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"content": "\u003cp>Things are looking bright for pessimists these days—the world has caught up with their sense of gloom. Well over half of those living in the developed world think their countries are heading in the \u003ca href=\"https://www.ipsos.com/ipsos-mori/en-uk/majority-across-25-countries-say-their-country-wrong-track\">wrong direction\u003c/a>, away from the prosperity and stability that people over age 40 once took for granted. Be it climate change, financial collapse, terrorism, political gridlock or the ceaseless psychic tasering of social media, ordinary people often feel caught in a reality that's spinning out of control.\u003c/p>\n\u003cp>Such a feeling underlies the rip-roaring BBC show \u003cem>Years and Years\u003c/em> airing on HBO. With hints of everything from \u003ca href=\"https://www.npr.org/2019/06/05/729701805/originality-and-uncertainty-still-reign-as-black-mirror-enters-its-5th-season\">\u003cem>Black Mirror\u003c/em>\u003c/a> to \u003ca href=\"https://www.npr.org/2017/04/26/525557843/hulus-handmaids-tale-is-compelling-and-chilling\">\u003cem>The Handmaid's Tale\u003c/em>\u003c/a> to \u003cem>The Apprentice\u003c/em>, this six-part family saga gazes through a crystal ball to tell a darkly unsettling tale about how history affects individual lives. The action begins right now, in 2019, and carries us 15 years into the future.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SY41jhIP_xI\u003c/p>\n\u003cp>The story centers on the Manchester-based Lyons family. The eldest brother Stephen Lyons (Rory Kinnear) is a prosperous financial planner married to Celeste Bisme-Lyons (T'Nia Miller), a successful accountant with whom he has two daughters. He has a gay younger brother, Daniel (Russell Tovey), who works for the Manchester city government, and two younger sisters. There's earnest Edith (Jessica Hynes), who's a globetrotting social activist, and the rousing Rosie (Ruth Madeley), a blue-collar single mom with spina bifida. On holidays they visit the home of their redoubtable grandmother (Anne Reid), who lives in—metaphor, anyone?—a big old house in serious need of repair.\u003c/p>\n\u003cp>As the show begins, they're simply going about their lives. But history soon starts roaring around them like a hurricane. Donald Trump is re-elected and begins a nuclear stare-down with China. Vladimir Putin takes over Ukraine, and refugees pour into Britain. Banks begin to wobble, political parties dither, and Britain watches the rise of Vivienne Rook—played by a terrific \u003ca href=\"https://www.npr.org/2019/06/15/732433046/mindy-kaling-and-emma-thompson-shatter-the-late-night-glass-ceiling\">Emma Thompson\u003c/a>—a plain-speaking businesswoman turned populist politician who owns her own TV network. Some of the Lyons find Rook a breath of fresh air; the others think she's Satan.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Years and Years\u003c/em> is the brainchild of \u003ca href=\"https://www.npr.org/2015/04/01/396809966/from-banana-to-cucumber-new-series-spans-the-spectrum-of-sex\">Russell T. Davies\u003c/a>, who's well-known in Britain for his smart resurrection of \u003cem>Dr. Who\u003c/em> in 2005 and his landmark series \u003cem>Queer as Folk\u003c/em>. Here, Davies is less interested in inventing an imaginary dystopia than in taking the world we now inhabit—with Brexit, refugees, Putin, Siri, etc.—and spinning a vision of how things will play out in daily life. As huge and terrifying things happen, fortunes crumble and rise, love affairs flower for good and ill and young people embrace \u003ca href=\"https://inews.co.uk/culture/television/transhumanism-years-and-years-what-explained-bethany-bisme-lyons/\">transhumanism\u003c/a>—while some of their elders meet death.\u003c/p>\n\u003cp>The whooshing cultural changes—and the family's plucky adjustments to them—make \u003cem>Years and Years\u003c/em> addictive, doubly so as the show boasts one of those crack British casts so well trained in realism. The actors keep the dizziest events anchored in common experience, and Davies is brilliant at finding real emotion in fanciful circumstances.\u003c/p>\n\u003cfigure id=\"attachment_112519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-112519\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-800x536.jpg\" alt=\"Lydia West (left) and Jade Alleyne play Bisme-Lyons sisters Bethany and Ruby.\" width=\"800\" height=\"536\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-800x536.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-768x515.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-1020x684.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-1200x804.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-1920x1287.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lydia West (left) and Jade Alleyne play Bisme-Lyons sisters Bethany and Ruby. \u003ccite>(Robert Ludovic/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, depictions of the future often prove to be profoundly wrong, as those still waiting for their flying cars can attest. Indeed, speculative fiction usually tells us more about the present than the future. That's true here. Despite some witty doodles around the margins, Davies' dire sense of the next few years isn't exactly revelatory. He basically extrapolates from today's big issues, be it refugees, fervent nationalism, fake news, or the collapse of traditional political parties. At times, Davies falls into what George Orwell called the trap of believing that what's happening now will keep happening forever.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Steeped in liberal paranoia, \u003cem>Years and Years\u003c/em> skillfully captures how the world now feels to folks like Davies who voted against Brexit, fear Donald Trump, and dread that the tolerant, democratic, globalized social order of the late 20\u003csup>th\u003c/sup> century is collapsing around them. But whether or not you share Davies's politics, you will almost certainly find the show chilling and identify with the Lyons family's struggles to understand, and survive, forces they can't begin to control.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Imagining+A+Dismal+Future%2C+%27Years+And+Years%27+Says+Plenty+About+The+Present&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Things are looking bright for pessimists these days—the world has caught up with their sense of gloom. Well over half of those living in the developed world think their countries are heading in the \u003ca href=\"https://www.ipsos.com/ipsos-mori/en-uk/majority-across-25-countries-say-their-country-wrong-track\">wrong direction\u003c/a>, away from the prosperity and stability that people over age 40 once took for granted. Be it climate change, financial collapse, terrorism, political gridlock or the ceaseless psychic tasering of social media, ordinary people often feel caught in a reality that's spinning out of control.\u003c/p>\n\u003cp>Such a feeling underlies the rip-roaring BBC show \u003cem>Years and Years\u003c/em> airing on HBO. With hints of everything from \u003ca href=\"https://www.npr.org/2019/06/05/729701805/originality-and-uncertainty-still-reign-as-black-mirror-enters-its-5th-season\">\u003cem>Black Mirror\u003c/em>\u003c/a> to \u003ca href=\"https://www.npr.org/2017/04/26/525557843/hulus-handmaids-tale-is-compelling-and-chilling\">\u003cem>The Handmaid's Tale\u003c/em>\u003c/a> to \u003cem>The Apprentice\u003c/em>, this six-part family saga gazes through a crystal ball to tell a darkly unsettling tale about how history affects individual lives. The action begins right now, in 2019, and carries us 15 years into the future.\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/SY41jhIP_xI'\n title='//www.youtube.com/embed/SY41jhIP_xI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The story centers on the Manchester-based Lyons family. The eldest brother Stephen Lyons (Rory Kinnear) is a prosperous financial planner married to Celeste Bisme-Lyons (T'Nia Miller), a successful accountant with whom he has two daughters. He has a gay younger brother, Daniel (Russell Tovey), who works for the Manchester city government, and two younger sisters. There's earnest Edith (Jessica Hynes), who's a globetrotting social activist, and the rousing Rosie (Ruth Madeley), a blue-collar single mom with spina bifida. On holidays they visit the home of their redoubtable grandmother (Anne Reid), who lives in—metaphor, anyone?—a big old house in serious need of repair.\u003c/p>\n\u003cp>As the show begins, they're simply going about their lives. But history soon starts roaring around them like a hurricane. Donald Trump is re-elected and begins a nuclear stare-down with China. Vladimir Putin takes over Ukraine, and refugees pour into Britain. Banks begin to wobble, political parties dither, and Britain watches the rise of Vivienne Rook—played by a terrific \u003ca href=\"https://www.npr.org/2019/06/15/732433046/mindy-kaling-and-emma-thompson-shatter-the-late-night-glass-ceiling\">Emma Thompson\u003c/a>—a plain-speaking businesswoman turned populist politician who owns her own TV network. Some of the Lyons find Rook a breath of fresh air; the others think she's Satan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Years and Years\u003c/em> is the brainchild of \u003ca href=\"https://www.npr.org/2015/04/01/396809966/from-banana-to-cucumber-new-series-spans-the-spectrum-of-sex\">Russell T. Davies\u003c/a>, who's well-known in Britain for his smart resurrection of \u003cem>Dr. Who\u003c/em> in 2005 and his landmark series \u003cem>Queer as Folk\u003c/em>. Here, Davies is less interested in inventing an imaginary dystopia than in taking the world we now inhabit—with Brexit, refugees, Putin, Siri, etc.—and spinning a vision of how things will play out in daily life. As huge and terrifying things happen, fortunes crumble and rise, love affairs flower for good and ill and young people embrace \u003ca href=\"https://inews.co.uk/culture/television/transhumanism-years-and-years-what-explained-bethany-bisme-lyons/\">transhumanism\u003c/a>—while some of their elders meet death.\u003c/p>\n\u003cp>The whooshing cultural changes—and the family's plucky adjustments to them—make \u003cem>Years and Years\u003c/em> addictive, doubly so as the show boasts one of those crack British casts so well trained in realism. The actors keep the dizziest events anchored in common experience, and Davies is brilliant at finding real emotion in fanciful circumstances.\u003c/p>\n\u003cfigure id=\"attachment_112519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-112519\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-800x536.jpg\" alt=\"Lydia West (left) and Jade Alleyne play Bisme-Lyons sisters Bethany and Ruby.\" width=\"800\" height=\"536\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-800x536.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-768x515.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-1020x684.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-1200x804.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-1920x1287.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lydia West (left) and Jade Alleyne play Bisme-Lyons sisters Bethany and Ruby. \u003ccite>(Robert Ludovic/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, depictions of the future often prove to be profoundly wrong, as those still waiting for their flying cars can attest. Indeed, speculative fiction usually tells us more about the present than the future. That's true here. Despite some witty doodles around the margins, Davies' dire sense of the next few years isn't exactly revelatory. He basically extrapolates from today's big issues, be it refugees, fervent nationalism, fake news, or the collapse of traditional political parties. At times, Davies falls into what George Orwell called the trap of believing that what's happening now will keep happening forever.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Steeped in liberal paranoia, \u003cem>Years and Years\u003c/em> skillfully captures how the world now feels to folks like Davies who voted against Brexit, fear Donald Trump, and dread that the tolerant, democratic, globalized social order of the late 20\u003csup>th\u003c/sup> century is collapsing around them. But whether or not you share Davies's politics, you will almost certainly find the show chilling and identify with the Lyons family's struggles to understand, and survive, forces they can't begin to control.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Imagining+A+Dismal+Future%2C+%27Years+And+Years%27+Says+Plenty+About+The+Present&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Mindy Kaling And Emma Thompson Shatter The 'Late Night' Glass Ceiling",
