkers would be more relatable than executives suspected.\u003c/p>\n\u003cp>Many of the ideas for the show actually came from the writers' real-life experiences, Leifer says. She says one of the most famous scenes — when Jerry \u003ca href=\"https://www.youtube.com/watch?v=QfuuXwQMDyE\">tries to wrestle\u003c/a> a marble rye from an elderly woman on the street — actually came from her friend's unusual dinner party experience.\u003c/p>\n\u003cp>\"She said, 'The funniest thing happened to me. My husband and I had a couple over for dinner, and they brought a bread, and I forgot to put it out. And I realized at the end of the evening that they had taken the bread home with them,' \" Leifer says. \"And as my friend was telling me this story, I said to her, 'Oh my God, I cannot wait to pitch that.' \"\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/AfdaTWOCTnk'\n title='//www.youtube.com/embed/AfdaTWOCTnk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not only did Seinfeld find humor in the mundane, but it opened the door for the TV anti-heroes that came after – the mobsters of \u003cem>The Sopranos\u003c/em>, \u003cem>Breaking Bad's\u003c/em> meth-cooking Walter White and the four entitled 20-somethings on \u003cem>Girls\u003c/em>. The characters in \u003cem>Seinfeld\u003c/em> didn't evolve, and they were funnier that way. As Larry David would say on set, there is \"no hugging, no learning.\"\u003c/p>\n\u003cp>Even the show's series finale – which was watched by 76 million people and vilified by almost all of them – ends with the four friends going to prison for \u003ca href=\"https://www.youtube.com/watch?v=zPnK0NCn_MQ\">violating a Good Samaritan law\u003c/a> in Massachusetts. Jerry, Elaine, George and Kramer witness an overweight man being robbed, but instead of helping him they relentlessly mock him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In some ways, it was a fitting ending for the selfish group of Manhattanites, whose no-cares attitude was as equally cringe worthy as it was inspiring. As Elaine once \u003ca href=\"https://www.youtube.com/watch?v=1kcYdNdlCfU\">said in a toast\u003c/a> to colleagues at an office party, \"Here's to those who wish us well, and those who don't can go to hell.\"\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=Something+From+Nothing%3A+20+Years+On%2C+The+Enduring+Yada+Yada+Of+%27Seinfeld%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "A History of TV Psychics (and Why We Love Them So Much)",
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"content": "\u003cp>No matter how far back you go in history, there is evidence of the human desire to figure out what's coming our way, and the people who claim to be able to tell us. Trying to commune with the dead, or predict the future, can be traced back at least 5,000 years. The Ancient Egyptians practiced \"scrying\"—reading shapes formed by dropping ink in water. The Mesopotamians did the same thing with oil. \u003ca href=\"https://www.britannica.com/topic/palmistry\" target=\"_blank\" rel=\"noopener noreferrer\">Palmistry\u003c/a> is believed to have originated in India. When Chinese Emperor Shennong discovered tea in 2737 BC, his subjects \u003ca href=\"https://www.teamuse.com/article_160601.html\" target=\"_blank\" rel=\"noopener noreferrer\">promptly began reading leaves\u003c/a>. [aside postid='arts_13878154']\u003c/p>\n\u003cp>The Bible itself acts as a sort of prediction manual too—especially the \u003ca href=\"https://en.wikipedia.org/wiki/Book_of_Revelation\" target=\"_blank\" rel=\"noopener noreferrer\">Book of Revelation.\u003c/a> By 1555, the most famous soothsayer of all time, Nostradamus, was in full swing, having just released \u003ca href=\"https://en.wikipedia.org/wiki/Les_Propheties\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Les Propheties\u003c/em>\u003c/a> (\u003cem>The Prophecies\u003c/em>)—a now legendary book of global predictions for the ages. By the 1700s, the French had transformed Tarot playing cards, which had been around since the 1440s, into a tool of divination. The Victorians were obsessed with séances. And in the first decades of the 1900s, the mystic \u003ca href=\"https://en.wikipedia.org/wiki/Grigori_Rasputin\" target=\"_blank\" rel=\"noopener noreferrer\">Rasputin captured Russians' imaginations\u003c/a>—and, more importantly, their ruler's.\u003c/p>\n\u003cp>No matter how civilization has grown and developed—including technological advancements that seemed implausible even 50 years ago—our fascination with people who claim to tell us what our futures hold, or talk to the dead, has continued unabated. In fact, \u003ca href=\"https://finance.yahoo.com/news/psychic-industry-fortune-tellers-ibisworld-221118482.html\" target=\"_blank\" rel=\"noopener noreferrer\">according to a 2016 report,\u003c/a> the psychic industry has been steadily growing since 2010, bringing in around $2 billion in revenue a year.\u003c/p>\n\u003cp>TV has (very wisely) capitalized on this for years now. Let's take a look at the psychics who have graced our screens over the years and how they compare to one another.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Tyler Henry, \u003cem>Hollywood Medium\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QR1gLZkukB4\u003c/p>\n\u003cp>Our newest magical TV unicorn is Tyler Henry, an adorable Gen Z wonder, who discovered he could communicate with dead people at the age of 10 when his grandmother died. Since then, E! has hired him to do on-camera readings with celebrities for our entertainment, which immediately begs the question: Can't he just Google them before he meets them? This does throw the plausibility of some conversations into doubt. (Did anybody think Lisa \"Left Eye\" Lopes \u003cem>wasn't\u003c/em> going to come through \u003ca href=\"https://www.youtube.com/watch?v=It7u3CrZAEY\" target=\"_blank\" rel=\"noopener noreferrer\">when Henry talked to TLC's T-Boz?\u003c/a>)\u003c/p>\n\u003cp>Henry claims he doesn't know whom he's visiting before he arrives, but his real believability lies in two factors: most of the people he gives readings to are kinda D-list (especially to someone of his age), and he often brings up very personal details that are not public knowledge. Plus, it looks an awful lot like \u003ca href=\"https://www.youtube.com/watch?v=qpkXi0-XkxI\" target=\"_blank\" rel=\"noopener noreferrer\">he predicted Khloé Kardashian's troubles with Tristan Thompson\u003c/a>.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Miss Cleo\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k4y8uubaIW4\u003c/p>\n\u003cp>Miss Cleo is a bonafide American legend. With a pseudo-Jamaican accent that a lot of people thought was fake, a memorable catch-phrase (\"Call me now!\"), and the kind of tone your no-nonsense auntie gives you when she knows you're doing something stupid, Miss Cleo was the most famous psychic in America in the late 1990s. (Parody \u003ca href=\"http://www.cc.com/video-clips/qleo98/chappelle-s-show-educated-guess-line---uncensored\" target=\"_blank\" rel=\"noopener noreferrer\">skits by Dave Chapelle\u003c/a> and \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=aSR-uefPmME\" target=\"_blank\" rel=\"noopener noreferrer\">Mad TV\u003c/a>\u003c/em> live on.)\u003c/p>\n\u003cp>Two years before her 2016 death, she did a \u003ca href=\"https://www.vice.com/en_us/article/4w3edj/we-spoke-to-ms-cleo-about-her-fake-patois-and-getting-ripped-off-by-her-old-bosses\" target=\"_blank\" rel=\"noopener noreferrer\">great interview with \u003cem>Vice\u003c/em>\u003c/a> revealing everything from the low wages she received while working at the Psychic Readers Network and her family's history with voodoo, to the fact that she has never self-identified as a psychic. Miss Cleo may not have had a hotline to dead people, but she still knew enough to wow audiences.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Theresa Caputo, \u003cem>Long Island Medium\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Iy6KXzx8fNs\u003c/p>\n\u003cp>If Tyler Henry makes you feel like talking to dead people is just for the super-rich, Caputo proves the opposite by roaming around her native Long Island, randomly picking out people in stores and cafés, and sharing messages from their deceased loved ones. In between, she does formal readings for paying clients that are frequently emotional, despite her best efforts to keep things light and positive with her special brand of optimism. Despite the \u003ca href=\"https://www.eonline.com/news/897778/long-island-medium-s-theresa-caputo-and-husband-larry-split\" target=\"_blank\" rel=\"noopener noreferrer\">recent separation of Caputo\u003c/a> and her husband Larry (they seemed like a perfect pair, so it's a total bummer), \u003cem>Long Island Medium\u003c/em> is still going strong, thanks to Caputo's quite remarkable skills. The hairdo and nails don't hurt either.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>John Edward, \u003cem>Crossing Over\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=t1juNLJ97i0\u003c/p>\n\u003cp>People love being cynical about \u003ca href=\"https://www.johnedward.net/\" target=\"_blank\" rel=\"noopener noreferrer\">John Edward\u003c/a> because he works with larger audiences and sometimes starts from relatively vague jumping-off points. If you ask a room of 60 people \"Who passed from the heart attack?\" at least one person is going to raise a hand, right? Sure, but the reason Edward is so popular around the globe (he regularly tours the UK and Australia, in addition to the US), is that once he finds a person in a crowd, he can really get into some serious nitty gritty, including very specific names. He may not seem as swift as Theresa Caputo or Tyler Henry... but he's also usually a lot less edited.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Chip Coffey\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gXvKvV1BoWw\u003c/p>\n\u003cp>If the world of TV mediums is a field of wild cards, Chip Coffey is the wildest in the deck. Eccentric as all get out, the flamboyant Coffey, a regular on A&E shows like \u003ca href=\"https://en.wikipedia.org/wiki/Paranormal_State\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Paranormal State\u003c/em>\u003c/a> and \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Psychic_Kids\" target=\"_blank\" rel=\"noopener noreferrer\">Psychic Kids\u003c/a>,\u003c/em> is prone to using the kinds of methods more commonly employed in horror movies (ouija boards, séances, etc.). Where other TV mediums aim to provide strangers and clients with advice and comfort, Coffey attempts to scare the bejesus out of everyone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whether you believe in their line of work or not, there's a good chance that, 200 years from now, mediums will still be just as in demand as they are today.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No matter how far back you go in history, there is evidence of the human desire to figure out what's coming our way, and the people who claim to be able to tell us. Trying to commune with the dead, or predict the future, can be traced back at least 5,000 years. The Ancient Egyptians practiced \"scrying\"—reading shapes formed by dropping ink in water. The Mesopotamians did the same thing with oil. \u003ca href=\"https://www.britannica.com/topic/palmistry\" target=\"_blank\" rel=\"noopener noreferrer\">Palmistry\u003c/a> is believed to have originated in India. When Chinese Emperor Shennong discovered tea in 2737 BC, his subjects \u003ca href=\"https://www.teamuse.com/article_160601.html\" target=\"_blank\" rel=\"noopener noreferrer\">promptly began reading leaves\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Bible itself acts as a sort of prediction manual too—especially the \u003ca href=\"https://en.wikipedia.org/wiki/Book_of_Revelation\" target=\"_blank\" rel=\"noopener noreferrer\">Book of Revelation.\u003c/a> By 1555, the most famous soothsayer of all time, Nostradamus, was in full swing, having just released \u003ca href=\"https://en.wikipedia.org/wiki/Les_Propheties\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Les Propheties\u003c/em>\u003c/a> (\u003cem>The Prophecies\u003c/em>)—a now legendary book of global predictions for the ages. By the 1700s, the French had transformed Tarot playing cards, which had been around since the 1440s, into a tool of divination. The Victorians were obsessed with séances. And in the first decades of the 1900s, the mystic \u003ca href=\"https://en.wikipedia.org/wiki/Grigori_Rasputin\" target=\"_blank\" rel=\"noopener noreferrer\">Rasputin captured Russians' imaginations\u003c/a>—and, more importantly, their ruler's.\u003c/p>\n\u003cp>No matter how civilization has grown and developed—including technological advancements that seemed implausible even 50 years ago—our fascination with people who claim to tell us what our futures hold, or talk to the dead, has continued unabated. In fact, \u003ca href=\"https://finance.yahoo.com/news/psychic-industry-fortune-tellers-ibisworld-221118482.html\" target=\"_blank\" rel=\"noopener noreferrer\">according to a 2016 report,\u003c/a> the psychic industry has been steadily growing since 2010, bringing in around $2 billion in revenue a year.\u003c/p>\n\u003cp>TV has (very wisely) capitalized on this for years now. Let's take a look at the psychics who have graced our screens over the years and how they compare to one another.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Tyler Henry, \u003cem>Hollywood Medium\u003c/em>\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/QR1gLZkukB4'\n title='//www.youtube.com/embed/QR1gLZkukB4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Our newest magical TV unicorn is Tyler Henry, an adorable Gen Z wonder, who discovered he could communicate with dead people at the age of 10 when his grandmother died. Since then, E! has hired him to do on-camera readings with celebrities for our entertainment, which immediately begs the question: Can't he just Google them before he meets them? This does throw the plausibility of some conversations into doubt. (Did anybody think Lisa \"Left Eye\" Lopes \u003cem>wasn't\u003c/em> going to come through \u003ca href=\"https://www.youtube.com/watch?v=It7u3CrZAEY\" target=\"_blank\" rel=\"noopener noreferrer\">when Henry talked to TLC's T-Boz?