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"content": "\u003cp>There's a funny thing about late night TV, says Mindy Kaling. Watching these shows, \"there's such a \u003cem>joie de vivre\u003c/em>\"—but it's at odds with the \"ruthlessness and mercilessness\" that goes into making the show behind the scenes. \"I was obsessed with how all these people could be working so hard and be so competitive to make a product that is so entertaining and light,\" Kaling says.\u003c/p>\n\u003cp>Kaling explores that dichotomy—and the racism, ageism and sexism of television—in her new film \u003cem>Late Night.\u003c/em> Emma Thompson stars as talk show host Katherine Newbury, a once-popular comic who broke through the glass ceiling of late-night comedy, only to pull up the ladder behind her and settle into a stale, predictable show fed by a crew of all-white, male writers.\u003c/p>\n\u003cp>Then Molly Patel, played by Kaling, is hired—on a whim, as a diversity hire—and starts to shake things up.\u003c/p>\n\u003cp>Kaling wrote the role with Thompson in mind. \"Emma is my favorite living actor,\" Kaling says. \"I've loved her since I was an 11-year old girl and I saw her in \u003cem>Much Ado About Nothing\u003c/em>.\"\u003c/p>\n\u003cp>Thompson—a self-described \"Luddite\"—doesn't watch much television and wasn't terribly familiar with Kaling's work. Feeling a little \"irrelevant,\" she worried that Kaling had perhaps imagined a role for her as \"an elderly archaeologist in Dorset.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She had not.\u003c/p>\n\u003cp>Thompson read the script and: \"Forty-eight hours later rang my agent and said, 'Please tell her that I couldn't be more thrilled and that I will start tomorrow.'\"\u003c/p>\n\u003cp>Kaling and Thompson talked with NPR about the \"macho\" world of late night, the perception of powerful women, and the connotations of the term \"diversity hire.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DxefiCjQirw\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On writing the role of a female late night host\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kaling: \u003c/strong>I've wanted to write about late night so much because I'm one of those comedy nerds that was obsessed with it growing up. I read every book about it. I was an intern at \u003cem>Late Night with Conan O'Brien\u003c/em> before I moved over into the half-hour world to work on \u003cem>The Office\u003c/em>. But that environment is very famous—even among comedy writers—because it is hyper-masculine, hyper-competitive, very ruthless. And I was not interested really, in writing a movie with an older white male lead, which is what we see in a lot of these shows.\u003c/p>\n\u003cp>I had always wanted to write something for Emma Thompson. ... For me, you know, so many actors can do dramatic roles and we give them awards to do it, but so few can be funny and do drama. ... Emma can do both, and she became very famous doing drama, but she comes from comedy, she comes from sketch. ...\u003c/p>\n\u003cp>I said I know it's science fiction for there to be a female late-night talk show host—and even more so for her to have had the job for 30 years—but it was the only thing that made sense for me to write.\u003c/p>\n\u003cp>\u003cstrong>On playing a female boss who evolves\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Thompson:\u003c/strong> I think there is something a little bit macho about the late-night slot—a little bit 1970s, \u003cem>Saturday Night Live,\u003c/em> everybody's up all night taking coke, John Belushi is announcing that \u003ca href=\"https://www.nytimes.com/1992/02/16/arts/television-women-in-the-locker-room-at-saturday-night-live.html\">\"women aren't funny\"\u003c/a> and it's a tough old world for a woman. [My character] Katherine is the person who managed to survive it ... but she's also bright enough to recognize that she's got to change and she's got to listen. ...\u003c/p>\n\u003cp>What's so wonderful about this story is: So often when you've got a female boss in a movie, she doesn't change. She's just the evil stepmother, the evil boss, the cold, arrogant, archetype person. But what Mindy's done is create an actual person—a living, breathing person—who, at the beginning, does find it difficult to accept, actually, the fact that she's no longer as successful as she thought she was.\u003c/p>\n\u003cp>She suddenly realizes that she's been complacent and because she is genuinely committed to being excellent, she decides she's got to change. And it takes a while, but finally Mindy's character does break through to her. They create a working relationship that's so fun to watch developing and doesn't turn all soft and fluffy at the end. It just becomes something very real, very believable and very uplifting.\u003c/p>\n\u003cfigure id=\"attachment_112398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-112398\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-800x533.jpg\" alt='Mindy Kaling, right, wrote the lead role in Late Night with Emma Thompson in mind. They filmed the movie in a \"white heat of passion\" in 25 days, Thompson says. They are pictured above in London in May 2019.' width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-1200x799.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-1920x1279.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mindy Kaling, right, wrote the lead role in Late Night with Emma Thompson in mind. They filmed the movie in a \"white heat of passion\" in 25 days, Thompson says. They are pictured above in London in May 2019. \u003ccite>(Matt Dunham/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On female authority being perceived as \"cold\"\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kaling:\u003c/strong> Katherine's character does not care what people's reactions are to her honest answers and honest desires. If she sees any kind of inefficiency she calls it out, without anger. And it's interesting—we've been doing press for the movie and everyone has been using words like \"bitchy\" and \"cold,\" and it's not that she's bitchy and cold, she's just dispassionately expressing what she needs. ...\u003c/p>\n\u003cp>\u003cstrong>Thompson:\u003c/strong> Especially if you're pathologically nice, or you want to be kind to everybody—like me—playing Katherine was a kind of a five-week holiday from having to look after everybody. It was so blissful just turning around to someone who was boring me and say, \"I'm not interested, shut up.\" And then not apologizing for the rest of the week about it. ....\u003c/p>\n\u003cp>\u003cstrong>Kaling:\u003c/strong> A man is entitled to have a private life. ... When I was writing it I didn't particularly think that Emma was cold. I thought that the character was crisp and to-the-point and direct. And those are qualities that are so positive in male leaders. But in a woman, they turned certain people off. People are so uncomfortable with the possibility that a woman would be direct in her communication.\u003c/p>\n\u003cp>\u003cstrong>On what the movie says about diversity and hiring\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kaling:\u003c/strong> We talk a lot in the movie about the fact that Molly is a diversity hire and I can't think of another movie or TV show that really talks about this head-on with that term. The truth of the matter is the term has really pejorative connotations. I was a diversity hire at \u003cem>The Office\u003c/em> when I started writing, and it's the reason I had the job—because NBC was paying my salary so that \u003cem>The Office \u003c/em>could hire me without having to take a hit on their budget. ...\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For years I was so embarrassed by that and I never wanted anyone to know—although of course it was plain as day. It wasn't until years later that I realized that that program and diversity hire is something that I should be wearing proudly, because what it did was it gave me access to work on a show that I would not have had otherwise.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org.\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mindy+Kaling+And+Emma+Thompson+Shatter+The+%27Late+Night%27+Glass+Ceiling&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There's a funny thing about late night TV, says Mindy Kaling. Watching these shows, \"there's such a \u003cem>joie de vivre\u003c/em>\"—but it's at odds with the \"ruthlessness and mercilessness\" that goes into making the show behind the scenes. \"I was obsessed with how all these people could be working so hard and be so competitive to make a product that is so entertaining and light,\" Kaling says.\u003c/p>\n\u003cp>Kaling explores that dichotomy—and the racism, ageism and sexism of television—in her new film \u003cem>Late Night.\u003c/em> Emma Thompson stars as talk show host Katherine Newbury, a once-popular comic who broke through the glass ceiling of late-night comedy, only to pull up the ladder behind her and settle into a stale, predictable show fed by a crew of all-white, male writers.\u003c/p>\n\u003cp>Then Molly Patel, played by Kaling, is hired—on a whim, as a diversity hire—and starts to shake things up.\u003c/p>\n\u003cp>Kaling wrote the role with Thompson in mind. \"Emma is my favorite living actor,\" Kaling says. \"I've loved her since I was an 11-year old girl and I saw her in \u003cem>Much Ado About Nothing\u003c/em>.\"\u003c/p>\n\u003cp>Thompson—a self-described \"Luddite\"—doesn't watch much television and wasn't terribly familiar with Kaling's work. Feeling a little \"irrelevant,\" she worried that Kaling had perhaps imagined a role for her as \"an elderly archaeologist in Dorset.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She had not.\u003c/p>\n\u003cp>Thompson read the script and: \"Forty-eight hours later rang my agent and said, 'Please tell her that I couldn't be more thrilled and that I will start tomorrow.'\"\u003c/p>\n\u003cp>Kaling and Thompson talked with NPR about the \"macho\" world of late night, the perception of powerful women, and the connotations of the term \"diversity hire.\"\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/DxefiCjQirw'\n title='//www.youtube.com/embed/DxefiCjQirw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On writing the role of a female late night host\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kaling: \u003c/strong>I've wanted to write about late night so much because I'm one of those comedy nerds that was obsessed with it growing up. I read every book about it. I was an intern at \u003cem>Late Night with Conan O'Brien\u003c/em> before I moved over into the half-hour world to work on \u003cem>The Office\u003c/em>. But that environment is very famous—even among comedy writers—because it is hyper-masculine, hyper-competitive, very ruthless. And I was not interested really, in writing a movie with an older white male lead, which is what we see in a lot of these shows.\u003c/p>\n\u003cp>I had always wanted to write something for Emma Thompson. ... For me, you know, so many actors can do dramatic roles and we give them awards to do it, but so few can be funny and do drama. ... Emma can do both, and she became very famous doing drama, but she comes from comedy, she comes from sketch. ...\u003c/p>\n\u003cp>I said I know it's science fiction for there to be a female late-night talk show host—and even more so for her to have had the job for 30 years—but it was the only thing that made sense for me to write.\u003c/p>\n\u003cp>\u003cstrong>On playing a female boss who evolves\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Thompson:\u003c/strong> I think there is something a little bit macho about the late-night slot—a little bit 1970s, \u003cem>Saturday Night Live,\u003c/em> everybody's up all night taking coke, John Belushi is announcing that \u003ca href=\"https://www.nytimes.com/1992/02/16/arts/television-women-in-the-locker-room-at-saturday-night-live.html\">\"women aren't funny\"\u003c/a> and it's a tough old world for a woman. [My character] Katherine is the person who managed to survive it ... but she's also bright enough to recognize that she's got to change and she's got to listen. ...\u003c/p>\n\u003cp>What's so wonderful about this story is: So often when you've got a female boss in a movie, she doesn't change. She's just the evil stepmother, the evil boss, the cold, arrogant, archetype person. But what Mindy's done is create an actual person—a living, breathing person—who, at the beginning, does find it difficult to accept, actually, the fact that she's no longer as successful as she thought she was.\u003c/p>\n\u003cp>She suddenly realizes that she's been complacent and because she is genuinely committed to being excellent, she decides she's got to change. And it takes a while, but finally Mindy's character does break through to her. They create a working relationship that's so fun to watch developing and doesn't turn all soft and fluffy at the end. It just becomes something very real, very believable and very uplifting.\u003c/p>\n\u003cfigure id=\"attachment_112398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-112398\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-800x533.jpg\" alt='Mindy Kaling, right, wrote the lead role in Late Night with Emma Thompson in mind. They filmed the movie in a \"white heat of passion\" in 25 days, Thompson says. They are pictured above in London in May 2019.' width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-1200x799.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-1920x1279.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mindy Kaling, right, wrote the lead role in Late Night with Emma Thompson in mind. They filmed the movie in a \"white heat of passion\" in 25 days, Thompson says. They are pictured above in London in May 2019. \u003ccite>(Matt Dunham/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On female authority being perceived as \"cold\"\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kaling:\u003c/strong> Katherine's character does not care what people's reactions are to her honest answers and honest desires. If she sees any kind of inefficiency she calls it out, without anger. And it's interesting—we've been doing press for the movie and everyone has been using words like \"bitchy\" and \"cold,\" and it's not that she's bitchy and cold, she's just dispassionately expressing what she needs. ...\u003c/p>\n\u003cp>\u003cstrong>Thompson:\u003c/strong> Especially if you're pathologically nice, or you want to be kind to everybody—like me—playing Katherine was a kind of a five-week holiday from having to look after everybody. It was so blissful just turning around to someone who was boring me and say, \"I'm not interested, shut up.\" And then not apologizing for the rest of the week about it. ....\u003c/p>\n\u003cp>\u003cstrong>Kaling:\u003c/strong> A man is entitled to have a private life. ... When I was writing it I didn't particularly think that Emma was cold. I thought that the character was crisp and to-the-point and direct. And those are qualities that are so positive in male leaders. But in a woman, they turned certain people off. People are so uncomfortable with the possibility that a woman would be direct in her communication.\u003c/p>\n\u003cp>\u003cstrong>On what the movie says about diversity and hiring\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kaling:\u003c/strong> We talk a lot in the movie about the fact that Molly is a diversity hire and I can't think of another movie or TV show that really talks about this head-on with that term. The truth of the matter is the term has really pejorative connotations. I was a diversity hire at \u003cem>The Office\u003c/em> when I started writing, and it's the reason I had the job—because NBC was paying my salary so that \u003cem>The Office \u003c/em>could hire me without having to take a hit on their budget. ...\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For years I was so embarrassed by that and I never wanted anyone to know—although of course it was plain as day. It wasn't until years later that I realized that that program and diversity hire is something that I should be wearing proudly, because what it did was it gave me access to work on a show that I would not have had otherwise.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org.\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mindy+Kaling+And+Emma+Thompson+Shatter+The+%27Late+Night%27+Glass+Ceiling&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>Warning: This post contains spoilers about the finale and winner of \u003c/strong>\u003c/em>\u003cstrong>Project Runway,\u003c/strong>\u003cem>\u003cstrong> Season 17.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>The 17th season of \u003cem>Project Runway \u003c/em>concluded Thursday night, handing the win to Sebastian Grey.\u003c/p>\n\u003cp>It was the show's first run without Heidi Klum and Tim Gunn, who reigned while \u003cem>Runway\u003c/em> ran on Bravo and then on Lifetime. Back on Bravo now, it features model Karlie Kloss in the host role and designer (and former \u003cem>Project Runway \u003c/em>winner) Christian Siriano in the mentor role.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fOQfCFNN_Ak\u003c/p>\n\u003cp>Not only did the season wind up being a strong argument that a show like this can continue with a new host, but it also almost became an argument for changing hosts as the first, not the last, option for shows that have grown stale. I surprised myself with my affection for it and certainly with my affection for Siriano, not my favorite back when he was a contestant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kloss is still getting her feet under her, but she has been just fine at this job—at least as good as Klum was when she was new to it. She has a warm presence, friendly and supportive, and she seems very happy to be there.\u003c/p>\n\u003cp>But the big surprise, at least to me, has been Christian Siriano. While entirely different from the rightly beloved Tim Gunn, he has proved to be a funny and smart and honest mentor, one who brings the right amount of reality-show zazz while also making all kinds of sense. Success doesn't flatter everyone, but it's flattered him.\u003c/p>\n\u003cp>When Siriano won the fourth season of the show back in 2008, he was the show's youngest winner at only 22—and it showed. He could be impatient, full of himself and negative about work he didn't feel like doing for clients he didn't feel like serving. He was criticized for careless comments about drag queens and transgender people when he was first famous.\u003c/p>\n\u003cp>After his victory, though, he vowed to get better, and then he worked and worked and worked. He kept making high-end fashion, but he also made shoes with Payless and a line for Lane Bryant, which kept his name in front of a general audience, not unlike the one he had on television.\u003c/p>\n\u003cp>His clothes appeared on red carpets more and more, and he got a new wave of attention in 2016 when he made a gown for \u003cem>Ghostbusters \u003c/em>star Leslie Jones, who had complained that designers didn't want to dress her. He went on to dress \u003ca href=\"https://www.yahoo.com/lifestyle/christian-siriano-dressed-8-women-040053461/photo-lauren-adams-in-custom-christian-1474261017288.html?soc_src=social-sh&soc_trk=tw\">eight women\u003c/a> for the Emmys that fall, across a variety of ages, races, body types and styles.\u003c/p>\n\u003cp>After that, it seemed like he was inescapable at any high-end celebrity event, and he made some of the most admired looks appearing anywhere—including \u003ca href=\"https://www.hollywoodreporter.com/news/oscars-pose-star-billy-porter-wears-christian-siriano-tuxedo-gown-1189684\">Billy Porter's stunning velvet tuxedo gown\u003c/a> for the Oscars, which may well be the red-carpet look of the year.\u003c/p>\n\u003cp>Even if he weren't a \u003cem>Runway \u003c/em>alum, Siriano would have been a great candidate for this position based simply on the position he occupies in fashion right now. They would have been lucky to get him.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xygRpuCpZQo\u003c/p>\n\u003cp>At the same time that they brought on this really strong fashion mentor who is as current as current gets, the producers cast contestants who were, for the most part, pleasant. There was very little interpersonal drama and a lot of focus on the development of the clothes (fashion writers Tom + Lorenzo have \u003ca href=\"https://tomandlorenzo.com/2019/06/project-runway-and-the-winner-is-season-17-finale-final-collections-bravo-tv-reviews/\">written well on this all season\u003c/a>), and by the time we got to the end, the finalists—Sebastian Grey, Garo Sparo and Hester Sunshine—all seemed perfectly qualified and on friendly terms.\u003c/p>\n\u003cp>It really did come down to whose collection worked out best. It could have been any of them.\u003c/p>\n\u003cp>In the finale, Garo had a little too much trouble with execution, so he was set aside, and it came down to Sebastian and Hester, both of whom made very good final collections in their own styles.\u003c/p>\n\u003cp>Sebastian makes more classic, elegant clothes, always impeccably made but not dull. The leather work in his final collection was distinctive and grand.\u003c/p>\n\u003cp>Hester, on the other hand, finally seemed to get a handle on her \"clown picnic\" aesthetic, very playful and colorful, and put together a collection that didn't seem as gimmicky as some of her work during the season. She's also a brilliant stylist, using accessories maybe as well as anybody on the show ever has. She peaked at the right time, and she managed not to include some of the things she has gravitated toward that haven't worked (she got mostly over her love of sheer dresses with ugly pasties/bust cups, for instance).\u003c/p>\n\u003cp>When Kloss and judges Nina Garcia and Brandon Maxwell talked about Sebastian and Hester, joined by guest judge Diane von Furstenberg, their debate made a lot of sense. Sebastian's line was more perfected. It was more cohesive. It was more of a complete idea.\u003c/p>\n\u003cp>But Hester, they acknowledged, is very good at another element of selling clothes: being a personality who represents the brand well. This didn't come off as crass, as if she might win solely because she's more camera-friendly. It came off as realistic, in that she might win because she made a terrific collection and there's a unity of her persona and her clothes that help make a designer a star. Marketing is real; being good at it is real.\u003c/p>\n\u003cp>They chose Sebastian as the winner, but the show hadn't positioned any \"I'm going to riot if this person wins\" options, as there sometimes have been in the past.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YNloBhhdepY\u003c/p>\n\u003cp>All of this—all of it—was part of a sense across the season that \u003cem>Project Runway \u003c/em>had both become a better show than in recent years, one wildly more relevant to actual current fashion. Not only did it feature the newsmaking Siriano, but also judge Brandon Maxwell is the one who designed \u003ca href=\"https://www.bravotv.com/project-runway/lookbook/brandon-maxwell-designed-lady-gaga-met-gala-2019-looks\">Lady Gaga's multiphase Met Gala outfit\u003c/a>, probably the most talked-about look of the year from the most fussed-over celebrity fashion event of the year. Somehow, 16 seasons down, \u003cem>Project Runway\u003c/em> leveled up.\u003c/p>\n\u003cp>Don't get me wrong: Tim Gunn was a \u003cem>very \u003c/em>good mentor. He was gentle, wise, encouraging. He approached mentoring like a teacher, which is what he was. But if anything can invigorate a show like this after 16 seasons, it's someone who does the job really differently, but also does it well.\u003c/p>\n\u003cp>Siriano has a different vibe in the workroom, maybe a little more like a boss overseeing apprentices. He's bracingly honest in a way that can puncture notions that are better in theory than in practice; I laughed when a designer explained his plan to contour an outfit with zippers and Siriano said, \"You're going to put a zipper right on the boob?\"\u003c/p>\n\u003cp>And the ego of his younger self has, perhaps with the help of his success, become less defensive and more confident, so that he enjoys gently teasing designers about situations where he tells them what they need to do and he turns out to be right—but he never seems mean about it, ever. He warns them off their bad ideas with a good-humored despair, often falling back on something like \"you're \u003cem>killing \u003c/em>me\" when he's worried about their choices.\u003c/p>\n\u003cp>It was such a delightful surprise to discover that changes I was initially worried about might be just what I needed to start loving the show again. It's good enough when a successful host change lets you continue to enjoy a show (as happened to me with \u003cem>The Great British Baking Show\u003c/em>), but when it reinvigorates a show in which you've lost interest, that's something special.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Tim and Heidi are working on a new project for Amazon—and I'll watch that, too. Still love 'em both! Still in their corner! But what a pleasure it has been to return to an old favorite that's given itself a lift.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Project+Runway%27+Proves+Change+Can+Be+Healthy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Warning: This post contains spoilers about the finale and winner of \u003c/strong>\u003c/em>\u003cstrong>Project Runway,\u003c/strong>\u003cem>\u003cstrong> Season 17.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>The 17th season of \u003cem>Project Runway \u003c/em>concluded Thursday night, handing the win to Sebastian Grey.