\u003c/a>)\u003c/p>\n\u003cp>Henry claims he doesn't know whom he's visiting before he arrives, but his real believability lies in two factors: most of the people he gives readings to are kinda D-list (especially to someone of his age), and he often brings up very personal details that are not public knowledge. Plus, it looks an awful lot like \u003ca href=\"https://www.youtube.com/watch?v=qpkXi0-XkxI\" target=\"_blank\" rel=\"noopener noreferrer\">he predicted Khloé Kardashian's troubles with Tristan Thompson\u003c/a>.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Miss Cleo\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/k4y8uubaIW4'\n title='//www.youtube.com/embed/k4y8uubaIW4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Miss Cleo is a bonafide American legend. With a pseudo-Jamaican accent that a lot of people thought was fake, a memorable catch-phrase (\"Call me now!\"), and the kind of tone your no-nonsense auntie gives you when she knows you're doing something stupid, Miss Cleo was the most famous psychic in America in the late 1990s. (Parody \u003ca href=\"http://www.cc.com/video-clips/qleo98/chappelle-s-show-educated-guess-line---uncensored\" target=\"_blank\" rel=\"noopener noreferrer\">skits by Dave Chapelle\u003c/a> and \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=aSR-uefPmME\" target=\"_blank\" rel=\"noopener noreferrer\">Mad TV\u003c/a>\u003c/em> live on.)\u003c/p>\n\u003cp>Two years before her 2016 death, she did a \u003ca href=\"https://www.vice.com/en_us/article/4w3edj/we-spoke-to-ms-cleo-about-her-fake-patois-and-getting-ripped-off-by-her-old-bosses\" target=\"_blank\" rel=\"noopener noreferrer\">great interview with \u003cem>Vice\u003c/em>\u003c/a> revealing everything from the low wages she received while working at the Psychic Readers Network and her family's history with voodoo, to the fact that she has never self-identified as a psychic. Miss Cleo may not have had a hotline to dead people, but she still knew enough to wow audiences.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Theresa Caputo, \u003cem>Long Island Medium\u003c/em>\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/Iy6KXzx8fNs'\n title='//www.youtube.com/embed/Iy6KXzx8fNs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If Tyler Henry makes you feel like talking to dead people is just for the super-rich, Caputo proves the opposite by roaming around her native Long Island, randomly picking out people in stores and cafés, and sharing messages from their deceased loved ones. In between, she does formal readings for paying clients that are frequently emotional, despite her best efforts to keep things light and positive with her special brand of optimism. Despite the \u003ca href=\"https://www.eonline.com/news/897778/long-island-medium-s-theresa-caputo-and-husband-larry-split\" target=\"_blank\" rel=\"noopener noreferrer\">recent separation of Caputo\u003c/a> and her husband Larry (they seemed like a perfect pair, so it's a total bummer), \u003cem>Long Island Medium\u003c/em> is still going strong, thanks to Caputo's quite remarkable skills. The hairdo and nails don't hurt either.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>John Edward, \u003cem>Crossing Over\u003c/em>\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/t1juNLJ97i0'\n title='//www.youtube.com/embed/t1juNLJ97i0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>People love being cynical about \u003ca href=\"https://www.johnedward.net/\" target=\"_blank\" rel=\"noopener noreferrer\">John Edward\u003c/a> because he works with larger audiences and sometimes starts from relatively vague jumping-off points. If you ask a room of 60 people \"Who passed from the heart attack?\" at least one person is going to raise a hand, right? Sure, but the reason Edward is so popular around the globe (he regularly tours the UK and Australia, in addition to the US), is that once he finds a person in a crowd, he can really get into some serious nitty gritty, including very specific names. He may not seem as swift as Theresa Caputo or Tyler Henry... but he's also usually a lot less edited.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Chip Coffey\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/gXvKvV1BoWw'\n title='//www.youtube.com/embed/gXvKvV1BoWw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If the world of TV mediums is a field of wild cards, Chip Coffey is the wildest in the deck. Eccentric as all get out, the flamboyant Coffey, a regular on A&E shows like \u003ca href=\"https://en.wikipedia.org/wiki/Paranormal_State\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Paranormal State\u003c/em>\u003c/a> and \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Psychic_Kids\" target=\"_blank\" rel=\"noopener noreferrer\">Psychic Kids\u003c/a>,\u003c/em> is prone to using the kinds of methods more commonly employed in horror movies (ouija boards, séances, etc.). Where other TV mediums aim to provide strangers and clients with advice and comfort, Coffey attempts to scare the bejesus out of everyone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whether you believe in their line of work or not, there's a good chance that, 200 years from now, mediums will still be just as in demand as they are today.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Lo these many years, by which I mean since 1984, many have wondered about the answer to a simple question of history. It has echoed off the walls of canyons, burbled in the bubbles of mountain streams, and been shouted into the bottoms of volcanoes, only to be absorbed by hot lava and spit back out as igneous rock. The question: \u003cem>What if Johnny Lawrence hadn't said, \"You're all right, LaRusso\"?\u003c/em>\u003c/p>\n\u003cp>Be cautioned that a couple of decades-old spoilers (yes, my fellow olds, it has been almost 34 years) follow: At the end of \u003ca href=\"https://www.imdb.com/title/tt0087538/?ref_=nv_sr_1\">\u003cem>The Karate Kid\u003c/em>,\u003c/a> after Daniel LaRusso (Ralph Macchio) defeats Johnny Lawrence (William Zabka) at the All-Valley Tournament, Johnny comes over to Daniel, a guy he's been bullying mercilessly for months, to personally hand him the trophy. \"You're all right, LaRusso,\" he almost cries, so complete is his transformation into a bully who now understands the error of his ways and the evils of his sensei, John Kreese (Martin Kove). There has not been a reconciliation so meaningful since the last time Alec Baldwin and his Donald Trump impression got back together.\u003c/p>\n\u003cp>But what if it had never happened? What if Johnny had just nursed that grudge, becoming an angry young guy and then an angry, slightly-less-young guy, and then eventually an angry, middle-aged guy who never got over the humiliations he suffered in high school?\u003c/p>\n\u003cp>That is the question that begins the YouTube Red 10-part \u003cem>Karate Kid \u003c/em>sequel series \u003cem>Cobra Kai\u003c/em>, which sounded like such a bad idea when it was first announced that the only way to really be fair to it and also fair about my expectations for it is to say that it is surprisingly — maybe shockingly — not terrible.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xCwwxNbtK6Y\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003cem>Karate Kid \u003c/em>feature film sequels have gone in the usual directions. One rehashed the first in a new setting with new supporting characters. One rehashed the first and added a serious rift between Daniel and Mr. Miyagi (Pat Morita). Then they were out of Daniel stories, so Mr. Miyagi trained a girl — played by Hilary Swank! Remember that? In 2010, they remade the whole thing with Jaden Smith and Jackie Chan.\u003c/p>\n\u003cp>But this — this is something quite different. This is the dry, clumpy ashes of your '80s movie teenagers, made into losers who peaked in high school. Not just Johnny (Zabka), who's an embittered, racist, misanthropic jerk. Also, to a lesser extent, Daniel (Macchio), who is not nearly as bad a person, but who is grown rather corny, using bonsai trees in the advertising for his car dealership and claiming that he \"kicks\" the competition. Neither Daniel nor Johnny has really gotten past his adolescent view of himself, and I'll be darned if that doesn't turn out to be a compelling premise.\u003c/p>\n\u003cp>I KNOW.\u003c/p>\n\u003cp>It is inevitable that Johnny and Daniel, neither of whom is involved in karate when the series begins, will both be involved in karate when the series — or when this season of the series — ends. There will be students playing out echoes of the battles of their youth. But while it would have been pretty easy to just hire Zabka and Macchio to stand around coaching and making little throwaway references to the first movie while transferring the story entirely to the students, that doesn't happen.\u003c/p>\n\u003cp>The narrative thrust really is about these middle-aged men, about bullies who don't grow out of bullying and hotshots who don't grow out of being hotshots. There are moments where Johnny Lawrence as an aging, resentful washout is the most realistically menacing person on television in some time — much more the kind of guy people have to tangle with every day than some of the more dramatic drug dealers and criminal overlords who make up our prestige villains. You're unlikely to look at, say, Gus Fring on \u003cem>Breaking Bad \u003c/em>and say, \"That's what's actually wrong with the world.\" But when you look at Johnny ... well, maybe. Sometimes the most mundane creeps are the most upsetting.\u003c/p>\n\u003cp>A note of caution: Don't set your expectations too high. The series looks painfully cheaply made, and when it moves away from Johnny's victim complex, there is certainly some much less interesting business going on. Some of the writing is pretty undercooked, as is some of the acting. (Uh, sorry.) But there is a cleverness to things like the music choices that suggests that while the show was made with something of a knowing wink, it was also made affectionately, and not cynically. There's some itch-scratching, rib-elbowing callback business (\u003cem>hey look, it's Golf N Stuff!\u003c/em>), but not too much. I guess I'll have to wait for another season to find out what happened to that monstrous kid who yells \"GET HIM A BODY BAG! YYYYEAH!\" near the end of the climactic fight in the first movie.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the end, it comes down to this: They offered screeners of all 10 episodes. \u003cem>And I watched all 10. \u003c/em>And when it comes back, I will watch more of it — voluntarily. There are much better shows I have enjoyed much less; that's just how it works sometimes. And it's hard to calibrate what this would mean to someone with no particular attachment to \u003cem>The Karate Kid\u003c/em>; I was right in the sweet spot of its appeal and have a nostalgic fondness for it that many do not. But if we must reboot our beloved old favorites, it's much better to see it done like this, using the passage of time as an asset and a way into a different story about the same people, than as a cheap rehash with the old cast perched on it like check-cashing cake toppers.\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=A+Crane+Kick+Of+Nostalgia+Right+To+The+Throat%3A+%27Cobra+Kai%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lo these many years, by which I mean since 1984, many have wondered about the answer to a simple question of history. It has echoed off the walls of canyons, burbled in the bubbles of mountain streams, and been shouted into the bottoms of volcanoes, only to be absorbed by hot lava and spit back out as igneous rock. The question: \u003cem>What if Johnny Lawrence hadn't said, \"You're all right, LaRusso\"?\u003c/em>\u003c/p>\n\u003cp>Be cautioned that a couple of decades-old spoilers (yes, my fellow olds, it has been almost 34 years) follow: At the end of \u003ca href=\"https://www.imdb.com/title/tt0087538/?ref_=nv_sr_1\">\u003cem>The Karate Kid\u003c/em>,\u003c/a> after Daniel LaRusso (Ralph Macchio) defeats Johnny Lawrence (William Zabka) at the All-Valley Tournament, Johnny comes over to Daniel, a guy he's been bullying mercilessly for months, to personally hand him the trophy. \"You're all right, LaRusso,\" he almost cries, so complete is his transformation into a bully who now understands the error of his ways and the evils of his sensei, John Kreese (Martin Kove). There has not been a reconciliation so meaningful since the last time Alec Baldwin and his Donald Trump impression got back together.\u003c/p>\n\u003cp>But what if it had never happened? What if Johnny had just nursed that grudge, becoming an angry young guy and then an angry, slightly-less-young guy, and then eventually an angry, middle-aged guy who never got over the humiliations he suffered in high school?\u003c/p>\n\u003cp>That is the question that begins the YouTube Red 10-part \u003cem>Karate Kid \u003c/em>sequel series \u003cem>Cobra Kai\u003c/em>, which sounded like such a bad idea when it was first announced that the only way to really be fair to it and also fair about my expectations for it is to say that it is surprisingly — maybe shockingly — not terrible.\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/xCwwxNbtK6Y'\n title='//www.youtube.com/embed/xCwwxNbtK6Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003cem>Karate Kid \u003c/em>feature film sequels have gone in the usual directions. One rehashed the first in a new setting with new supporting characters. One rehashed the first and added a serious rift between Daniel and Mr. Miyagi (Pat Morita). Then they were out of Daniel stories, so Mr. Miyagi trained a girl — played by Hilary Swank! Remember that? In 2010, they remade the whole thing with Jaden Smith and Jackie Chan.\u003c/p>\n\u003cp>But this — this is something quite different. This is the dry, clumpy ashes of your '80s movie teenagers, made into losers who peaked in high school. Not just Johnny (Zabka), who's an embittered, racist, misanthropic jerk. Also, to a lesser extent, Daniel (Macchio), who is not nearly as bad a person, but who is grown rather corny, using bonsai trees in the advertising for his car dealership and claiming that he \"kicks\" the competition. Neither Daniel nor Johnny has really gotten past his adolescent view of himself, and I'll be darned if that doesn't turn out to be a compelling premise.