\u003c/p>\n\u003cp>It was the show's first run without Heidi Klum and Tim Gunn, who reigned while \u003cem>Runway\u003c/em> ran on Bravo and then on Lifetime. Back on Bravo now, it features model Karlie Kloss in the host role and designer (and former \u003cem>Project Runway \u003c/em>winner) Christian Siriano in the mentor role.\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/fOQfCFNN_Ak'\n title='//www.youtube.com/embed/fOQfCFNN_Ak'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not only did the season wind up being a strong argument that a show like this can continue with a new host, but it also almost became an argument for changing hosts as the first, not the last, option for shows that have grown stale. I surprised myself with my affection for it and certainly with my affection for Siriano, not my favorite back when he was a contestant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kloss is still getting her feet under her, but she has been just fine at this job—at least as good as Klum was when she was new to it. She has a warm presence, friendly and supportive, and she seems very happy to be there.\u003c/p>\n\u003cp>But the big surprise, at least to me, has been Christian Siriano. While entirely different from the rightly beloved Tim Gunn, he has proved to be a funny and smart and honest mentor, one who brings the right amount of reality-show zazz while also making all kinds of sense. Success doesn't flatter everyone, but it's flattered him.\u003c/p>\n\u003cp>When Siriano won the fourth season of the show back in 2008, he was the show's youngest winner at only 22—and it showed. He could be impatient, full of himself and negative about work he didn't feel like doing for clients he didn't feel like serving. He was criticized for careless comments about drag queens and transgender people when he was first famous.\u003c/p>\n\u003cp>After his victory, though, he vowed to get better, and then he worked and worked and worked. He kept making high-end fashion, but he also made shoes with Payless and a line for Lane Bryant, which kept his name in front of a general audience, not unlike the one he had on television.\u003c/p>\n\u003cp>His clothes appeared on red carpets more and more, and he got a new wave of attention in 2016 when he made a gown for \u003cem>Ghostbusters \u003c/em>star Leslie Jones, who had complained that designers didn't want to dress her. He went on to dress \u003ca href=\"https://www.yahoo.com/lifestyle/christian-siriano-dressed-8-women-040053461/photo-lauren-adams-in-custom-christian-1474261017288.html?soc_src=social-sh&soc_trk=tw\">eight women\u003c/a> for the Emmys that fall, across a variety of ages, races, body types and styles.\u003c/p>\n\u003cp>After that, it seemed like he was inescapable at any high-end celebrity event, and he made some of the most admired looks appearing anywhere—including \u003ca href=\"https://www.hollywoodreporter.com/news/oscars-pose-star-billy-porter-wears-christian-siriano-tuxedo-gown-1189684\">Billy Porter's stunning velvet tuxedo gown\u003c/a> for the Oscars, which may well be the red-carpet look of the year.\u003c/p>\n\u003cp>Even if he weren't a \u003cem>Runway \u003c/em>alum, Siriano would have been a great candidate for this position based simply on the position he occupies in fashion right now. They would have been lucky to get him.\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/xygRpuCpZQo'\n title='//www.youtube.com/embed/xygRpuCpZQo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At the same time that they brought on this really strong fashion mentor who is as current as current gets, the producers cast contestants who were, for the most part, pleasant. There was very little interpersonal drama and a lot of focus on the development of the clothes (fashion writers Tom + Lorenzo have \u003ca href=\"https://tomandlorenzo.com/2019/06/project-runway-and-the-winner-is-season-17-finale-final-collections-bravo-tv-reviews/\">written well on this all season\u003c/a>), and by the time we got to the end, the finalists—Sebastian Grey, Garo Sparo and Hester Sunshine—all seemed perfectly qualified and on friendly terms.\u003c/p>\n\u003cp>It really did come down to whose collection worked out best. It could have been any of them.\u003c/p>\n\u003cp>In the finale, Garo had a little too much trouble with execution, so he was set aside, and it came down to Sebastian and Hester, both of whom made very good final collections in their own styles.\u003c/p>\n\u003cp>Sebastian makes more classic, elegant clothes, always impeccably made but not dull. The leather work in his final collection was distinctive and grand.\u003c/p>\n\u003cp>Hester, on the other hand, finally seemed to get a handle on her \"clown picnic\" aesthetic, very playful and colorful, and put together a collection that didn't seem as gimmicky as some of her work during the season. She's also a brilliant stylist, using accessories maybe as well as anybody on the show ever has. She peaked at the right time, and she managed not to include some of the things she has gravitated toward that haven't worked (she got mostly over her love of sheer dresses with ugly pasties/bust cups, for instance).\u003c/p>\n\u003cp>When Kloss and judges Nina Garcia and Brandon Maxwell talked about Sebastian and Hester, joined by guest judge Diane von Furstenberg, their debate made a lot of sense. Sebastian's line was more perfected. It was more cohesive. It was more of a complete idea.\u003c/p>\n\u003cp>But Hester, they acknowledged, is very good at another element of selling clothes: being a personality who represents the brand well. This didn't come off as crass, as if she might win solely because she's more camera-friendly. It came off as realistic, in that she might win because she made a terrific collection and there's a unity of her persona and her clothes that help make a designer a star. Marketing is real; being good at it is real.\u003c/p>\n\u003cp>They chose Sebastian as the winner, but the show hadn't positioned any \"I'm going to riot if this person wins\" options, as there sometimes have been in the past.\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/YNloBhhdepY'\n title='//www.youtube.com/embed/YNloBhhdepY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All of this—all of it—was part of a sense across the season that \u003cem>Project Runway \u003c/em>had both become a better show than in recent years, one wildly more relevant to actual current fashion. Not only did it feature the newsmaking Siriano, but also judge Brandon Maxwell is the one who designed \u003ca href=\"https://www.bravotv.com/project-runway/lookbook/brandon-maxwell-designed-lady-gaga-met-gala-2019-looks\">Lady Gaga's multiphase Met Gala outfit\u003c/a>, probably the most talked-about look of the year from the most fussed-over celebrity fashion event of the year. Somehow, 16 seasons down, \u003cem>Project Runway\u003c/em> leveled up.\u003c/p>\n\u003cp>Don't get me wrong: Tim Gunn was a \u003cem>very \u003c/em>good mentor. He was gentle, wise, encouraging. He approached mentoring like a teacher, which is what he was. But if anything can invigorate a show like this after 16 seasons, it's someone who does the job really differently, but also does it well.\u003c/p>\n\u003cp>Siriano has a different vibe in the workroom, maybe a little more like a boss overseeing apprentices. He's bracingly honest in a way that can puncture notions that are better in theory than in practice; I laughed when a designer explained his plan to contour an outfit with zippers and Siriano said, \"You're going to put a zipper right on the boob?\"\u003c/p>\n\u003cp>And the ego of his younger self has, perhaps with the help of his success, become less defensive and more confident, so that he enjoys gently teasing designers about situations where he tells them what they need to do and he turns out to be right—but he never seems mean about it, ever. He warns them off their bad ideas with a good-humored despair, often falling back on something like \"you're \u003cem>killing \u003c/em>me\" when he's worried about their choices.\u003c/p>\n\u003cp>It was such a delightful surprise to discover that changes I was initially worried about might be just what I needed to start loving the show again. It's good enough when a successful host change lets you continue to enjoy a show (as happened to me with \u003cem>The Great British Baking Show\u003c/em>), but when it reinvigorates a show in which you've lost interest, that's something special.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tim and Heidi are working on a new project for Amazon—and I'll watch that, too. Still love 'em both! Still in their corner! But what a pleasure it has been to return to an old favorite that's given itself a lift.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Project+Runway%27+Proves+Change+Can+Be+Healthy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "How The Zombie-Comedy Became The Ultimate Genre For Our Times",
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"content": "\u003cp>Remember in 2009's \u003cem>Zombieland\u003c/em>, when the gang went to Bill Murray's house to get some rest, only to find him alive and well and in full zombie make-up? And then, after some casual \u003cem>Ghostbusters\u003c/em> cos-play, Columbus confused Murray for a real zombie and \u003ca href=\"https://www.youtube.com/watch?v=h4XRPljaFzc\">accidentally killed him\u003c/a>? Not only was it probably the greatest cameo in recent movie memory, but in the process of filming it, the real-life Murray apparently also got bitten by the zombie bug.\u003c/p>\n\u003cp>This year, not only is he re-appearing as himself in the \u003ca href=\"https://www.imdb.com/title/tt1560220/?ref_=nv_sr_1\">\u003cem>Zombieland \u003c/em>sequel\u003c/a>, Murray is also starring in \u003cem>The Dead Don't Die\u003c/em>, alongside Selena Gomez, Chloë Sevigny, Steve Buscemi and Adam Driver. As zombie reckonings go, this one—written and directed by Jim Jarmusch—looks particularly epic.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bs5ZOcU6Bnw\u003c/p>\n\u003cp>That Bill Murray is showing up in two zombie-comedies this year isn't particularly surprising, all things considered. This very niche but unrelentingly popular movie category has had an unstoppable run since \u003ca href=\"https://www.imdb.com/title/tt0365748/?ref_=nv_sr_1\">\u003cem>Shaun of the Dead\u003c/em>\u003c/a> ambled onto our screens in 2004. Like Simon Pegg's TV show \u003cem>Spaced \u003c/em>before it, \u003cem>Shaun\u003c/em> blended action and dry humor with smart references to old movies (\u003cem>Dawn of the Dead\u003c/em>, \u003cem>Night of the Living Dead\u003c/em> and directors John Landis and Lucio Fulci \u003ca href=\"https://heavy.com/entertainment/2010/10/shaun-of-the-dead-secret-zombie-references-buried-in-the-film/\">all got nods\u003c/a>). Along the way, the film accidentally invented a new genre—the zom-com (although, technically, it called itself a \"\u003ca href=\"https://www.urbandictionary.com/define.php?term=rom-zom-com\">rom-zom-com\u003c/a>\").\u003c/p>\n\u003cp>Long before \u003cem>Shaun\u003c/em>, horror lovers had known the joy of combining the undead with comedy. It started in 1978 with \u003cem>Dawn of the Dead, \u003c/em>a zombie horror movie that used bouts of humor to break the tension. Three years later, \u003cem>American Werewolf in London \u003c/em>followed \u003cem>Dead\u003c/em>'s example, using Jack—David's \u003ca href=\"https://www.youtube.com/watch?v=LLs-Oreo_bk\">slowly rotting, undead best friend\u003c/a>—almost entirely as a vehicle for comic relief. 1985's \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0089907/?ref_=nv_sr_1\">Return of the Living Dead\u003c/a>, '\u003c/em>88's \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0095990/?ref_=fn_al_tt_2\">Return of the Living Dead Pt. 2\u003c/a>\u003c/em> and 1992's \u003ca href=\"https://www.imdb.com/title/tt0103873/?ref_=nv_sr_1\">\u003cem>Dead Alive\u003c/em>\u003c/a> (a Peter Jackson movie!) were all self-consciously ridiculous—more farce than frightening.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J2Ws0QEADsU\u003c/p>\n\u003cp>At their core though, zombie films were always intended to be the thinking person's horror sub-category. \u003cem>Night of the Living Dead\u003c/em> was about racism in America; \u003cem>Dawn of the Dead\u003c/em> was about capitalism run amok; \u003cem>World War Z\u003c/em> was about governments made ineffectual by their own bureaucracy. Zombie horror audiences were never just watching for the blood and the brains—the movies always meant something more.