\u003c/p>\n\u003cp>I KNOW.\u003c/p>\n\u003cp>It is inevitable that Johnny and Daniel, neither of whom is involved in karate when the series begins, will both be involved in karate when the series — or when this season of the series — ends. There will be students playing out echoes of the battles of their youth. But while it would have been pretty easy to just hire Zabka and Macchio to stand around coaching and making little throwaway references to the first movie while transferring the story entirely to the students, that doesn't happen.\u003c/p>\n\u003cp>The narrative thrust really is about these middle-aged men, about bullies who don't grow out of bullying and hotshots who don't grow out of being hotshots. There are moments where Johnny Lawrence as an aging, resentful washout is the most realistically menacing person on television in some time — much more the kind of guy people have to tangle with every day than some of the more dramatic drug dealers and criminal overlords who make up our prestige villains. You're unlikely to look at, say, Gus Fring on \u003cem>Breaking Bad \u003c/em>and say, \"That's what's actually wrong with the world.\" But when you look at Johnny ... well, maybe. Sometimes the most mundane creeps are the most upsetting.\u003c/p>\n\u003cp>A note of caution: Don't set your expectations too high. The series looks painfully cheaply made, and when it moves away from Johnny's victim complex, there is certainly some much less interesting business going on. Some of the writing is pretty undercooked, as is some of the acting. (Uh, sorry.) But there is a cleverness to things like the music choices that suggests that while the show was made with something of a knowing wink, it was also made affectionately, and not cynically. There's some itch-scratching, rib-elbowing callback business (\u003cem>hey look, it's Golf N Stuff!\u003c/em>), but not too much. I guess I'll have to wait for another season to find out what happened to that monstrous kid who yells \"GET HIM A BODY BAG! YYYYEAH!\" near the end of the climactic fight in the first movie.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the end, it comes down to this: They offered screeners of all 10 episodes. \u003cem>And I watched all 10. \u003c/em>And when it comes back, I will watch more of it — voluntarily. There are much better shows I have enjoyed much less; that's just how it works sometimes. And it's hard to calibrate what this would mean to someone with no particular attachment to \u003cem>The Karate Kid\u003c/em>; I was right in the sweet spot of its appeal and have a nostalgic fondness for it that many do not. But if we must reboot our beloved old favorites, it's much better to see it done like this, using the passage of time as an asset and a way into a different story about the same people, than as a cheap rehash with the old cast perched on it like check-cashing cake toppers.\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=A+Crane+Kick+Of+Nostalgia+Right+To+The+Throat%3A+%27Cobra+Kai%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Can You Even Call Yourself American if You've Never Seen 'Saved By The Bell'?",
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"content": "\u003cp>I am in the process of becoming an American citizen. It has been a long time coming; I first moved to San Francisco from the UK in 2002. In that time, I've learned how to be a good American: I've studied the political system and the Constitution; I've learned how to drive on the other side of the road; and I've (almost) adjusted to how insanely expensive wine is in restaurants.\u003c/p>\n\u003cp>As the day of my oath-taking ceremony approaches, a friend of mine recently asked: \"Do you feel like a proper American yet?\" And I realized, with some alarm, that there was one thing holding me back. One final hurdle I had to overcome. In all of my years living here, one thing has made me feel like a foreigner more than any other: my inability to understand \u003ca href=\"https://www.imdb.com/title/tt0096694/?ref_=nv_sr_1\">\u003cem>Saved By The Bell\u003c/em>\u003c/a> references.\u003c/p>\n\u003cp>You probably haven't noticed how often \u003cem>Saved By The Bell\u003c/em>-related things come up, in both casual conversation and on other TV shows, but it is confusingly frequent. (Steve\u003cem> \u003c/em>\u003ca href=\"https://goo.gl/images/68hcgF\">\"Did I do that?\"\u003c/a> Urkel is the other one that comes up a lot, but I managed to get a handle on him without ever actually having to watch \u003cem>Family Matters.\u003c/em>) Over the years, it has consistently felt like I might be the only person in the entire country who had never seen \u003cem>Saved By The Bell\u003c/em>.\u003c/p>\n\u003cp>It was a skit on \u003cem>The Tonight Show With Jimmy Fallon\u003c/em> that really hammered home the cultural gulf for me. When this first aired in 2015, I can honestly say I had never felt so foreign. What on Earth was everyone screaming about?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MftOONlDQac\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With that in mind, and in order to pledge allegiance in good conscience, I decided to take the plunge and finally watch the damn thing.\u003c/p>\n\u003cp>\u003cem>Saved By The Bell\u003c/em> was on the air for five seasons between 1989 and 1993, which seems like a relatively short run, given how much people still talk about it. (\u003ca href=\"https://www.imdb.com/title/tt0098749/?ref_=nv_sr_1\">\u003cem>Beverly Hills 90210\u003c/em>\u003c/a>, by comparison, ran for 10.) I initially assumed that was part of its allure -- it didn't wear out its welcome. Then I discovered \u003ca href=\"https://www.imdb.com/title/tt0106122/?ref_=nv_sr_3\">\u003cem>Saved By The Bell: The College Years\u003c/em>\u003c/a> (featuring only half the original cast), as well as \u003ca href=\"https://www.imdb.com/title/tt0106123/?ref_=nv_sr_4\">\u003cem>Saved By The Bell: The New Class\u003c/em>\u003c/a> (featuring only Screech), and two spin-off movies, (\u003ca href=\"https://www.imdb.com/title/tt0111081/?ref_=nv_sr_5\">\u003cem>Wedding in Las Vegas\u003c/em>\u003c/a> and \u003ca href=\"https://www.imdb.com/title/tt0105321/?ref_=fn_al_tt_4\">\u003cem>Hawaiian Style\u003c/em>\u003c/a>). Every possible angle was milked from this thing.\u003c/p>\n\u003cp>Not wishing to overdose on technicolor shirts and tapered stonewashed jeans, I limited my views to the first episode of all five original seasons. The first thing I noticed is that this is a show in which almost nothing happens. Bayside is a world that revolves almost entirely around dancing. All anyone does is learn dances, plan dances, and hang out in places where people go to dance.\u003c/p>\n\u003cp>What few plot points occur are often recycled later on. For example, the first episodes of Season 2 and 3 are both concerned with whether Kelly Kapowski will go to a dance with Zack Morris or AC Slater. In Season 1, Zack lies about his age to go out with an older girl; in Season 5, a freshman does the same thing to Lisa Turtle. In Season 5, Zack and Slater compete for the affections of a new girl in school -- just like they used to with Kelly.\u003c/p>\n\u003cp>In\u003ci> Saved By The Bell, \u003c/i>the worst thing that can happen to you is spraining your ankle and not being able to dance, or not being able to go to the dance because your dad just lost his job, or -- poor, beautiful Jessie Spano -- being too tall to dance with boys unselfconsciously. Wikipedia tells me that the show also, at some point, covered “drug use, driving under the influence, homelessness, remarriage, death, women’s rights and environmental issues.” I saw no evidence of any of this in the episodes I watched (unless you count Jessie occasionally calling someone sexist).\u003c/p>\n\u003cp>\u003cem>Saved By The Bell\u003c/em> makes \u003ca href=\"https://www.imdb.com/title/tt1327801/?ref_=nv_sr_1\">\u003cem>Glee\u003c/em>\u003c/a> look like \u003ca href=\"https://www.imdb.com/title/tt0113540/?ref_=fn_al_tt_1\">\u003cem>Kids\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YM7YYp3EmTs\u003c/p>\n\u003cp>At Bayside High, adolescence is easy, bullying doesn't exist, teens kiss with their mouths closed, racism isn't a thing, and parents and teachers are always loving and supportive. The dynamics are totally unrealistic. Screech is a nerd who gets to play in the same band as the cool kids. Jessie and Lisa are constantly passed over because the boys all want Kelly, yet no one ever gets jealous. Zack is a teenage boy that gets dumped for a college kid and responds by asking his cheating girlfriend for \"one last dance.\"\u003c/p>\n\u003cp>\u003cem>Saved By The Bell\u003c/em> is unabashedly, self-consciously feel-good. It represents an ultra-idealized version of a very specific period of time, in much the same way that \u003ca href=\"https://www.imdb.com/title/tt0070992/?ref_=nv_sr_1\">\u003cem>Happy Days\u003c/em> \u003c/a>does. More importantly, \u003cem>Saved By The Bell\u003c/em> represents the country that America, at its core, wants to be, and has always wanted to be. These are the teenagers America likes to think it produces the most: good-looking, fun-loving, wise-cracking, unsullied.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, do I feel more American having now familiarized myself with \u003cem>Saved By The Bell\u003c/em>? Actually, I do. I finally understand jokes that have eluded me for over a decade. I finally know where Mario Lopez emerged from. And knowing where Elizabeth Berkley started is going to make \u003ca href=\"https://www.youtube.com/watch?v=iQpxMuIMTSg&has_verified=1\">\u003cem>Showgirls\u003c/em>\u003c/a> even weirder next time I watch it. In the end, \u003cem>Saved By The Bell\u003c/em> is a fantasy about how good America is, and wants to be. And, at a time where the country is divided like never before, that's a nice, optimistic reminder of why I moved here in the first place.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I am in the process of becoming an American citizen. It has been a long time coming; I first moved to San Francisco from the UK in 2002. In that time, I've learned how to be a good American: I've studied the political system and the Constitution; I've learned how to drive on the other side of the road; and I've (almost) adjusted to how insanely expensive wine is in restaurants.\u003c/p>\n\u003cp>As the day of my oath-taking ceremony approaches, a friend of mine recently asked: \"Do you feel like a proper American yet?\" And I realized, with some alarm, that there was one thing holding me back. One final hurdle I had to overcome. In all of my years living here, one thing has made me feel like a foreigner more than any other: my inability to understand \u003ca href=\"https://www.imdb.com/title/tt0096694/?ref_=nv_sr_1\">\u003cem>Saved By The Bell\u003c/em>\u003c/a> references.\u003c/p>\n\u003cp>You probably haven't noticed how often \u003cem>Saved By The Bell\u003c/em>-related things come up, in both casual conversation and on other TV shows, but it is confusingly frequent. (Steve\u003cem> \u003c/em>\u003ca href=\"https://goo.gl/images/68hcgF\">\"Did I do that?\"\u003c/a> Urkel is the other one that comes up a lot, but I managed to get a handle on him without ever actually having to watch \u003cem>Family Matters.\u003c/em>) Over the years, it has consistently felt like I might be the only person in the entire country who had never seen \u003cem>Saved By The Bell\u003c/em>.\u003c/p>\n\u003cp>It was a skit on \u003cem>The Tonight Show With Jimmy Fallon\u003c/em> that really hammered home the cultural gulf for me. When this first aired in 2015, I can honestly say I had never felt so foreign. What on Earth was everyone screaming about?\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/MftOONlDQac'\n title='//www.youtube.com/embed/MftOONlDQac'\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>With that in mind, and in order to pledge allegiance in good conscience, I decided to take the plunge and finally watch the damn thing.\u003c/p>\n\u003cp>\u003cem>Saved By The Bell\u003c/em> was on the air for five seasons between 1989 and 1993, which seems like a relatively short run, given how much people still talk about it. (\u003ca href=\"https://www.imdb.com/title/tt0098749/?ref_=nv_sr_1\">\u003cem>Beverly Hills 90210\u003c/em>\u003c/a>, by comparison, ran for 10.) I initially assumed that was part of its allure -- it didn't wear out its welcome. Then I discovered \u003ca href=\"https://www.imdb.com/title/tt0106122/?ref_=nv_sr_3\">\u003cem>Saved By The Bell: The College Years\u003c/em>\u003c/a> (featuring only half the original cast), as well as \u003ca href=\"https://www.imdb.com/title/tt0106123/?ref_=nv_sr_4\">\u003cem>Saved By The Bell: The New Class\u003c/em>\u003c/a> (featuring only Screech), and two spin-off movies, (\u003ca href=\"https://www.imdb.com/title/tt0111081/?ref_=nv_sr_5\">\u003cem>Wedding in Las Vegas\u003c/em>\u003c/a> and \u003ca href=\"https://www.imdb.com/title/tt0105321/?ref_=fn_al_tt_4\">\u003cem>Hawaiian Style\u003c/em>\u003c/a>). Every possible angle was milked from this thing.\u003c/p>\n\u003cp>Not wishing to overdose on technicolor shirts and tapered stonewashed jeans, I limited my views to the first episode of all five original seasons. The first thing I noticed is that this is a show in which almost nothing happens. Bayside is a world that revolves almost entirely around dancing. All anyone does is learn dances, plan dances, and hang out in places where people go to dance.\u003c/p>\n\u003cp>What few plot points occur are often recycled later on. For example, the first episodes of Season 2 and 3 are both concerned with whether Kelly Kapowski will go to a dance with Zack Morris or AC Slater. In Season 1, Zack lies about his age to go out with an older girl; in Season 5, a freshman does the same thing to Lisa Turtle. In Season 5, Zack and Slater compete for the affections of a new girl in school -- just like they used to with Kelly.