\u003c/p>\n\u003cp>Zom-coms, then, are the logical end-point for horror audiences in the post-modern age. These days, audiences have become too worldly for a straight-forward horror allegory and need horror movies to acknowledge that monsters are a bit silly. When zom-com movie characters retain their eye-rolling calm in the face of gory catastrophe, they are serving as an extension of the audience's own cynicism. It's why Aubrey Plaza was the perfect person to star in \u003cem>Life After Beth\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pVtaRAAWJss\u003c/p>\n\u003cp>The key to the success of every good zom-com is the juxtaposition of horrific circumstances and everyday mundanity. Movies like \u003cem>Zombieland\u003c/em>, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt1588173/?ref_=nv_sr_1\">Warm Bodies\u003c/a>,\u003c/em> \u003ca href=\"https://www.imdb.com/title/tt1362058/?ref_=fn_al_tt_1\">\u003cem>Cockneys Vs Zombies\u003c/em>\u003c/a> and \u003ca href=\"https://www.imdb.com/title/tt6433880/?ref_=fn_al_tt_1\">\u003cem>Anna And The Apocalypse\u003c/em>\u003c/a>\u003cem>, \u003c/em>as well as TV shows like \u003cem>\u003ca href=\"https://www.imdb.com/title/tt3501584/?ref_=nv_sr_1\">iZombie\u003c/a> and \u003ca href=\"https://www.imdb.com/title/tt5580540/?ref_=fn_al_tt_1\">Santa Clarita Diet\u003c/a> \u003c/em>(Netflix is \u003ca href=\"https://www.cnn.com/2019/04/27/entertainment/santa-clarita-diet-canceled-netflix/index.html\">never getting forgiven\u003c/a> for canceling that last one), all use that combination to achieve both humor and tension. The amalgamation not only gives these movies a semblance of relatable everyday ordinariness sometimes lacking in traditional horror, but it also acts as a metaphor for how huge catastrophes beyond our control sometimes land on us at home, where we are supposed to be safest.\u003c/p>\n\u003cp>Professor Sara Sutler-Cohen \u003ca href=\"https://www.academia.edu/2376239/_Plans_Are_Pointless_Staying_alive_is_as_good_as_it_gets._Zombie_Sociology_and_The_Politics_of_Survival\">writes\u003c/a>: \"What recent filmic incarnations of the Zombie tell us is that we must micromanage our lives as the mysterious (or not so) veil of death is lifted, and the stench of rot surrounds us... Zombified humor continues to be refined today, the terror of the possibility of a life with the roaming dead has once again morphed and the joke is seated comfortably in the possibility that a future with Zombies just might be real.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In an age of sharp divisions and of overarching, exhausted cynicism, the zom-com offers us a guidebook on what to do when the worst happens. Part of the appeal is in how disarmingly attainable the solution is: carry on, roll with the punches, and, when the worst does happen, find humor by any means necessary.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember in 2009's \u003cem>Zombieland\u003c/em>, when the gang went to Bill Murray's house to get some rest, only to find him alive and well and in full zombie make-up? And then, after some casual \u003cem>Ghostbusters\u003c/em> cos-play, Columbus confused Murray for a real zombie and \u003ca href=\"https://www.youtube.com/watch?v=h4XRPljaFzc\">accidentally killed him\u003c/a>? Not only was it probably the greatest cameo in recent movie memory, but in the process of filming it, the real-life Murray apparently also got bitten by the zombie bug.\u003c/p>\n\u003cp>This year, not only is he re-appearing as himself in the \u003ca href=\"https://www.imdb.com/title/tt1560220/?ref_=nv_sr_1\">\u003cem>Zombieland \u003c/em>sequel\u003c/a>, Murray is also starring in \u003cem>The Dead Don't Die\u003c/em>, alongside Selena Gomez, Chloë Sevigny, Steve Buscemi and Adam Driver. As zombie reckonings go, this one—written and directed by Jim Jarmusch—looks particularly epic.\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/bs5ZOcU6Bnw'\n title='//www.youtube.com/embed/bs5ZOcU6Bnw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That Bill Murray is showing up in two zombie-comedies this year isn't particularly surprising, all things considered. This very niche but unrelentingly popular movie category has had an unstoppable run since \u003ca href=\"https://www.imdb.com/title/tt0365748/?ref_=nv_sr_1\">\u003cem>Shaun of the Dead\u003c/em>\u003c/a> ambled onto our screens in 2004. Like Simon Pegg's TV show \u003cem>Spaced \u003c/em>before it, \u003cem>Shaun\u003c/em> blended action and dry humor with smart references to old movies (\u003cem>Dawn of the Dead\u003c/em>, \u003cem>Night of the Living Dead\u003c/em> and directors John Landis and Lucio Fulci \u003ca href=\"https://heavy.com/entertainment/2010/10/shaun-of-the-dead-secret-zombie-references-buried-in-the-film/\">all got nods\u003c/a>). Along the way, the film accidentally invented a new genre—the zom-com (although, technically, it called itself a \"\u003ca href=\"https://www.urbandictionary.com/define.php?term=rom-zom-com\">rom-zom-com\u003c/a>\").\u003c/p>\n\u003cp>Long before \u003cem>Shaun\u003c/em>, horror lovers had known the joy of combining the undead with comedy. It started in 1978 with \u003cem>Dawn of the Dead, \u003c/em>a zombie horror movie that used bouts of humor to break the tension. Three years later, \u003cem>American Werewolf in London \u003c/em>followed \u003cem>Dead\u003c/em>'s example, using Jack—David's \u003ca href=\"https://www.youtube.com/watch?v=LLs-Oreo_bk\">slowly rotting, undead best friend\u003c/a>—almost entirely as a vehicle for comic relief. 1985's \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0089907/?ref_=nv_sr_1\">Return of the Living Dead\u003c/a>, '\u003c/em>88's \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0095990/?ref_=fn_al_tt_2\">Return of the Living Dead Pt. 2\u003c/a>\u003c/em> and 1992's \u003ca href=\"https://www.imdb.com/title/tt0103873/?ref_=nv_sr_1\">\u003cem>Dead Alive\u003c/em>\u003c/a> (a Peter Jackson movie!) were all self-consciously ridiculous—more farce than frightening.\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/J2Ws0QEADsU'\n title='//www.youtube.com/embed/J2Ws0QEADsU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At their core though, zombie films were always intended to be the thinking person's horror sub-category. \u003cem>Night of the Living Dead\u003c/em> was about racism in America; \u003cem>Dawn of the Dead\u003c/em> was about capitalism run amok; \u003cem>World War Z\u003c/em> was about governments made ineffectual by their own bureaucracy. Zombie horror audiences were never just watching for the blood and the brains—the movies always meant something more.\u003c/p>\n\u003cp>Zom-coms, then, are the logical end-point for horror audiences in the post-modern age. These days, audiences have become too worldly for a straight-forward horror allegory and need horror movies to acknowledge that monsters are a bit silly. When zom-com movie characters retain their eye-rolling calm in the face of gory catastrophe, they are serving as an extension of the audience's own cynicism. It's why Aubrey Plaza was the perfect person to star in \u003cem>Life After Beth\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pVtaRAAWJss'\n title='//www.youtube.com/embed/pVtaRAAWJss'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The key to the success of every good zom-com is the juxtaposition of horrific circumstances and everyday mundanity. Movies like \u003cem>Zombieland\u003c/em>, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt1588173/?ref_=nv_sr_1\">Warm Bodies\u003c/a>,\u003c/em> \u003ca href=\"https://www.imdb.com/title/tt1362058/?ref_=fn_al_tt_1\">\u003cem>Cockneys Vs Zombies\u003c/em>\u003c/a> and \u003ca href=\"https://www.imdb.com/title/tt6433880/?ref_=fn_al_tt_1\">\u003cem>Anna And The Apocalypse\u003c/em>\u003c/a>\u003cem>, \u003c/em>as well as TV shows like \u003cem>\u003ca href=\"https://www.imdb.com/title/tt3501584/?ref_=nv_sr_1\">iZombie\u003c/a> and \u003ca href=\"https://www.imdb.com/title/tt5580540/?ref_=fn_al_tt_1\">Santa Clarita Diet\u003c/a> \u003c/em>(Netflix is \u003ca href=\"https://www.cnn.com/2019/04/27/entertainment/santa-clarita-diet-canceled-netflix/index.html\">never getting forgiven\u003c/a> for canceling that last one), all use that combination to achieve both humor and tension. The amalgamation not only gives these movies a semblance of relatable everyday ordinariness sometimes lacking in traditional horror, but it also acts as a metaphor for how huge catastrophes beyond our control sometimes land on us at home, where we are supposed to be safest.\u003c/p>\n\u003cp>Professor Sara Sutler-Cohen \u003ca href=\"https://www.academia.edu/2376239/_Plans_Are_Pointless_Staying_alive_is_as_good_as_it_gets._Zombie_Sociology_and_The_Politics_of_Survival\">writes\u003c/a>: \"What recent filmic incarnations of the Zombie tell us is that we must micromanage our lives as the mysterious (or not so) veil of death is lifted, and the stench of rot surrounds us... Zombified humor continues to be refined today, the terror of the possibility of a life with the roaming dead has once again morphed and the joke is seated comfortably in the possibility that a future with Zombies just might be real.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In an age of sharp divisions and of overarching, exhausted cynicism, the zom-com offers us a guidebook on what to do when the worst happens. Part of the appeal is in how disarmingly attainable the solution is: carry on, roll with the punches, and, when the worst does happen, find humor by any means necessary.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "8 Ways 'Bob's Burgers' Is Pure Bay Area",
"title": "8 Ways 'Bob's Burgers' Is Pure Bay Area",
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"content": "\u003cp>The people in charge of \u003cem>Bob's Burgers\u003c/em> have denied it repeatedly. “We set it firmly in the Northeast because of the way Linda sounds, and Teddy,” show creator \u003ca href=\"https://ew.com/article/2012/08/17/bobs-burgers-interview-bouchard-benjamin/\" target=\"_blank\" rel=\"noopener noreferrer\">Loren Bouchard told \u003cem>Entertainment Weekly\u003c/em>\u003c/a>. \"Because it’s this seaside, past-its-prime, dusty old town, we kind of felt like that puts it pretty close to those Coney Island, New York-New Jersey shore parts.”\u003c/p>\n\u003cp>For anyone living in Northern California, though, much about \u003cem>Bob's Burgers\u003c/em> screams Bay Area. Let us count the ways...\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Bob's Restaurant Is From The Mission\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-111683 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/11114b7feaafb4e955ca276dd0b581f5.jpg\" alt=\"\" width=\"720\" height=\"405\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/11114b7feaafb4e955ca276dd0b581f5.jpg 720w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/11114b7feaafb4e955ca276dd0b581f5-160x90.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/p>\n\u003cp>No other city in the country has buildings that look like this. Bouchard admits that the show \"has all that Victorian architecture from San Francisco because I was living there when we developed the show.\" SF-based artist and illustrator Sirron Norris (you probably know him via the \u003ca href=\"https://www.kqed.org/pop/102978/a-guide-to-san-francisco-murals-and-the-artists-who-make-them\" target=\"_blank\" rel=\"noopener noreferrer\">blue teddy bears\u003c/a> he paints all over the city) was the \u003ca href=\"http://www.sirronnorris.com/about\" target=\"_blank\" rel=\"noopener noreferrer\">lead artist\u003c/a> on \u003cem>Bob's Burgers\u003c/em>, and says the show's restaurant was directly lifted \u003ca href=\"https://hoodline.com/2016/11/bob-s-burgers-mural-at-rhea-s-cafe-pays-homage-to-show-s-sf-roots\" target=\"_blank\" rel=\"noopener noreferrer\">from the Mission District\u003c/a>: \"Loren lived on 20th. The house he used to live in is the model for the restaurant.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Mr. Fischoeder Lives In The Winchester Mystery House\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_111684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111684\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/capture37-800x450.png\" alt='A scene from \"The Oeder Games.\"' width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/capture37-800x450.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/capture37-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/capture37-768x432.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/capture37-1020x573.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/capture37.png 1082w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from \"The Oeder Games.\" \u003ccite>('Bob's Burgers'/FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It's a simplified version, of course, but Mr. Fischoeder's elaborate estate—seen in detail in Season 5's \"The Oeder Games\"—is clearly, from the huge porch to the turrets on either side, based on San Jose's \u003ca href=\"https://winchestermysteryhouse.com/\">Winchester Mystery House\u003c/a>. With the main colorful structure and its accompanying weird treehouse and manicured grounds, the Belchers' landlord lives in a creation that could've come directly from the minds of Sarah Winchester and her mediums.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Neighborhood Is Very LGBTQ-Friendly\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_111688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111688\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/vy43sop2cg621-800x369.jpg\" alt=\"It's not a party in 'Bob's Burgers' until Marshmallow shows up.\" width=\"800\" height=\"369\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621-800x369.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621-160x74.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621-768x355.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621-1020x471.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621-1200x554.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621-1920x887.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It's not a party in 'Bob's Burgers' until Marshmallow shows up. \u003ccite>('Bob's Burgers'/FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A full list of all the LGBTQ-friendly moments in \u003cem>Bob's Burgers\u003c/em> could fill its own article, but it's fair to say that the nightlife around the Wonder Wharf (which has a bar called The Bear Trap) is welcoming to the LGBTQ community on a San Francisco level. There's the time Bob befriended \u003ca href=\"https://www.youtube.com/watch?v=ttw3ZN4sx6g\" target=\"_blank\" rel=\"noopener noreferrer\">a \"fabulous\" trio\u003c/a> while driving a cab, and the time the drag queen Cleavage To Beaver performed what's essentially a disco version of \"Born This Way\" at a Christmas party. Best of all, there's \u003ca href=\"https://www.youtube.com/watch?v=p_6ua-PGWPk\" target=\"_blank\" rel=\"noopener noreferrer\">Marshmallow\u003c/a>—a trans sex worker who befriends the Belchers and is treated like just any other gal in the neighborhood. The world of \u003cem>Bob's Burgers\u003c/em> never discriminates.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>This Blatant Reference To The \u003ca href=\"https://www.boomboomroom.com/\">Boom Boom Room\u003c/a>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_111909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111909\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM-800x449.png\" alt=\"From Season 2's "Food Truckin'" episode.\" width=\"800\" height=\"449\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM-800x449.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM-768x431.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM-1020x572.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM-1200x673.png 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM.png 1358w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From Season 2's \"Food Truckin'\" episode. \u003ccite>('Bob's Burgers'/FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Season 2, Bob takes his burgers on the road with a food truck. When he's out finding drunk people to feed, he ends up... here. Its name's similarity to \u003ca href=\"https://www.boomboomroom.com/\" rel=\"noopener noreferrer\" target=\"_blank\">the venerable blues club in the Fillmore\u003c/a> can't be a coincidence. Fun fact! The liquor store next to The Womb Womb Room is named after \u003cem>Bob's Burgers\u003c/em> Supervising Director, \u003ca href=\"https://twitter.com/derriman\" target=\"_blank\" rel=\"noopener noreferrer\">Bernard Derriman\u003c/a>.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Jimmy Pesto Is The Image Of Huey Lewis\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_112038\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-112038\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/huey-jimmy-800x400.jpg\" alt=\"Jimmy Pesto is basically Huey Lewis in cartoon form.\" width=\"800\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy-800x400.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy-160x80.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy-768x384.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy-1020x510.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy-1200x600.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy-1920x960.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jimmy Pesto is basically Huey Lewis in cartoon form.\u003c/figcaption>\u003c/figure>\n\u003cp>One is a San Francisco musical treasure. The other is an Italian restaurant-owning bully. But Huey Lewis and Jimmy Pesto bear all the same physical features, from their identical haircuts and soulful eyebrows down to their irresistibly dimpled chins. This has always felt like a conscious decision on the part of the animators, but Season 9 really hammered the point home. First, in \"Nightmare on Ocean Avenue Street,\" the kids trick-or-treat in a store titled \"Shoe-y Lewis and the Shoes.\" Then, in \"Bob Your Pardon,\" a nosy reporter utters the immortal phrase: \"Well, somebody better call Huey Lewis, because I may have found myself some news...\" That is, indeed, the power of love.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>There's A Bay To Breakers Episode\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ts2KV7AzlsQ\u003c/p>\n\u003cp>Here's an exchange between the Belchers about the annual \"Bog to Beach\" parade.\u003c/p>\n\u003cp>\u003cstrong>Linda:\u003c/strong> “All the free spirits out on the street having a blast... You drink a lot, you wear crazy costumes.”\u003cbr>\n\u003cstrong>Tina:\u003c/strong> “And some people don’t wear costumes, or \u003cem>anything\u003c/em>. Sun’s out, buns out, am I right?”\u003cbr>\n\u003cstrong>Bob:\u003c/strong> “It gets a little out of control. People pee everywhere.”\u003c/p>\n\u003cp>If that's not a description of \u003ca href=\"https://en.wikipedia.org/wiki/Bay_to_Breakers\" target=\"_blank\" rel=\"noopener noreferrer\">Bay to Breakers\u003c/a>, then Tina isn't in love with Jimmy Jr.'s butt.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Wharf Arts Center Is Clearly In San Jose\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_111691\" class=\"wp-caption aligncenter\" style=\"max-width: 602px\">\u003cimg class=\"size-full wp-image-111691\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/Screen-Shot-2019-05-07-at-3.28.22-PM.png\" alt=\"The Wharf Arts Center in 'Bob's Burgers.'\" width=\"602\" height=\"337\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-07-at-3.28.22-PM.png 602w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-07-at-3.28.22-PM-160x90.png 160w\" sizes=\"(max-width: 602px) 100vw, 602px\">\u003cfigcaption class=\"wp-caption-text\">The Wharf Arts Center in 'Bob's Burgers.' \u003ccite>('Bob's Burgers'/FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Wharf Arts Center (or \"War! Farts!\" if you're Gene) just so happens to be almost identical to the distinctive exterior of \u003ca href=\"https://en.wikipedia.org/wiki/San_Jose_Center_for_the_Performing_Arts\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose's Center For Performing Arts\u003c/a>. Clearly no accident.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Linda Worries About Earthquakes\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_111959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111959\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/maxresdefault-1-800x450.jpg\" alt='Linda, Bob and Gene try to rescue Louise in \"The Belchies.\"' width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/maxresdefault-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/maxresdefault-1-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/maxresdefault-1-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/maxresdefault-1-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/maxresdefault-1-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/maxresdefault-1.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Linda, Bob and Gene try to rescue Louise in \"The Belchies.\" \u003ccite>('Bob's Burgers'/FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Season 2, \u003cem>Bob's Burgers\u003c/em> spoofed \u003cem>The Goonies\u003c/em> with an episode titled \"The Belchies.\" As Bob and Linda rush to rescue their treasure-hunting children from the old taffy factory in town, contractors begin to demolish it. While rubble falls around them, Linda exclaims \"Maybe it's an earthquake!\" That response is infinitely more San Francisco than New Jersey.\u003c/p>\n\u003cp>We'll leave you with the best thing about that episode: \"Taffy Butt\"—Cyndi Lauper's parody of her very own \u003ca href=\"https://www.youtube.com/watch?v=LxLhytQ67fs\" target=\"_blank\" rel=\"noopener noreferrer\">\"Goonies 'R' Good Enough\"\u003c/a> hit, complete with Jimmy Jr. doing the warehouse routine from \u003cem>Footloose\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8qSQDKYivHk\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All of the above is conclusive proof that, while \u003cem>Bob's Burgers\u003c/em> may be officially on the East Coast, it definitely left its heart in San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The people in charge of \u003cem>Bob's Burgers\u003c/em> have denied it repeatedly. “We set it firmly in the Northeast because of the way Linda sounds, and Teddy,” show creator \u003ca href=\"https://ew.com/article/2012/08/17/bobs-burgers-interview-bouchard-benjamin/\" target=\"_blank\" rel=\"noopener noreferrer\">Loren Bouchard told \u003cem>Entertainment Weekly\u003c/em>\u003c/a>. \"Because it’s this seaside, past-its-prime, dusty old town, we kind of felt like that puts it pretty close to those Coney Island, New York-New Jersey shore parts.”\u003c/p>\n\u003cp>For anyone living in Northern California, though, much about \u003cem>Bob's Burgers\u003c/em> screams Bay Area. Let us count the ways...\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Bob's Restaurant Is From The Mission\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-111683 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/11114b7feaafb4e955ca276dd0b581f5.jpg\" alt=\"\" width=\"720\" height=\"405\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/11114b7feaafb4e955ca276dd0b581f5.jpg 720w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/11114b7feaafb4e955ca276dd0b581f5-160x90.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/p>\n\u003cp>No other city in the country has buildings that look like this. Bouchard admits that the show \"has all that Victorian architecture from San Francisco because I was living there when we developed the show.\" SF-based artist and illustrator Sirron Norris (you probably know him via the \u003ca href=\"https://www.kqed.org/pop/102978/a-guide-to-san-francisco-murals-and-the-artists-who-make-them\" target=\"_blank\" rel=\"noopener noreferrer\">blue teddy bears\u003c/a> he paints all over the city) was the \u003ca href=\"http://www.sirronnorris.com/about\" target=\"_blank\" rel=\"noopener noreferrer\">lead artist\u003c/a> on \u003cem>Bob's Burgers\u003c/em>, and says the show's restaurant was directly lifted \u003ca href=\"https://hoodline.com/2016/11/bob-s-burgers-mural-at-rhea-s-cafe-pays-homage-to-show-s-sf-roots\" target=\"_blank\" rel=\"noopener noreferrer\">from the Mission District\u003c/a>: \"Loren lived on 20th. The house he used to live in is the model for the restaurant.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Mr. Fischoeder Lives In The Winchester Mystery House\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_111684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111684\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/capture37-800x450.png\" alt='A scene from \"The Oeder Games.\"' width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/capture37-800x450.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/capture37-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/capture37-768x432.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/capture37-1020x573.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/capture37.png 1082w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from \"The Oeder Games.\" \u003ccite>('Bob's Burgers'/FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It's a simplified version, of course, but Mr. Fischoeder's elaborate estate—seen in detail in Season 5's \"The Oeder Games\"—is clearly, from the huge porch to the turrets on either side, based on San Jose's \u003ca href=\"https://winchestermysteryhouse.com/\">Winchester Mystery House\u003c/a>. With the main colorful structure and its accompanying weird treehouse and manicured grounds, the Belchers' landlord lives in a creation that could've come directly from the minds of Sarah Winchester and her mediums.