\u003c/p>\n\u003cp>In\u003ci> Saved By The Bell, \u003c/i>the worst thing that can happen to you is spraining your ankle and not being able to dance, or not being able to go to the dance because your dad just lost his job, or -- poor, beautiful Jessie Spano -- being too tall to dance with boys unselfconsciously. Wikipedia tells me that the show also, at some point, covered “drug use, driving under the influence, homelessness, remarriage, death, women’s rights and environmental issues.” I saw no evidence of any of this in the episodes I watched (unless you count Jessie occasionally calling someone sexist).\u003c/p>\n\u003cp>\u003cem>Saved By The Bell\u003c/em> makes \u003ca href=\"https://www.imdb.com/title/tt1327801/?ref_=nv_sr_1\">\u003cem>Glee\u003c/em>\u003c/a> look like \u003ca href=\"https://www.imdb.com/title/tt0113540/?ref_=fn_al_tt_1\">\u003cem>Kids\u003c/em>\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YM7YYp3EmTs'\n title='//www.youtube.com/embed/YM7YYp3EmTs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At Bayside High, adolescence is easy, bullying doesn't exist, teens kiss with their mouths closed, racism isn't a thing, and parents and teachers are always loving and supportive. The dynamics are totally unrealistic. Screech is a nerd who gets to play in the same band as the cool kids. Jessie and Lisa are constantly passed over because the boys all want Kelly, yet no one ever gets jealous. Zack is a teenage boy that gets dumped for a college kid and responds by asking his cheating girlfriend for \"one last dance.\"\u003c/p>\n\u003cp>\u003cem>Saved By The Bell\u003c/em> is unabashedly, self-consciously feel-good. It represents an ultra-idealized version of a very specific period of time, in much the same way that \u003ca href=\"https://www.imdb.com/title/tt0070992/?ref_=nv_sr_1\">\u003cem>Happy Days\u003c/em> \u003c/a>does. More importantly, \u003cem>Saved By The Bell\u003c/em> represents the country that America, at its core, wants to be, and has always wanted to be. These are the teenagers America likes to think it produces the most: good-looking, fun-loving, wise-cracking, unsullied.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, do I feel more American having now familiarized myself with \u003cem>Saved By The Bell\u003c/em>? Actually, I do. I finally understand jokes that have eluded me for over a decade. I finally know where Mario Lopez emerged from. And knowing where Elizabeth Berkley started is going to make \u003ca href=\"https://www.youtube.com/watch?v=iQpxMuIMTSg&has_verified=1\">\u003cem>Showgirls\u003c/em>\u003c/a> even weirder next time I watch it. In the end, \u003cem>Saved By The Bell\u003c/em> is a fantasy about how good America is, and wants to be. And, at a time where the country is divided like never before, that's a nice, optimistic reminder of why I moved here in the first place.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "10 'Star Wars' Parodies to Get You in the Mood for 'Solo'",
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"content": "\u003cp>It's kind of impossible to overstate the cultural impact of the 41-year-old \u003cem>Star Wars\u003c/em> universe. Many of us have grown up in this galaxy far, far away—and the arrival of \u003ca href=\"https://www.imdb.com/title/tt3778644/?ref_=nv_sr_2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Solo: A Star Wars Story\u003c/em>\u003c/a> next month is sure to keep us in it for even longer.\u003c/p>\n\u003cp>Just this week, singer-songwriter Ryan Adams, posted his very own one-minute version of the original trilogy on Instagram. The 60-second epic is populated by sock puppets, paper cutouts, and a torn picture of Mark Hamill's face. It makes almost no sense at all.\u003c/p>\n\u003cp>This is the type of thing that long-term \u003cem>Star Wars\u003c/em> obsession yields. But Ryan is not alone. Back in 1987, when Mel Brooks first released his own \u003cem>Star Wars \u003c/em>satire,\u003cem> \u003ca href=\"https://www.imdb.com/title/tt0094012/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">Spaceballs\u003c/a>, \u003c/em>it probably felt like a flash in the pan. Little did anyone know that by 2018, \u003cem>Star Wars\u003c/em> parodies wouldn't just still be in full swing, they'd be one of the more permanent threads in our pop culture fabric.\u003c/p>\n\u003cp>Here are 10 notable moments from along the way:\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>'Robot Chicken'\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eAKtZ_r0V6E\u003c/p>\n\u003cp>The greatest thing about \u003cem>Robot Chicken'\u003c/em>s \u003cem>Star Wars\u003c/em> parodies were their commitment to being rooted in mundane, day-to-day details. We saw Death Star destruction through the lens of relatable office minutiae (\u003ca href=\"https://www.youtube.com/watch?v=3F1d3QWsyk0\" target=\"_blank\" rel=\"noopener noreferrer\">including the Emperor ordering lunch)\u003c/a>; \u003ca href=\"https://www.youtube.com/watch?v=gU070mnjSD4\" target=\"_blank\" rel=\"noopener noreferrer\">Boba Fett as a drunk uncle figure\u003c/a>; \"Dr. Ball,\" an Empire medical droid who just wants to give people flu shots in peace; and, of course, there were the daily struggles and horrors of being \u003ca href=\"https://www.youtube.com/watch?v=fiJcL0zXkCw\" target=\"_blank\" rel=\"noopener noreferrer\">Gary, the Stormtrooper\u003c/a>. (Never has a faceless plastic toy inspired such pathos.)\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Oscar Isaac Doing Bill Murray Doing \u003cem>Star Wars\u003c/em> Lounge-Singing\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=arHVLyHYcrk\u003c/p>\n\u003cp>Back in 1978, \u003cem>Saturday Night Live\u003c/em> aired \u003ca href=\"https://www.nbc.com/saturday-night-live/video/nick-the-lounge-singer-sings-star-wars-theme/2956866\" target=\"_blank\" rel=\"noopener noreferrer\">a skit about a lounge singer named Nick Winters\u003c/a>—played to side-splitting effect by Bill Murray—who opened and closed his terrible ski lodge act with jazzy songs based around the \u003cem>Star Wars\u003c/em> theme tune. It was ludicrous enough that it has lived on in memory ever since, which is why, after 2015's triumphant Episode VII, \u003ca href=\"https://www.imdb.com/title/tt2488496/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Force Awakens\u003c/em>,\u003c/a> \u003cem>GQ\u003c/em> asked Oscar Isaac (who plays Poe Dameron) to revive Murray's old classic and expand on the lyrics to appropriately reflect the new movie. It was... disturbingly sexy.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>'Family Guy'\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EC6iahgQT2w\u003c/p>\n\u003cp>Probably the three most brilliant episodes in the entirety of \u003ca href=\"https://www.imdb.com/title/tt0182576/episodes?ref_=tt_eps_sn_mr\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Family Guy'\u003c/em>\u003c/a>s 16 seasons so far, Seth McFarlane's takes on \u003cem>Stars Wars, The Empire Strikes Back,\u003c/em> and \u003cem>Return of the Jedi \u003c/em>were a delight for fans of both the movies and the TV show. It was as politically incorrect as one would expect, but the attention to detail (within both the animation and script) was a genuinely impressive feat. What's more, Stewie finally got to play a villain of appropriate stature, Peter and Lois added some perfect marital bickering to the roles of Han and Leia, and Boba Fett was played by a giant chicken (because of course he was).\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Creative Tunisians\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=96&v=9HvaFhUcm-4\u003c/p>\n\u003cp>Remember back in 2013 when Pharrell Williams released \"Happy\" and the internet got flooded by DIY versions of \u003ca href=\"https://www.youtube.com/watch?time_continue=96&v=9HvaFhUcm-4\" target=\"_blank\" rel=\"noopener noreferrer\">that joyful video\u003c/a>? Well, a bunch of slightly awkward Tunisians got together and did a \u003cem>Star Wars\u003c/em>-themed rendition, in full costume. And who can blame them? They live on \u003ca href=\"http://starwars.wikia.com/wiki/Tatooine\" target=\"_blank\" rel=\"noopener noreferrer\">Tatooine\u003c/a>!\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>'Saturday Night Live'\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FaOSCASqLsE\u003c/p>\n\u003cp>The thing that really elevated \u003cem>SNL'\u003c/em>s simultaneous spoof of both \u003ca href=\"https://www.imdb.com/title/tt2527336/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Last Jedi\u003c/em>\u003c/a> and \u003ca href=\"https://www.imdb.com/title/tt1442553/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Undercover Boss\u003c/em>\u003c/a> was the sheer, eye-twitching commitment from that week's host, Kylo Ren himself, Adam Driver. Combining the most awkward hidden camera elements of the reality show with the most impulsive and short-tempered parts of Darth Vader's grandkid made this one of the most memorable skits of Season 41. The degree to which \u003ca href=\"https://www.imdb.com/name/nm1293885/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">Bobby Moynihan\u003c/a> obviously had a blast making it only made everything that much better.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>'Sesame Street'\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=4&v=j-LfQCPJJkY\u003c/p>\n\u003cp>\u003cem>Sesame Street'\u003c/em>s \"Star S'Mores\" is impressive for the sheer number of food puns it manages to squeeze into a five-minute period (Cookie is \"Flan\" and he wants to eat his co-pilot, \"Chewy\"). The joy is free-flowing, thanks to the even smaller details—Mr. Snuffleupagus dressed up as a \u003ca href=\"http://starwars.wikia.com/wiki/Bantha\" target=\"_blank\" rel=\"noopener noreferrer\">Bantha\u003c/a>, Darth Baker's bacon and egg chest plate, and a Millennium Falcon that's actually an ice-cream sandwich. And remember: \"There is no try. Only sing!\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>'The Adam and Joe Show'\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KGkoBjn9U-c\u003c/p>\n\u003cp>This cult favorite from the UK was parodying \u003cem>Star Wars\u003c/em> with stop-motion animation almost a decade before \u003cem>Robot Chicken\u003c/em>. A lot of the galaxy-related skits \u003ca href=\"https://en.wikipedia.org/wiki/The_Adam_and_Joe_Show\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Buxton and Joe Cornish\u003c/a> put together make almost no sense to American audiences because of the sheer number of British references in them. However, dressing R2-D2 and C-3PO up like the Pet Shop Boys, and making Darth Vader impersonate Grace Jones is pretty fantastic no matter where you're from.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>'The Simpsons'\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3lPG1u6EbiY\u003c/p>\n\u003cp>For fans who waited 16 years for a new \u003cem>Star Wars\u003c/em> installment, George Lucas's prequels came as a crushing blow, thanks to the preponderance of bad CGI, a plot that veered dangerously close to C-Span territory, and, oh dear God, Jar Jar Binks. \u003cem>The Simpsons\u003c/em> felt our pain... and then they documented it remarkably well.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Bad Lip Reading\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U9t-slLl30E\u003c/p>\n\u003cp>The \u003ca href=\"https://www.youtube.com/user/BadLipReading\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bad Lip Reading\u003c/em> YouTube channel\u003c/a> is always a surefire way to cheer yourself up, whether it's overdubbing NFL games, the inauguration, or the \u003cem>Walking Dead\u003c/em> (if you haven't yet seen \u003ca href=\"https://www.youtube.com/watch?v=Q9aM9Ch97U8\" target=\"_blank\" rel=\"noopener noreferrer\">\"Carl Poppa,\"\u003c/a> make it happen)—but \u003cem>BLR\u003c/em>'s work on\u003cem> Star Wars\u003c/em> has been particularly stellar. Once you've seen \"Seagulls (Stop it Now),\" not only will Dagobah never look the same to you again, there's a good chance that the phrase \"Run, run, run, jump, I can be a backpack while you run,\" will be bouncing inside your brain forever. (And you probably won't even mind.)\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>And Finally... Chipmunks\u003c/strong>\u003c/p>\n\u003cp>https://youtu.be/fu-jyoBGsUU\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Not \u003ca href=\"https://en.wikipedia.org/wiki/Alvin_and_the_Chipmunks\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The\u003c/em> Chipmunks\u003c/a>. Just regular old chipmunks. Because the internet wouldn't be the internet without lightsaber-wielding rodents. You're welcome.\u003c/p>\n\n",
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"excerpt": "People have been making fun of the Star Wars universe since it began—and we couldn't be happier.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It's kind of impossible to overstate the cultural impact of the 41-year-old \u003cem>Star Wars\u003c/em> universe. Many of us have grown up in this galaxy far, far away—and the arrival of \u003ca href=\"https://www.imdb.com/title/tt3778644/?ref_=nv_sr_2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Solo: A Star Wars Story\u003c/em>\u003c/a> next month is sure to keep us in it for even longer.\u003c/p>\n\u003cp>Just this week, singer-songwriter Ryan Adams, posted his very own one-minute version of the original trilogy on Instagram. The 60-second epic is populated by sock puppets, paper cutouts, and a torn picture of Mark Hamill's face. It makes almost no sense at all.\u003c/p>\n\u003cp>This is the type of thing that long-term \u003cem>Star Wars\u003c/em> obsession yields. But Ryan is not alone. Back in 1987, when Mel Brooks first released his own \u003cem>Star Wars \u003c/em>satire,\u003cem> \u003ca href=\"https://www.imdb.com/title/tt0094012/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">Spaceballs\u003c/a>, \u003c/em>it probably felt like a flash in the pan. Little did anyone know that by 2018, \u003cem>Star Wars\u003c/em> parodies wouldn't just still be in full swing, they'd be one of the more permanent threads in our pop culture fabric.\u003c/p>\n\u003cp>Here are 10 notable moments from along the way:\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>'Robot Chicken'\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/eAKtZ_r0V6E'\n title='//www.youtube.com/embed/eAKtZ_r0V6E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The greatest thing about \u003cem>Robot Chicken'\u003c/em>s \u003cem>Star Wars\u003c/em> parodies were their commitment to being rooted in mundane, day-to-day details. We saw Death Star destruction through the lens of relatable office minutiae (\u003ca href=\"https://www.youtube.com/watch?v=3F1d3QWsyk0\" target=\"_blank\" rel=\"noopener noreferrer\">including the Emperor ordering lunch)\u003c/a>; \u003ca href=\"https://www.youtube.com/watch?v=gU070mnjSD4\" target=\"_blank\" rel=\"noopener noreferrer\">Boba Fett as a drunk uncle figure\u003c/a>; \"Dr. Ball,\" an Empire medical droid who just wants to give people flu shots in peace; and, of course, there were the daily struggles and horrors of being \u003ca href=\"https://www.youtube.com/watch?v=fiJcL0zXkCw\" target=\"_blank\" rel=\"noopener noreferrer\">Gary, the Stormtrooper\u003c/a>. (Never has a faceless plastic toy inspired such pathos.)\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Oscar Isaac Doing Bill Murray Doing \u003cem>Star Wars\u003c/em> Lounge-Singing\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/arHVLyHYcrk'\n title='//www.youtube.com/embed/arHVLyHYcrk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Back in 1978, \u003cem>Saturday Night Live\u003c/em> aired \u003ca href=\"https://www.nbc.com/saturday-night-live/video/nick-the-lounge-singer-sings-star-wars-theme/2956866\" target=\"_blank\" rel=\"noopener noreferrer\">a skit about a lounge singer named Nick Winters\u003c/a>—played to side-splitting effect by Bill Murray—who opened and closed his terrible ski lodge act with jazzy songs based around the \u003cem>Star Wars\u003c/em> theme tune. It was ludicrous enough that it has lived on in memory ever since, which is why, after 2015's triumphant Episode VII, \u003ca href=\"https://www.imdb.com/title/tt2488496/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Force Awakens\u003c/em>,\u003c/a> \u003cem>GQ\u003c/em> asked Oscar Isaac (who plays Poe Dameron) to revive Murray's old classic and expand on the lyrics to appropriately reflect the new movie. It was... disturbingly sexy.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>'Family Guy'\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/EC6iahgQT2w'\n title='//www.youtube.com/embed/EC6iahgQT2w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Probably the three most brilliant episodes in the entirety of \u003ca href=\"https://www.imdb.com/title/tt0182576/episodes?ref_=tt_eps_sn_mr\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Family Guy'\u003c/em>\u003c/a>s 16 seasons so far, Seth McFarlane's takes on \u003cem>Stars Wars, The Empire Strikes Back,\u003c/em> and \u003cem>Return of the Jedi \u003c/em>were a delight for fans of both the movies and the TV show. It was as politically incorrect as one would expect, but the attention to detail (within both the animation and script) was a genuinely impressive feat. What's more, Stewie finally got to play a villain of appropriate stature, Peter and Lois added some perfect marital bickering to the roles of Han and Leia, and Boba Fett was played by a giant chicken (because of course he was).\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Creative Tunisians\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/9HvaFhUcm-4'\n title='//www.youtube.com/embed/9HvaFhUcm-4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Remember back in 2013 when Pharrell Williams released \"Happy\" and the internet got flooded by DIY versions of \u003ca href=\"https://www.youtube.com/watch?time_continue=96&v=9HvaFhUcm-4\" target=\"_blank\" rel=\"noopener noreferrer\">that joyful video\u003c/a>? Well, a bunch of slightly awkward Tunisians got together and did a \u003cem>Star Wars\u003c/em>-themed rendition, in full costume. And who can blame them? They live on \u003ca href=\"http://starwars.wikia.com/wiki/Tatooine\" target=\"_blank\" rel=\"noopener noreferrer\">Tatooine\u003c/a>!\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>'Saturday Night Live'\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/FaOSCASqLsE'\n title='//www.youtube.com/embed/FaOSCASqLsE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The thing that really elevated \u003cem>SNL'\u003c/em>s simultaneous spoof of both \u003ca href=\"https://www.imdb.com/title/tt2527336/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Last Jedi\u003c/em>\u003c/a> and \u003ca href=\"https://www.imdb.com/title/tt1442553/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Undercover Boss\u003c/em>\u003c/a> was the sheer, eye-twitching commitment from that week's host, Kylo Ren himself, Adam Driver. Combining the most awkward hidden camera elements of the reality show with the most impulsive and short-tempered parts of Darth Vader's grandkid made this one of the most memorable skits of Season 41. The degree to which \u003ca href=\"https://www.imdb.com/name/nm1293885/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">Bobby Moynihan\u003c/a> obviously had a blast making it only made everything that much better.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>'Sesame Street'\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/j-LfQCPJJkY'\n title='//www.youtube.com/embed/j-LfQCPJJkY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Sesame Street'\u003c/em>s \"Star S'Mores\" is impressive for the sheer number of food puns it manages to squeeze into a five-minute period (Cookie is \"Flan\" and he wants to eat his co-pilot, \"Chewy\"). The joy is free-flowing, thanks to the even smaller details—Mr. Snuffleupagus dressed up as a \u003ca href=\"http://starwars.wikia.com/wiki/Bantha\" target=\"_blank\" rel=\"noopener noreferrer\">Bantha\u003c/a>, Darth Baker's bacon and egg chest plate, and a Millennium Falcon that's actually an ice-cream sandwich. And remember: \"There is no try. Only sing!\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>'The Adam and Joe Show'\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/KGkoBjn9U-c'\n title='//www.youtube.com/embed/KGkoBjn9U-c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This cult favorite from the UK was parodying \u003cem>Star Wars\u003c/em> with stop-motion animation almost a decade before \u003cem>Robot Chicken\u003c/em>. A lot of the galaxy-related skits \u003ca href=\"https://en.wikipedia.org/wiki/The_Adam_and_Joe_Show\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Buxton and Joe Cornish\u003c/a> put together make almost no sense to American audiences because of the sheer number of British references in them. However, dressing R2-D2 and C-3PO up like the Pet Shop Boys, and making Darth Vader impersonate Grace Jones is pretty fantastic no matter where you're from.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>'The Simpsons'\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/3lPG1u6EbiY'\n title='//www.youtube.com/embed/3lPG1u6EbiY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For fans who waited 16 years for a new \u003cem>Star Wars\u003c/em> installment, George Lucas's prequels came as a crushing blow, thanks to the preponderance of bad CGI, a plot that veered dangerously close to C-Span territory, and, oh dear God, Jar Jar Binks. \u003cem>The Simpsons\u003c/em> felt our pain... and then they documented it remarkably well.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Bad Lip Reading\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/U9t-slLl30E'\n title='//www.youtube.com/embed/U9t-slLl30E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003ca href=\"https://www.youtube.com/user/BadLipReading\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bad Lip Reading\u003c/em> YouTube channel\u003c/a> is always a surefire way to cheer yourself up, whether it's overdubbing NFL games, the inauguration, or the \u003cem>Walking Dead\u003c/em> (if you haven't yet seen \u003ca href=\"https://www.youtube.com/watch?v=Q9aM9Ch97U8\" target=\"_blank\" rel=\"noopener noreferrer\">\"Carl Poppa,\"\u003c/a> make it happen)—but \u003cem>BLR\u003c/em>'s work on\u003cem> Star Wars\u003c/em> has been particularly stellar. Once you've seen \"Seagulls (Stop it Now),\" not only will Dagobah never look the same to you again, there's a good chance that the phrase \"Run, run, run, jump, I can be a backpack while you run,\" will be bouncing inside your brain forever. (And you probably won't even mind.)\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>And Finally... Chipmunks\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/fu-jyoBGsUU'\n title='//www.youtube.com/embed/fu-jyoBGsUU'\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>Not \u003ca href=\"https://en.wikipedia.org/wiki/Alvin_and_the_Chipmunks\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The\u003c/em> Chipmunks\u003c/a>. Just regular old chipmunks. Because the internet wouldn't be the internet without lightsaber-wielding rodents. You're welcome.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Fear, But Forever, as 'The Handmaid's Tale' Returns",
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"content": "\u003cp>Fear and dread. Fear and dread.\u003c/p>\n\u003cp>We hear those terms together so often that it's easy to forget how different they really are. Fear is a response to what's happening, while dread is your anxiety about what you expect to happen. The dystopian Hulu series \u003ca href=\"https://www.imdb.com/title/tt5834204/?ref_=fn_al_tt_1\">\u003cem>The Handmaid's Tale\u003c/em>\u003c/a>, adapted by Bruce Miller from the \u003ca href=\"https://www.amazon.com/Handmaids-Tale-Margaret-Atwood-ebook/dp/B003JFJHTS/ref=sr_1_2?ie=UTF8&qid=1524710179&sr=8-2&keywords=handmaid%27s+tale\">Margaret Atwood novel\u003c/a>, has been lauded as an indictment of authoritarianism and theocracy, which it is. It has been called an eerie echo of real historical abuses of the past and perhaps the future, which it is. But in addition to those things, it's perhaps become television's best examination of the corrosive, dehumanizing effects of chronic dread.\u003c/p>\n\u003cp>June (\u003ca href=\"https://www.imdb.com/name/nm0005253/?ref_=fn_al_nm_1\">Elisabeth Moss\u003c/a>) ended the first season climbing into the back of a van, pregnant with a child she would be expected to surrender to her cruel captors, the Waterfords, unsure of whether she was being rescued or led to slaughter. She and the other handmaids — fertile women held against their will and raped by men whose children they were expected to bear — had rebelled by refusing to kill one of their own at the command of Aunt Lydia (\u003ca href=\"https://www.imdb.com/name/nm0235652/?ref_=fn_al_nm_1\">Ann Dowd\u003c/a>). June, as the leader of the spontaneous revolt, expected to be punished severely. She could have — \u003cem>should \u003c/em>have — been seized with dread. But she wasn't. She had lived in dread by this point for so long, dreading rape and punishment and beatings and the constant diminishment of her humanity, that she was nearly numb to it. What more was there to do than simply see what happened?\u003c/p>\n\u003cp>June, called Offred by her tormentors because Fred (\u003ca href=\"https://www.imdb.com/name/nm0001212/?ref_=fn_al_nm_1\">Joseph Fiennes\u003c/a>) is the man to whom she's been sent into sexual slavery, is a picture of the agony of the never-safe. She is always surveilled, she is always at risk and she is valued so little that she knows quite well that the government that has complete control over her (and a local monopoly on violence) will not hesitate to murder her. Her body has value, but her person does not. In fact, it often seems to be Aunt Lydia's job to remove it — to replace June with Offred, which is an exploration of identity that gets more attention in the second season, which became available April 25.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kzeB-3ZnRSE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the show's visual motifs has always been the back of June's head. This is in part because the handmaids' broad bonnets, which create a uniformity among them not unlike a military force or the Rockettes, are interesting-looking from all angles, as are the red capes they wear. But following the back of June's head also produces the contrary effects of adopting her point of view and hiding her. Her story is profoundly personal, but she's also at a slight remove. Vulnerability mixed with a certain inscrutable quality is a strength that Moss brought to Peggy Olson on \u003ca href=\"https://www.imdb.com/title/tt0804503/?ref_=fn_al_tt_1\">\u003cem>Mad Men \u003c/em>\u003c/a>as well. June, like Peggy, never quite gives everything away, despite how frequently she's seen in lingering, spellbinding close-up.\u003c/p>\n\u003cp>As \u003cem>The Handmaid's Tale\u003c/em>'s second season progresses (now writing the story beyond the end of the novel), June's control over her responses emerges as a defense against the despair and surrender that Aunt Lydia and Serena Joy (\u003ca href=\"https://www.imdb.com/name/nm2088803/?ref_=fn_al_nm_1\">Yvonne Strahovski\u003c/a>) want to create in her. Throughout the first season, she experimented with hope, and often had it dashed. She experimented with rebellion, and suffered consequences. Now, with her situation neither as simple as rescue (who could be fully rescued in an entirely changed country?) or destruction (remember, she's pregnant with a baby Serena Joy and Fred want to take from her), what's next?\u003c/p>\n\u003cp>To say that plenty of prestige television before this has dealt with the matter of brutal violence is an understatement. But often, it's taken an interest primarily in what \u003cem>being \u003c/em>violent does to us — the way it dehumanizes people like Walter White or Tony Soprano or Rick Grimes to have to kill. Where \u003cem>Handmaid's \u003c/em>is different from many of these shows is that its focus is on what the constant presence of state-sanctioned violence does to the humanity of the people who fear it — and who cannot even complain that they fear it, because the fact that they are meant to fear it is baked into the workings of their government and their society. This violence is not outlaw violence, but institutional violence. The handmaids have no one to ask for help, because this is how their lives are meant to be. You can't very well call the police when it's the police you're afraid will throw you into the back of a van and cart you away to have your hand or foot or tongue cut off.