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Neighborhood Is Very LGBTQ-Friendly\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_111688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111688\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/vy43sop2cg621-800x369.jpg\" alt=\"It's not a party in 'Bob's Burgers' until Marshmallow shows up.\" width=\"800\" height=\"369\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621-800x369.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621-160x74.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621-768x355.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621-1020x471.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621-1200x554.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621-1920x887.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It's not a party in 'Bob's Burgers' until Marshmallow shows up. \u003ccite>('Bob's Burgers'/FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A full list of all the LGBTQ-friendly moments in \u003cem>Bob's Burgers\u003c/em> could fill its own article, but it's fair to say that the nightlife around the Wonder Wharf (which has a bar called The Bear Trap) is welcoming to the LGBTQ community on a San Francisco level. There's the time Bob befriended \u003ca href=\"https://www.youtube.com/watch?v=ttw3ZN4sx6g\" target=\"_blank\" rel=\"noopener noreferrer\">a \"fabulous\" trio\u003c/a> while driving a cab, and the time the drag queen Cleavage To Beaver performed what's essentially a disco version of \"Born This Way\" at a Christmas party. Best of all, there's \u003ca href=\"https://www.youtube.com/watch?v=p_6ua-PGWPk\" target=\"_blank\" rel=\"noopener noreferrer\">Marshmallow\u003c/a>—a trans sex worker who befriends the Belchers and is treated like just any other gal in the neighborhood. The world of \u003cem>Bob's Burgers\u003c/em> never discriminates.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>This Blatant Reference To The \u003ca href=\"https://www.boomboomroom.com/\">Boom Boom Room\u003c/a>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_111909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111909\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM-800x449.png\" alt=\"From Season 2's "Food Truckin'" episode.\" width=\"800\" height=\"449\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM-800x449.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM-768x431.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM-1020x572.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM-1200x673.png 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM.png 1358w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From Season 2's \"Food Truckin'\" episode. \u003ccite>('Bob's Burgers'/FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Season 2, Bob takes his burgers on the road with a food truck. When he's out finding drunk people to feed, he ends up... here. Its name's similarity to \u003ca href=\"https://www.boomboomroom.com/\" rel=\"noopener noreferrer\" target=\"_blank\">the venerable blues club in the Fillmore\u003c/a> can't be a coincidence. Fun fact! The liquor store next to The Womb Womb Room is named after \u003cem>Bob's Burgers\u003c/em> Supervising Director, \u003ca href=\"https://twitter.com/derriman\" target=\"_blank\" rel=\"noopener noreferrer\">Bernard Derriman\u003c/a>.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Jimmy Pesto Is The Image Of Huey Lewis\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_112038\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-112038\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/huey-jimmy-800x400.jpg\" alt=\"Jimmy Pesto is basically Huey Lewis in cartoon form.\" width=\"800\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy-800x400.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy-160x80.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy-768x384.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy-1020x510.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy-1200x600.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy-1920x960.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jimmy Pesto is basically Huey Lewis in cartoon form.\u003c/figcaption>\u003c/figure>\n\u003cp>One is a San Francisco musical treasure. The other is an Italian restaurant-owning bully. But Huey Lewis and Jimmy Pesto bear all the same physical features, from their identical haircuts and soulful eyebrows down to their irresistibly dimpled chins. This has always felt like a conscious decision on the part of the animators, but Season 9 really hammered the point home. First, in \"Nightmare on Ocean Avenue Street,\" the kids trick-or-treat in a store titled \"Shoe-y Lewis and the Shoes.\" Then, in \"Bob Your Pardon,\" a nosy reporter utters the immortal phrase: \"Well, somebody better call Huey Lewis, because I may have found myself some news...\" That is, indeed, the power of love.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>There's A Bay To Breakers Episode\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/ts2KV7AzlsQ'\n title='//www.youtube.com/embed/ts2KV7AzlsQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here's an exchange between the Belchers about the annual \"Bog to Beach\" parade.\u003c/p>\n\u003cp>\u003cstrong>Linda:\u003c/strong> “All the free spirits out on the street having a blast... You drink a lot, you wear crazy costumes.”\u003cbr>\n\u003cstrong>Tina:\u003c/strong> “And some people don’t wear costumes, or \u003cem>anything\u003c/em>. Sun’s out, buns out, am I right?”\u003cbr>\n\u003cstrong>Bob:\u003c/strong> “It gets a little out of control. People pee everywhere.”\u003c/p>\n\u003cp>If that's not a description of \u003ca href=\"https://en.wikipedia.org/wiki/Bay_to_Breakers\" target=\"_blank\" rel=\"noopener noreferrer\">Bay to Breakers\u003c/a>, then Tina isn't in love with Jimmy Jr.'s butt.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Wharf Arts Center Is Clearly In San Jose\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_111691\" class=\"wp-caption aligncenter\" style=\"max-width: 602px\">\u003cimg class=\"size-full wp-image-111691\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/Screen-Shot-2019-05-07-at-3.28.22-PM.png\" alt=\"The Wharf Arts Center in 'Bob's Burgers.'\" width=\"602\" height=\"337\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-07-at-3.28.22-PM.png 602w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-07-at-3.28.22-PM-160x90.png 160w\" sizes=\"(max-width: 602px) 100vw, 602px\">\u003cfigcaption class=\"wp-caption-text\">The Wharf Arts Center in 'Bob's Burgers.' \u003ccite>('Bob's Burgers'/FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Wharf Arts Center (or \"War! Farts!\" if you're Gene) just so happens to be almost identical to the distinctive exterior of \u003ca href=\"https://en.wikipedia.org/wiki/San_Jose_Center_for_the_Performing_Arts\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose's Center For Performing Arts\u003c/a>. Clearly no accident.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Linda Worries About Earthquakes\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_111959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111959\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/maxresdefault-1-800x450.jpg\" alt='Linda, Bob and Gene try to rescue Louise in \"The Belchies.\"' width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/maxresdefault-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/maxresdefault-1-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/maxresdefault-1-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/maxresdefault-1-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/maxresdefault-1-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/maxresdefault-1.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Linda, Bob and Gene try to rescue Louise in \"The Belchies.\" \u003ccite>('Bob's Burgers'/FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Season 2, \u003cem>Bob's Burgers\u003c/em> spoofed \u003cem>The Goonies\u003c/em> with an episode titled \"The Belchies.\" As Bob and Linda rush to rescue their treasure-hunting children from the old taffy factory in town, contractors begin to demolish it. While rubble falls around them, Linda exclaims \"Maybe it's an earthquake!\" That response is infinitely more San Francisco than New Jersey.\u003c/p>\n\u003cp>We'll leave you with the best thing about that episode: \"Taffy Butt\"—Cyndi Lauper's parody of her very own \u003ca href=\"https://www.youtube.com/watch?v=LxLhytQ67fs\" target=\"_blank\" rel=\"noopener noreferrer\">\"Goonies 'R' Good Enough\"\u003c/a> hit, complete with Jimmy Jr. doing the warehouse routine from \u003cem>Footloose\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8qSQDKYivHk'\n title='//www.youtube.com/embed/8qSQDKYivHk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>All of the above is conclusive proof that, while \u003cem>Bob's Burgers\u003c/em> may be officially on the East Coast, it definitely left its heart in San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "How The Music Of 'Sesame Street' Keeps Up With The Times",
"title": "How The Music Of 'Sesame Street' Keeps Up With The Times",
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"content": "\u003cp>\u003cem>Sesame Street, \u003c/em>the award-winning children's program turns 50 this year. As the iconic TV program has aged, it has managed to stay musically apace with its forever-young audience. It's not an easy task, but it's one that the show's creators prioritize for the sake of children's education. While \u003ca href=\"https://www.npr.org/2019/06/10/730381700/sesame-street-tiny-desk-concert\">Big Bird, Elmo & co. paid a visit to the Tiny Desk\u003c/a>, \u003cem>Sesame Street\u003c/em>'s Senior Vice President of Curriculum and Content Rosemarie Truglio and Musical Director Bill Sherman spoke about making music for the show through the decades.\u003c/p>\n\u003cp>\"The show is driven by what we call a whole-child curriculum, to help kids get ready for school,\" Truglio explains. This curriculum covers personal health and social emotional development in addition to academic skills. For instance, Truglio suggests, think of the lyrics in the \u003cem>Sesame Street \u003c/em>classic \"Sing,\" written for the show in 1971. \"[That song] is about the importance of music in your life, and that you make music with your voice,\" she says. \"And it's about confidence. 'Sing a song and be proud of how you're singing; don't worry about how your voice sounds.'\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sU0MIJI-iio\u003c/p>\n\u003cp>From 1969 to 2019, the music of \u003cem>Sesame Street \u003c/em>has aimed to educate young audiences. \u003cem>Sesame Street\u003c/em>'s central educational goal has held steady over the years, but its sound has not. What Sherman describes as a vaudeville-esque sound in the earliest seasons of the 1960s and '70s shifted into genres more contemporary to the decades that followed. In recent seasons, guest stars like \u003ca href=\"https://www.npr.org/artists/699307856/jonas-brothers\">Nick Jonas\u003c/a> and will.i.am have performed \u003cem>Sesame Street \u003c/em>originals on the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TIRdMFo-h4U\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"I think that's what \u003cem>Sesame Street \u003c/em>has done successfully, is sort of, at least sonically, change with the times,\" Sherman says of the show's continuously evolving musical style. To keep educating viewers, the music of the show has to adapt to their changing taste of the audience. \"I think Rosemarie would tell you that our biggest thing is about making sure, at least from a song standpoint, that the kids can remember what we're trying to teach,\" he says.\u003c/p>\n\u003cp>Truglio does, indeed, echo this point. When she hears a proposed song for the show, she listens carefully for potential auditory appeal to children. \"It's got to be appealing and engaging, because without appeal and engagement, we can't teach,\" she says. \"So we are going to be listening for that, and making sure that it's relevant.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pWp6kkz-pnQ\u003c/p>\n\u003cp>In the name of relevance, Sherman calls his two young daughters' taste \"the best litmus test\" for songs he needs to test out. \"If they don't like my song within the first ten seconds, I throw it away and start again because their ears are so in-tune to that kind of music,\" he explains.\u003c/p>\n\u003cp>Sherman and Truglio take such measures of the show's ability to connect with young viewers through music very seriously. If the basic sound of the music appeals to children watching the program, then the lyrics are much more likely to impart the valuable lessons they carry.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fZ9WiuJPnNA\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Our mission on \u003cem>Sesame Street\u003c/em> is to create content to help kids grow smarter, stronger and kinder,\" Truglio says. \"It's a huge responsibility because we want to make sure that we assess later and we see learning impact.