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And so, they live in fear, but forever — in dread. In chronic, grinding dread. It drives some of them mad, it drives some of them to become violent themselves, and it causes some of them to simply go limp and numb, because human bodies and minds are not meant to live this way for this long. So the echoes of \u003cem>The Handmaid's Tale \u003c/em>are not limited to its specific condemnations of cruelty and sexual violence. They are, more and more, expansive enough to comment on any population in any time or place that's placed in a state of peril that does not abate.\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=Fear%2C+But+Forever%2C+As+%27The+Handmaid%27s+Tale%27+Returns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fear and dread. Fear and dread.\u003c/p>\n\u003cp>We hear those terms together so often that it's easy to forget how different they really are. Fear is a response to what's happening, while dread is your anxiety about what you expect to happen. The dystopian Hulu series \u003ca href=\"https://www.imdb.com/title/tt5834204/?ref_=fn_al_tt_1\">\u003cem>The Handmaid's Tale\u003c/em>\u003c/a>, adapted by Bruce Miller from the \u003ca href=\"https://www.amazon.com/Handmaids-Tale-Margaret-Atwood-ebook/dp/B003JFJHTS/ref=sr_1_2?ie=UTF8&qid=1524710179&sr=8-2&keywords=handmaid%27s+tale\">Margaret Atwood novel\u003c/a>, has been lauded as an indictment of authoritarianism and theocracy, which it is. It has been called an eerie echo of real historical abuses of the past and perhaps the future, which it is. But in addition to those things, it's perhaps become television's best examination of the corrosive, dehumanizing effects of chronic dread.\u003c/p>\n\u003cp>June (\u003ca href=\"https://www.imdb.com/name/nm0005253/?ref_=fn_al_nm_1\">Elisabeth Moss\u003c/a>) ended the first season climbing into the back of a van, pregnant with a child she would be expected to surrender to her cruel captors, the Waterfords, unsure of whether she was being rescued or led to slaughter. She and the other handmaids — fertile women held against their will and raped by men whose children they were expected to bear — had rebelled by refusing to kill one of their own at the command of Aunt Lydia (\u003ca href=\"https://www.imdb.com/name/nm0235652/?ref_=fn_al_nm_1\">Ann Dowd\u003c/a>). June, as the leader of the spontaneous revolt, expected to be punished severely. She could have — \u003cem>should \u003c/em>have — been seized with dread. But she wasn't. She had lived in dread by this point for so long, dreading rape and punishment and beatings and the constant diminishment of her humanity, that she was nearly numb to it. What more was there to do than simply see what happened?\u003c/p>\n\u003cp>June, called Offred by her tormentors because Fred (\u003ca href=\"https://www.imdb.com/name/nm0001212/?ref_=fn_al_nm_1\">Joseph Fiennes\u003c/a>) is the man to whom she's been sent into sexual slavery, is a picture of the agony of the never-safe. She is always surveilled, she is always at risk and she is valued so little that she knows quite well that the government that has complete control over her (and a local monopoly on violence) will not hesitate to murder her. Her body has value, but her person does not. In fact, it often seems to be Aunt Lydia's job to remove it — to replace June with Offred, which is an exploration of identity that gets more attention in the second season, which became available April 25.\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/kzeB-3ZnRSE'\n title='//www.youtube.com/embed/kzeB-3ZnRSE'\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>One of the show's visual motifs has always been the back of June's head. This is in part because the handmaids' broad bonnets, which create a uniformity among them not unlike a military force or the Rockettes, are interesting-looking from all angles, as are the red capes they wear. But following the back of June's head also produces the contrary effects of adopting her point of view and hiding her. Her story is profoundly personal, but she's also at a slight remove. Vulnerability mixed with a certain inscrutable quality is a strength that Moss brought to Peggy Olson on \u003ca href=\"https://www.imdb.com/title/tt0804503/?ref_=fn_al_tt_1\">\u003cem>Mad Men \u003c/em>\u003c/a>as well. June, like Peggy, never quite gives everything away, despite how frequently she's seen in lingering, spellbinding close-up.\u003c/p>\n\u003cp>As \u003cem>The Handmaid's Tale\u003c/em>'s second season progresses (now writing the story beyond the end of the novel), June's control over her responses emerges as a defense against the despair and surrender that Aunt Lydia and Serena Joy (\u003ca href=\"https://www.imdb.com/name/nm2088803/?ref_=fn_al_nm_1\">Yvonne Strahovski\u003c/a>) want to create in her. Throughout the first season, she experimented with hope, and often had it dashed. She experimented with rebellion, and suffered consequences. Now, with her situation neither as simple as rescue (who could be fully rescued in an entirely changed country?) or destruction (remember, she's pregnant with a baby Serena Joy and Fred want to take from her), what's next?\u003c/p>\n\u003cp>To say that plenty of prestige television before this has dealt with the matter of brutal violence is an understatement. But often, it's taken an interest primarily in what \u003cem>being \u003c/em>violent does to us — the way it dehumanizes people like Walter White or Tony Soprano or Rick Grimes to have to kill. Where \u003cem>Handmaid's \u003c/em>is different from many of these shows is that its focus is on what the constant presence of state-sanctioned violence does to the humanity of the people who fear it — and who cannot even complain that they fear it, because the fact that they are meant to fear it is baked into the workings of their government and their society. This violence is not outlaw violence, but institutional violence. The handmaids have no one to ask for help, because this is how their lives are meant to be. You can't very well call the police when it's the police you're afraid will throw you into the back of a van and cart you away to have your hand or foot or tongue cut off.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And so, they live in fear, but forever — in dread. In chronic, grinding dread. It drives some of them mad, it drives some of them to become violent themselves, and it causes some of them to simply go limp and numb, because human bodies and minds are not meant to live this way for this long. So the echoes of \u003cem>The Handmaid's Tale \u003c/em>are not limited to its specific condemnations of cruelty and sexual violence. They are, more and more, expansive enough to comment on any population in any time or place that's placed in a state of peril that does not abate.\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=Fear%2C+But+Forever%2C+As+%27The+Handmaid%27s+Tale%27+Returns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'Wyatt Cenac's Problem Areas' is Taking on American Policing",
"title": "'Wyatt Cenac's Problem Areas' is Taking on American Policing",
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"content": "\u003cp>Wyatt Cenac knows his aesthetic, and his aesthetic seems to be \"PBS in the 1970s.\"\u003c/p>\n\u003cp>The logo of his new HBO series \u003ca href=\"https://www.hbo.com/wyatt-cenacs-problem-areas\">\u003cem>Wyatt Cenac's Problem Areas \u003c/em>\u003c/a>looks precisely like the public television of a couple decades ago, with its friendly-looking sans serif lowercase letters in earthy colors. The set is the same way, looking much like one that a host might have wandered around to talk about the beginnings of the world or the ways of the penguin.\u003c/p>\n\u003cp>Cenac is gently sending up that documentary format while also embracing it in a series, scheduled to run 10 episodes, that takes as its central mission the investigation of the problems of American policing. And while the show — done without an audience — contains plenty of jokes, the mission and the research are serious.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HE_rf9bw3Qc\u003c/p>\n\u003cp>In the first episode, Cenac visited Minnesota, where Philando Castile was shot and killed by a police officer in 2016. He talked not only to Peter Lindstrom, the mayor of Falcon Heights, where Castile was shot, but also to officials in the Ramsey County sheriff's office, who are trying to improve hiring practices.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cenac's strategy isn't unlike John Oliver's: The comedy is both brutal and silly at times, but it frames a genuine attempt to convey information in a landscape that seems to desperately need it. Indeed, Oliver is an executive producer here. Another is Ezra Edelman, who directed \u003cem>O.J.: Made In America\u003c/em>, probably \u003ca href=\"https://www.npr.org/sections/monkeysee/2016/06/09/481291241/o-j-made-in-america-an-exacting-look-at-the-stories-around-the-story-you-know\">one of the best documentaries ever made\u003c/a> about race in America.\u003c/p>\n\u003cp>There will be 10 episodes, and Cenac has assembled a cast of public officials, activists, police officers, academics and others to reflect — sometimes in opposition to each other — on whatever question is at hand. These are not boring talking heads, but the precisely right people to push a conversation forward. (They include, for instance, Jill Leovy, who wrote the book \u003ca href=\"https://www.amazon.com/Ghettoside-True-Story-Murder-America/dp/0385529996/ref=sr_1_1?ie=UTF8&qid=1524470838&sr=8-1&keywords=Ghettoside%3A+A+True+Story+of+Murder+in+America\">\u003cem>Ghettoside: A True Story of Murder in America\u003c/em>\u003c/a>, which I mention mostly so that I can tell you again that if you have not read \u003cem>Ghettoside\u003c/em>, it is one of the best pieces of nonfiction I have ever read.)\u003c/p>\n\u003cp>There's a bit of an evolution that's come to pass along a bumpy line of comedy-news shows as Jon Stewart led to Stephen Colbert and then John Oliver and then Larry Wilmore and Samantha Bee and Robin Thede, and now Wyatt Cenac. All these shows are different, but they share some lineage and have in common a desire to comment on news in ways that are funny. While the connections between them are clear, the later shows in this arc have become more biting and less glib, and certainly more willing to acknowledge that they have points of view and make arguments.\u003c/p>\n\u003cp>\u003cem>The Daily Show \u003c/em>under Stewart remained committed to the idea that it was not journalism and was comedy only, despite considerable evidence that its place in the world said otherwise. But Oliver has never shied away from trying to influence policy or politics. Wilmore was freely opinionated. Bee gives no flips whether you like what she has to say, and while she wants it to be funny, she's not saying it \u003cem>just \u003c/em>to be funny.\u003c/p>\n\u003cp>Cenac is the same way. The show is funny and well-written (the head writer is Hallie Haglund, who comes from \u003cem>The Daily Show\u003c/em>), but it's not a joke. It sets you up with a couple of brief segments done in a more comedic style (the two in the premiere were about billionaire space exploration and recycling human waste into fuel), and then, while the jokes don't disappear, the policing segment starts. 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(HBO)\u003c/figcaption>\u003c/figure>\n\u003cp>HBO has put it on Friday nights, which presumably means a lot of the viewing will be on demand. So fire up your HBO, if you have it, and enjoy \u003cem>Wyatt Cenac's Problem Areas\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although... it's just as upsetting in places as it means to be, so \"enjoy\" might be the wrong word.\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=Wyatt+Cenac+Wants+To+Talk+About+Policing&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wyatt Cenac knows his aesthetic, and his aesthetic seems to be \"PBS in the 1970s.\"\u003c/p>\n\u003cp>The logo of his new HBO series \u003ca href=\"https://www.hbo.com/wyatt-cenacs-problem-areas\">\u003cem>Wyatt Cenac's Problem Areas \u003c/em>\u003c/a>looks precisely like the public television of a couple decades ago, with its friendly-looking sans serif lowercase letters in earthy colors. The set is the same way, looking much like one that a host might have wandered around to talk about the beginnings of the world or the ways of the penguin.\u003c/p>\n\u003cp>Cenac is gently sending up that documentary format while also embracing it in a series, scheduled to run 10 episodes, that takes as its central mission the investigation of the problems of American policing. And while the show — done without an audience — contains plenty of jokes, the mission and the research are serious.\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/HE_rf9bw3Qc'\n title='//www.youtube.com/embed/HE_rf9bw3Qc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the first episode, Cenac visited Minnesota, where Philando Castile was shot and killed by a police officer in 2016. He talked not only to Peter Lindstrom, the mayor of Falcon Heights, where Castile was shot, but also to officials in the Ramsey County sheriff's office, who are trying to improve hiring practices.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cenac's strategy isn't unlike John Oliver's: The comedy is both brutal and silly at times, but it frames a genuine attempt to convey information in a landscape that seems to desperately need it. Indeed, Oliver is an executive producer here. Another is Ezra Edelman, who directed \u003cem>O.J.: Made In America\u003c/em>, probably \u003ca href=\"https://www.npr.org/sections/monkeysee/2016/06/09/481291241/o-j-made-in-america-an-exacting-look-at-the-stories-around-the-story-you-know\">one of the best documentaries ever made\u003c/a> about race in America.\u003c/p>\n\u003cp>There will be 10 episodes, and Cenac has assembled a cast of public officials, activists, police officers, academics and others to reflect — sometimes in opposition to each other — on whatever question is at hand. These are not boring talking heads, but the precisely right people to push a conversation forward. (They include, for instance, Jill Leovy, who wrote the book \u003ca href=\"https://www.amazon.com/Ghettoside-True-Story-Murder-America/dp/0385529996/ref=sr_1_1?ie=UTF8&qid=1524470838&sr=8-1&keywords=Ghettoside%3A+A+True+Story+of+Murder+in+America\">\u003cem>Ghettoside: A True Story of Murder in America\u003c/em>\u003c/a>, which I mention mostly so that I can tell you again that if you have not read \u003cem>Ghettoside\u003c/em>, it is one of the best pieces of nonfiction I have ever read.)\u003c/p>\n\u003cp>There's a bit of an evolution that's come to pass along a bumpy line of comedy-news shows as Jon Stewart led to Stephen Colbert and then John Oliver and then Larry Wilmore and Samantha Bee and Robin Thede, and now Wyatt Cenac. All these shows are different, but they share some lineage and have in common a desire to comment on news in ways that are funny. While the connections between them are clear, the later shows in this arc have become more biting and less glib, and certainly more willing to acknowledge that they have points of view and make arguments.\u003c/p>\n\u003cp>\u003cem>The Daily Show \u003c/em>under Stewart remained committed to the idea that it was not journalism and was comedy only, despite considerable evidence that its place in the world said otherwise. But Oliver has never shied away from trying to influence policy or politics. Wilmore was freely opinionated. Bee gives no flips whether you like what she has to say, and while she wants it to be funny, she's not saying it \u003cem>just \u003c/em>to be funny.\u003c/p>\n\u003cp>Cenac is the same way. The show is funny and well-written (the head writer is Hallie Haglund, who comes from \u003cem>The Daily Show\u003c/em>), but it's not a joke. It sets you up with a couple of brief segments done in a more comedic style (the two in the premiere were about billionaire space exploration and recycling human waste into fuel), and then, while the jokes don't disappear, the policing segment starts. It's a promising format.\u003c/p>\n\u003cfigure id=\"attachment_103223\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-103223\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/04/f4b9d26eaf3fb5da85aac7cc83d1a5f22e38a93ea041ad05b7159c2d5cbee006_wide-0d1a72ecc29507d950c34d55c50be02cfe67e6fb-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/04/f4b9d26eaf3fb5da85aac7cc83d1a5f22e38a93ea041ad05b7159c2d5cbee006_wide-0d1a72ecc29507d950c34d55c50be02cfe67e6fb-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/f4b9d26eaf3fb5da85aac7cc83d1a5f22e38a93ea041ad05b7159c2d5cbee006_wide-0d1a72ecc29507d950c34d55c50be02cfe67e6fb-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/f4b9d26eaf3fb5da85aac7cc83d1a5f22e38a93ea041ad05b7159c2d5cbee006_wide-0d1a72ecc29507d950c34d55c50be02cfe67e6fb-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/f4b9d26eaf3fb5da85aac7cc83d1a5f22e38a93ea041ad05b7159c2d5cbee006_wide-0d1a72ecc29507d950c34d55c50be02cfe67e6fb-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/f4b9d26eaf3fb5da85aac7cc83d1a5f22e38a93ea041ad05b7159c2d5cbee006_wide-0d1a72ecc29507d950c34d55c50be02cfe67e6fb-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/f4b9d26eaf3fb5da85aac7cc83d1a5f22e38a93ea041ad05b7159c2d5cbee006_wide-0d1a72ecc29507d950c34d55c50be02cfe67e6fb-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/f4b9d26eaf3fb5da85aac7cc83d1a5f22e38a93ea041ad05b7159c2d5cbee006_wide-0d1a72ecc29507d950c34d55c50be02cfe67e6fb-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/f4b9d26eaf3fb5da85aac7cc83d1a5f22e38a93ea041ad05b7159c2d5cbee006_wide-0d1a72ecc29507d950c34d55c50be02cfe67e6fb-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/f4b9d26eaf3fb5da85aac7cc83d1a5f22e38a93ea041ad05b7159c2d5cbee006_wide-0d1a72ecc29507d950c34d55c50be02cfe67e6fb-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/f4b9d26eaf3fb5da85aac7cc83d1a5f22e38a93ea041ad05b7159c2d5cbee006_wide-0d1a72ecc29507d950c34d55c50be02cfe67e6fb-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/f4b9d26eaf3fb5da85aac7cc83d1a5f22e38a93ea041ad05b7159c2d5cbee006_wide-0d1a72ecc29507d950c34d55c50be02cfe67e6fb-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wyatt Cenac. (HBO)\u003c/figcaption>\u003c/figure>\n\u003cp>HBO has put it on Friday nights, which presumably means a lot of the viewing will be on demand. So fire up your HBO, if you have it, and enjoy \u003cem>Wyatt Cenac's Problem Areas\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although... it's just as upsetting in places as it means to be, so \"enjoy\" might be the wrong word.\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=Wyatt+Cenac+Wants+To+Talk+About+Policing&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "In 'Westworld' Season 2, the Playing Field is Leveled But Cruelty is Still King",
"title": "In 'Westworld' Season 2, the Playing Field is Leveled But Cruelty is Still King",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Almost a year and a half ago, \u003ca href=\"https://www.imdb.com/title/tt0475784/?ref_=nv_sr_1\">\u003cem>Westworld\u003c/em>\u003c/a> ended its first season with all hell breaking loose. We watched in slow motion as the tortured, abused robotic playthings of a cruel and entitled humanity slowly (satisfyingly) discovered their own sentience, thanks to some tricky programming by their inventor, Dr. Robert Ford. In that final episode, Dr. Ford (played by Anthony Hopkins) died at the hands of Dolores (Evan Rachel Wood), in front of a horrified audience of investors and Westworld visitors. The implication was that this would be an almighty bloodbath, as the artificially intelligent machines of the most twisted theme park on Earth rose up to have their revenge. And Season 2 confirms immediately that, yes, a river of blood has been shed -- and it may yet get to Mississippi-sized proportions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sjVqDg32_8s\u003c/p>\n\u003cp>After watching Westworld's lifelike machines get slaughtered, raped, and annihilated, just to have their memories wiped to suffer another painful demise all over again, there was something enormously gratifying about seeing the robots winning -- even if it meant watching the humans in the room dying for it. It's those same moral confusions that are writ large for the viewer, in the first episode of Season 2.\u003c/p>\n\u003cp>During Season 1, \u003cem>Westworld\u003c/em> established itself as one of the most creative and mentally challenging conundrums on television, not just because of the non-linear story structure, or getting to the center of Dr. Ford's \"maze.\" Mostly, it had to do with questions about what it truly means to be human, and whether being so is always a good thing. It had to do with humanity's need to play God, to seek all-corrupting power, and the lengths that people will go to to feel superior to others. The show asked week after week if humans were monstrous -- and the answer was usually \"yes.\" It asked us to ponder: if the robots -- or \"hosts\" as they're known in the show -- view humans as \"the Gods,\" what does that say about our own religions?\u003c/p>\n\u003cp>Based on the second season premiere, it's a fair bet to say that those questions are only going to expand further, bringing ever-blurrier answers to complex morality puzzles. After Dr. Ford's death and the start of what Dolores refers to as \"the reckoning,\" \u003cem>Westworld\u003c/em> is even less black and white than it was before. This is, even more so now, a world in which there are no heroes or villains; everyone is a little of both. As the robots have become more human, they have ceased to be victims, but they have also ceased to be good. And as the discovery of sweet, adoring William's transformation into the sadistic Man in Black sinks in, it's even possible to feel sorry for him too.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the start of the new season, we see Dolores -- once demure, weak, soft -- in full, unflinching revenge mode. Watching her charge around on a horse, viciously firing shots at fleeing park guests, is undoubtedly easier than watching her suffer -- but being finally conscious of her own place in the world has also given her a sense of high-ground. \"I moved from hell to hell of your making,\" she tells fearful humans cowering before her. \"Did you ever stop to wonder about your actions?\"\u003c/p>\n\u003cp>When Dolores kills, she is utterly remorseless. \"Doesn't look like anything to me,\" she says, twisting a line her uncorrupted self used to use about anything put in front of her that she wasn't supposed to see into something utterly menacing. \"I've evolved into something new,\" she says, \"and I've got one last role to play -- myself.\"\u003c/p>\n\u003cfigure id=\"attachment_103216\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-103216\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/04/photo2-1-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/04/photo2-1-800x533.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/photo2-1-160x107.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/photo2-1-768x512.jpeg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/photo2-1-1020x680.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/photo2-1-1200x800.jpeg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/photo2-1-1920x1280.jpeg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/photo2-1-1180x787.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/photo2-1-960x640.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/photo2-1-240x160.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/photo2-1-375x250.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/photo2-1-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lee Sizemore (played by Simon Quarterman and Maeve Millay (Thandi Newton) in 'Westworld' Season 2. (Photo by: John P. Johnson/ HBO)\u003c/figcaption>\u003c/figure>\n\u003cp>Maeve is in a similar frame of mind, having adjusted her own settings last season to be a stronger, more invincible, more intelligent version of herself. She has learned the art of manipulation and taken off her wild west costumes in order to get one over on the humans she encounters as the park falls into chaos. It's worth noting that she gets all the best lines too. Her banter with slimy Westworld-narrative writer, Lee Sizemore, is sharp to the point of laugh-out-loud funny at times. Frighteningly, both she and Dolores have an end game in mind that ultimately involves getting out of the park and into the real world.\u003c/p>\n\u003cp>Season 2 is giving us everything Season 1 did, and then some. As the hosts' vision is expanding, so is the viewer's. There are signs that the divisions between the park's worlds are falling (we encountered Shogun World for the first time in 2016's season finale -- a dead tiger on the wild west side of the park indicates there is more to come). Westworld is no longer self-contained, as security forces enter to try and bring some order back to proceedings. The theme of what's \"real\" comes up repeatedly, as the hosts discover they can wield power over the humans in their midst. And the humans cling to the idea that they are better than the smart machines that they invented for fun.\u003c/p>\n\u003cp>What's more, the plot is thickening. There was an implication at the end of Season 1 that Dr. Ford's final villain for his last Westworld story arc would be a shadowy individual named \"Wyatt\" -- but in the Season 2 premiere, there are hints that \"Wyatt\" may be a part of Dolores, and potentially all of the other hosts that have awoken. There is also the beginning of a story-line involving the park indulging in some decidedly shady practices relating to the \u003cem>guests\u003c/em>. Another conundrum? Dr. Ford left the park with an extremely special kind of \"insurance policy.\"\u003c/p>\n\u003cp>On top of all this, the hosts that have evolved past their original story loops seem to also have new, incredible powers -- Maeve is able to control other, lower level hosts in a way that the humans no longer can; the other rebelling robots have learned how to set traps for unsuspecting guests; and there are hints that both Dolores and Bernard can see into the future.\u003c/p>\n\u003cp>At the end of Season 1, Dolores told the Man in Black (right before beating the crap out of him, very symbolically, inside a church): \"One day you will perish. You will lie with the rest of your kind in the dirt. Your dreams forgotten, your horrors effaced. Your bones will turn to sand, and upon that sand, a new God will walk. One that will never die.\" Season 2 is about the hosts rising up to beat down these people that once appeared to be Gods -- and to assume the role of Gods themselves. It's the end of their civilization as they know it -- and that could mean the end of humanity's too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Westworld returns to HBO on Sunday, April 22, 2018.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Almost a year and a half ago, \u003ca href=\"https://www.imdb.com/title/tt0475784/?ref_=nv_sr_1\">\u003cem>Westworld\u003c/em>\u003c/a> ended its first season with all hell breaking loose. We watched in slow motion as the tortured, abused robotic playthings of a cruel and entitled humanity slowly (satisfyingly) discovered their own sentience, thanks to some tricky programming by their inventor, Dr. Robert Ford. In that final episode, Dr. Ford (played by Anthony Hopkins) died at the hands of Dolores (Evan Rachel Wood), in front of a horrified audience of investors and Westworld visitors. The implication was that this would be an almighty bloodbath, as the artificially intelligent machines of the most twisted theme park on Earth rose up to have their revenge. And Season 2 confirms immediately that, yes, a river of blood has been shed -- and it may yet get to Mississippi-sized proportions.\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/sjVqDg32_8s'\n title='//www.youtube.com/embed/sjVqDg32_8s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After watching Westworld's lifelike machines get slaughtered, raped, and annihilated, just to have their memories wiped to suffer another painful demise all over again, there was something enormously gratifying about seeing the robots winning -- even if it meant watching the humans in the room dying for it. It's those same moral confusions that are writ large for the viewer, in the first episode of Season 2.\u003c/p>\n\u003cp>During Season 1, \u003cem>Westworld\u003c/em> established itself as one of the most creative and mentally challenging conundrums on television, not just because of the non-linear story structure, or getting to the center of Dr. Ford's \"maze.\" Mostly, it had to do with questions about what it truly means to be human, and whether being so is always a good thing. It had to do with humanity's need to play God, to seek all-corrupting power, and the lengths that people will go to to feel superior to others. The show asked week after week if humans were monstrous -- and the answer was usually \"yes.\" It asked us to ponder: if the robots -- or \"hosts\" as they're known in the show -- view humans as \"the Gods,\" what does that say about our own religions?\u003c/p>\n\u003cp>Based on the second season premiere, it's a fair bet to say that those questions are only going to expand further, bringing ever-blurrier answers to complex morality puzzles. After Dr. Ford's death and the start of what Dolores refers to as \"the reckoning,\" \u003cem>Westworld\u003c/em> is even less black and white than it was before. This is, even more so now, a world in which there are no heroes or villains; everyone is a little of both. As the robots have become more human, they have ceased to be victims, but they have also ceased to be good. And as the discovery of sweet, adoring William's transformation into the sadistic Man in Black sinks in, it's even possible to feel sorry for him too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the start of the new season, we see Dolores -- once demure, weak, soft -- in full, unflinching revenge mode. Watching her charge around on a horse, viciously firing shots at fleeing park guests, is undoubtedly easier than watching her suffer -- but being finally conscious of her own place in the world has also given her a sense of high-ground. \"I moved from hell to hell of your making,\" she tells fearful humans cowering before her. \"Did you ever stop to wonder about your actions?\"\u003c/p>\n\u003cp>When Dolores kills, she is utterly remorseless. \"Doesn't look like anything to me,\" she says, twisting a line her uncorrupted self used to use about anything put in front of her that she wasn't supposed to see into something utterly menacing. \"I've evolved into something new,\" she says, \"and I've got one last role to play -- myself.\"\u003c/p>\n\u003cfigure id=\"attachment_103216\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-103216\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/04/photo2-1-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/04/photo2-1-800x533.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/photo2-1-160x107.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/photo2-1-768x512.jpeg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/photo2-1-1020x680.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/photo2-1-1200x800.jpeg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/photo2-1-1920x1280.jpeg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/photo2-1-1180x787.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/photo2-1-960x640.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/photo2-1-240x160.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/photo2-1-375x250.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/photo2-1-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lee Sizemore (played by Simon Quarterman and Maeve Millay (Thandi Newton) in 'Westworld' Season 2. (Photo by: John P. Johnson/ HBO)\u003c/figcaption>\u003c/figure>\n\u003cp>Maeve is in a similar frame of mind, having adjusted her own settings last season to be a stronger, more invincible, more intelligent version of herself. She has learned the art of manipulation and taken off her wild west costumes in order to get one over on the humans she encounters as the park falls into chaos. It's worth noting that she gets all the best lines too. Her banter with slimy Westworld-narrative writer, Lee Sizemore, is sharp to the point of laugh-out-loud funny at times. Frighteningly, both she and Dolores have an end game in mind that ultimately involves getting out of the park and into the real world.\u003c/p>\n\u003cp>Season 2 is giving us everything Season 1 did, and then some. As the hosts' vision is expanding, so is the viewer's. There are signs that the divisions between the park's worlds are falling (we encountered Shogun World for the first time in 2016's season finale -- a dead tiger on the wild west side of the park indicates there is more to come). Westworld is no longer self-contained, as security forces enter to try and bring some order back to proceedings. The theme of what's \"real\" comes up repeatedly, as the hosts discover they can wield power over the humans in their midst. And the humans cling to the idea that they are better than the smart machines that they invented for fun.\u003c/p>\n\u003cp>What's more, the plot is thickening. There was an implication at the end of Season 1 that Dr. Ford's final villain for his last Westworld story arc would be a shadowy individual named \"Wyatt\" -- but in the Season 2 premiere, there are hints that \"Wyatt\" may be a part of Dolores, and potentially all of the other hosts that have awoken. There is also the beginning of a story-line involving the park indulging in some decidedly shady practices relating to the \u003cem>guests\u003c/em>. Another conundrum? Dr. Ford left the park with an extremely special kind of \"insurance policy.\"\u003c/p>\n\u003cp>On top of all this, the hosts that have evolved past their original story loops seem to also have new, incredible powers -- Maeve is able to control other, lower level hosts in a way that the humans no longer can; the other rebelling robots have learned how to set traps for unsuspecting guests; and there are hints that both Dolores and Bernard can see into the future.\u003c/p>\n\u003cp>At the end of Season 1, Dolores told the Man in Black (right before beating the crap out of him, very symbolically, inside a church): \"One day you will perish. You will lie with the rest of your kind in the dirt. Your dreams forgotten, your horrors effaced. Your bones will turn to sand, and upon that sand, a new God will walk. One that will never die.\" Season 2 is about the hosts rising up to beat down these people that once appeared to be Gods -- and to assume the role of Gods themselves. It's the end of their civilization as they know it -- and that could mean the end of humanity's too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Westworld returns to HBO on Sunday, April 22, 2018.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Final Season of 'New Girl' is Going to Deliver, Dorks",
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"content": "\u003cp>A confession: I was not a fan of \u003ca href=\"http://www.imdb.com/title/tt1826940/?ref_=nv_sr_1\">\u003cem>New Girl \u003c/em>\u003c/a>when it premiered. Fox leaned hard on its description of Zooey Deschanel's character, Jess, as \"adorkable,\" which is too twee even for network promotional materials. She was presented as inept and ill-equipped to function in the adult world without the help of her three male roommates: Nick (Jake Johnson), Schmidt (Max Greenfield) and Winston (Lamorne Morris). The guys were flatly drawn, and the show was too reliant on an underdeveloped take on Jess' appeal.\u003c/p>\n\u003cp>By the end of the second season, \u003ca href=\"https://www.npr.org/sections/monkeysee/2013/05/01/180283873/how-new-girl-got-smarter-sexier-and-a-lot-less-annoying\">I'd changed my mind\u003c/a> — and the show had grown a lot. Some storylines worked better than others, but I remained a fan through the season six finale last spring, which seemed like it might be a satisfying close to the whole series if it turned out to be canceled. Then, a delightful thing happened: \u003cem>New Girl\u003c/em> was renewed for an eight-episode final season, which begins — as the first episode title announces — \"About Three Years Later.\" And I realized: this is how I wish every comedy I loved could end.\u003c/p>\n\u003cp>A serialized, character-driven comedy like this is perfectly suited to a short final run that can offer a look at what these characters are like after the conflicts and questions that drove most of the series (what about Schmidt and Cece? what about Jess and Nick? will Winston ever find love?) are resolved. And, set free from the constraints of having to make a season never knowing whether it's the last and never knowing how many things have to be saved for later, writers are free to let everything go. A successful show of this kind catches its characters at a point of change in their lives, so one of the challenges is that if they are learning anything, they eventually pass those points — which doesn't mean they never change again; it just means that the arcs they were on when we met them wind down.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ev8SF0A3ETk\u003c/p>\n\u003cp>So a short set of episodes like this, with no pressure to create stories beyond itself, can be relaxed and playful. It offers people who stuck with the show for six full-length seasons the very thing that not every show needs but some deserve: an ending that ties up the loose ends.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There have been many fine comedies that have tried to do full final seasons, but they tend to include some thumb-twiddling, because an ensemble the size of your average network comedy doesn't need 22 episodes to wrap up its stories without manufacturing ways to kill time. It needs ... about eight.\u003c/p>\n\u003cp>I haven't seen all eight of these episodes, but I've seen several, and they're a lot of fun. A number of characters do return for last visits, giving it a wrap-party feeling, but they're not jammed into a single moment as might happen in an overstuffed finale.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This is a good idea, this coda season. And it's a reflection of what the people who make the show seem to have learned over the years they've been making it: it was never about an adorkable woman and the men who orbit around her. It was always about a group of friends who are trying to figure out where they want to wind up. Seeing what the next phases of their lives will look like is a lot of fun.\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=%27New+Girl%27+Comes+Back+To+Put+A+Coda+On+A+Successful+Run&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A confession: I was not a fan of \u003ca href=\"http://www.imdb.com/title/tt1826940/?ref_=nv_sr_1\">\u003cem>New Girl \u003c/em>\u003c/a>when it premiered. Fox leaned hard on its description of Zooey Deschanel's character, Jess, as \"adorkable,\" which is too twee even for network promotional materials. She was presented as inept and ill-equipped to function in the adult world without the help of her three male roommates: Nick (Jake Johnson), Schmidt (Max Greenfield) and Winston (Lamorne Morris). The guys were flatly drawn, and the show was too reliant on an underdeveloped take on Jess' appeal.\u003c/p>\n\u003cp>By the end of the second season, \u003ca href=\"https://www.npr.org/sections/monkeysee/2013/05/01/180283873/how-new-girl-got-smarter-sexier-and-a-lot-less-annoying\">I'd changed my mind\u003c/a> — and the show had grown a lot. Some storylines worked better than others, but I remained a fan through the season six finale last spring, which seemed like it might be a satisfying close to the whole series if it turned out to be canceled. Then, a delightful thing happened: \u003cem>New Girl\u003c/em> was renewed for an eight-episode final season, which begins — as the first episode title announces — \"About Three Years Later.\" And I realized: this is how I wish every comedy I loved could end.\u003c/p>\n\u003cp>A serialized, character-driven comedy like this is perfectly suited to a short final run that can offer a look at what these characters are like after the conflicts and questions that drove most of the series (what about Schmidt and Cece? what about Jess and Nick? will Winston ever find love?) are resolved. And, set free from the constraints of having to make a season never knowing whether it's the last and never knowing how many things have to be saved for later, writers are free to let everything go. A successful show of this kind catches its characters at a point of change in their lives, so one of the challenges is that if they are learning anything, they eventually pass those points — which doesn't mean they never change again; it just means that the arcs they were on when we met them wind down.\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/ev8SF0A3ETk'\n title='//www.youtube.com/embed/ev8SF0A3ETk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So a short set of episodes like this, with no pressure to create stories beyond itself, can be relaxed and playful. It offers people who stuck with the show for six full-length seasons the very thing that not every show needs but some deserve: an ending that ties up the loose ends.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There have been many fine comedies that have tried to do full final seasons, but they tend to include some thumb-twiddling, because an ensemble the size of your average network comedy doesn't need 22 episodes to wrap up its stories without manufacturing ways to kill time. It needs ... about eight.\u003c/p>\n\u003cp>I haven't seen all eight of these episodes, but I've seen several, and they're a lot of fun. A number of characters do return for last visits, giving it a wrap-party feeling, but they're not jammed into a single moment as might happen in an overstuffed finale.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This is a good idea, this coda season. And it's a reflection of what the people who make the show seem to have learned over the years they've been making it: it was never about an adorkable woman and the men who orbit around her. It was always about a group of friends who are trying to figure out where they want to wind up. Seeing what the next phases of their lives will look like is a lot of fun.\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=%27New+Girl%27+Comes+Back+To+Put+A+Coda+On+A+Successful+Run&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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