\"\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=50+Years+Young%3A+How+The+Music+Of+%27Sesame+Street%27+Keeps+Up+With+The+Times&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Sesame Street, \u003c/em>the award-winning children's program turns 50 this year. As the iconic TV program has aged, it has managed to stay musically apace with its forever-young audience. It's not an easy task, but it's one that the show's creators prioritize for the sake of children's education. While \u003ca href=\"https://www.npr.org/2019/06/10/730381700/sesame-street-tiny-desk-concert\">Big Bird, Elmo & co. paid a visit to the Tiny Desk\u003c/a>, \u003cem>Sesame Street\u003c/em>'s Senior Vice President of Curriculum and Content Rosemarie Truglio and Musical Director Bill Sherman spoke about making music for the show through the decades.\u003c/p>\n\u003cp>\"The show is driven by what we call a whole-child curriculum, to help kids get ready for school,\" Truglio explains. This curriculum covers personal health and social emotional development in addition to academic skills. For instance, Truglio suggests, think of the lyrics in the \u003cem>Sesame Street \u003c/em>classic \"Sing,\" written for the show in 1971. \"[That song] is about the importance of music in your life, and that you make music with your voice,\" she says. \"And it's about confidence. 'Sing a song and be proud of how you're singing; don't worry about how your voice sounds.'\"\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/sU0MIJI-iio'\n title='//www.youtube.com/embed/sU0MIJI-iio'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From 1969 to 2019, the music of \u003cem>Sesame Street \u003c/em>has aimed to educate young audiences. \u003cem>Sesame Street\u003c/em>'s central educational goal has held steady over the years, but its sound has not. What Sherman describes as a vaudeville-esque sound in the earliest seasons of the 1960s and '70s shifted into genres more contemporary to the decades that followed. In recent seasons, guest stars like \u003ca href=\"https://www.npr.org/artists/699307856/jonas-brothers\">Nick Jonas\u003c/a> and will.i.am have performed \u003cem>Sesame Street \u003c/em>originals on the show.\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/TIRdMFo-h4U'\n title='//www.youtube.com/embed/TIRdMFo-h4U'\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>\"I think that's what \u003cem>Sesame Street \u003c/em>has done successfully, is sort of, at least sonically, change with the times,\" Sherman says of the show's continuously evolving musical style. To keep educating viewers, the music of the show has to adapt to their changing taste of the audience. \"I think Rosemarie would tell you that our biggest thing is about making sure, at least from a song standpoint, that the kids can remember what we're trying to teach,\" he says.\u003c/p>\n\u003cp>Truglio does, indeed, echo this point. When she hears a proposed song for the show, she listens carefully for potential auditory appeal to children. \"It's got to be appealing and engaging, because without appeal and engagement, we can't teach,\" she says. \"So we are going to be listening for that, and making sure that it's relevant.\"\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/pWp6kkz-pnQ'\n title='//www.youtube.com/embed/pWp6kkz-pnQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the name of relevance, Sherman calls his two young daughters' taste \"the best litmus test\" for songs he needs to test out. \"If they don't like my song within the first ten seconds, I throw it away and start again because their ears are so in-tune to that kind of music,\" he explains.\u003c/p>\n\u003cp>Sherman and Truglio take such measures of the show's ability to connect with young viewers through music very seriously. If the basic sound of the music appeals to children watching the program, then the lyrics are much more likely to impart the valuable lessons they carry.\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/fZ9WiuJPnNA'\n title='//www.youtube.com/embed/fZ9WiuJPnNA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\"Our mission on \u003cem>Sesame Street\u003c/em> is to create content to help kids grow smarter, stronger and kinder,\" Truglio says. \"It's a huge responsibility because we want to make sure that we assess later and we see learning impact.\"\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=50+Years+Young%3A+How+The+Music+Of+%27Sesame+Street%27+Keeps+Up+With+The+Times&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sequels have come to seem inescapable in movies and TV, where the commercial logic is to keep a franchise going—even if it has nowhere to go. That's why I was leery of Season 2 of \u003cem>Big Little Lies\u003c/em>. I'd been a fan of the original HBO series, a sneaky deep blend of satire and mystery that built to a satisfying finale in which its sexually violent villain is killed and the show's five heroines testify that his death was an accident. The story was over. But the show was too successful to end.\u003c/p>\n\u003cp>And so we have Season 2, set a few months after the death. We're back in the entitled coastal enclave around Monterey, Calif., with its yoga classes, photo-op real estate and overbearing parents who treat the local grade school as their personal fiefdom. As a new school year begins, our heroines—now dubbed the Monterey Five—are dealing with the emotional aftermath of their big \u003cem>big\u003c/em> lie about the killing, as well as the littler untruths of daily life.\u003c/p>\n\u003cp>The tireless busybody Madeline (Reese Witherspoon) has alienated her loving but prickly husband, played by Adam Scott. Nicole Kidman's Celeste is grappling with the death of her abusive husband, whom she can't get out of her head. Jane (Shailene Woodley), a single mom who became pregnant after being raped, must cope with her son knowing who his father really was. Tech exec Renata—a deliciously histrionic character played by Laura Dern—is riding high, until her husband's business dealings go bad. Meanwhile, Zoë Kravitz's new age-y character, Bonnie—who actually did the killing—is in a funk over taking a human life.\u003c/p>\n\u003cp>The key to any sequel is to keep things the same yet add something extra. In a show like \u003cem>Big Little Lies\u003c/em>, that means the addition of Oscar-winning actor \u003ca href=\"https://www.npr.org/2016/08/10/489464731/meryl-streep-embodies-the-pull-of-music-in-florence-foster-jenkins\">Meryl Streep\u003c/a>, who isn't about to be shown up by Season 1's tremendous cast. Sporting vaguely rodential teeth, Streep is effortlessly dominating as Mary Louise, the dead man's grieving, slyly aggressive mother, who doubts the official version of her son's death and refuses to believe he was a sexual thug. Mary Louise flutters around the Monterey Five, an unsettling presence who keeps turning up like Lt. Columbo and keeps strewing slivers of glass into everything she says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eCWevZV945M\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Based on the novel by Liane Moriarty, the original \u003cem>Big Little Lies\u003c/em> took a seemingly idyllic community of suburban moms and showed the infernal stuff festering beneath it. This wasn't the most original idea ever, but the show deftly pulled you in with alluring surfaces—only to confront you with disturbing truths about sexual violence. The whole thing whooshed along with a mysterious sense of impending doom.\u003c/p>\n\u003cp>With the mysteries revealed, Moriarty and screenwriter David E. Kelley—plus a new director, Andrea Arnold—have adopted a slow-burn strategy this time out, at least in the three episodes screened for critics. Steeped in shame, anger and melancholy, the storytelling is moodier and less electric.\u003c/p>\n\u003cp>While this may ultimately prove deeper, it's initially less gripping. Although Kidman is terrific at capturing Celeste's confused sense of loss, for instance, these feelings are less dramatically compelling than Season 1's Emmy-winning portrait of a woman who fears but also desires her husband's sexualized violence.\u003c/p>\n\u003cp>That said, this sequel is worth seeing for its ensemble of leading ladies—maybe the greatest in TV history—who bring invention and life to every scene. Dern's Renata and Woodley's Jane are thinly drawn, but you scarcely notice because these actresses flesh them out with such skill.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I'd like to give a particular shoutout to Witherspoon, who, though the prime mover of the series, never got as much praise as she deserved for her smart, funny performance as Madeline, a woman with so many bees in her bonnet she might as well wear a hive. Controlling and insecure, Madeline is the show's glue and its most enjoyable character. I'd cheerfully watch a series about her sparring with the school principal, bickering with her teenage daughter, yelling at random drivers on the road and trying to save her marriage. \u003cem>Big Little Lies 3\u003c/em>, anyone?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=With+1+Huge+Lie+Revealed%2C+%27Big+Little+Lies%27+Season+2+Takes+A+Slow-Burn+Strategy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>When CBS All Access unveiled its new version of \u003cem>The Twilight Zone\u003c/em> earlier this year, the general consensus was that the initial episodes in the new series had \u003ca href=\"https://www.npr.org/2019/03/29/707977719/new-twilight-zone-reboot-pales-in-comparison-to-the-original\">fallen short\u003c/a> of Rod Serling's original version. Not only were they unworthy of \u003cem>The Twilight Zone\u003c/em> of old, but they also weren't nearly as good, or as smart, as a show that had begun in England in 2011,\u003cem> Black Mirror.\u003c/em>\u003c/p>\n\u003cp>Watching \u003cem>Black Mirror\u003c/em>'s three brand-new installments on Netflix makes it clear that the series, in our current TV universe, claims and holds the fantasy anthology series crown. Charlie Brooker and Annabel Jones head the team behind this show, which uses the technology of today—and the possible technology of tomorrow—to frame, inform or drive its stories.\u003c/p>\n\u003cp>Brooker wrote all three of these new episodes, and their scope is as wide as their impact is deep. One story is about a pop star whose personality is marketed in an Alexa-style computer figurine. Another is about a driver for an Uber-type company who blames a social media company for his personal tragedy. And a third—the most haunting and daring of the three—is about two buddies who try out a new, virtual reality version of a favorite hand-to-hand combat video game they played some 10 years earlier.\u003c/p>\n\u003cp>The video game episode is titled \"Striking Vipers,\" after the new VR game, and it's my favorite of the three, because I haven't been able to stop thinking about it. I was pretty sure I knew where this episode was going once the two characters dove into their game, but I was so wrong—and the larger questions that began being posed were so challenging—that I ended up being as blown away by the ideas as by the truly dazzling special effects.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2bVik34nWws\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That's not to slight the other new episodes, by the way. Each of them creates a new world, introduces new characters and sets in motion a story that ultimately goes deep in very uncharted territory. The episode called \"Smithereens\" stars Andrew Scott—the sexy priest \u003ca href=\"https://www.npr.org/2019/05/16/723961358/fleabag-returns-for-a-raunchy-2nd-season-and-quits-while-it-s-ahead\">in the new season of\u003c/a> Amazon's \u003cem>Fleabag\u003c/em>—as a hired driver who kidnaps a passenger. That passenger is played by Damson Idris—who, oddly enough, also appears in the new \u003cem>Twilight Zone\u003c/em> series. In that show's time-loop episode, called \"Replay,\" he plays a student heading for college who is confronted by one dangerous situation after another.\u003c/p>\n\u003cp>The \u003cem>Black Mirror\u003c/em> episode titled \"Rachel, Jack and Ashley Too\" stars Miley Cyrus as a pink-wigged pop star whose manipulative manager has found a new way to exploit her using a tiny new high-tech toy called Ashley Too. The toy, which is part artificial intelligence, part talking-and-dancing action figure, is aimed at teenage fans. And it clearly hits the target when a young girl named Rachel (Angourie Rice) gets Ashley Too as a gift, and turns it on with a voice command.\u003c/p>\n\u003cp>Fans of the original \u003cem>Twilight Zone\u003c/em> may be flashing back to the spooky \"Living Doll\" episode, in which a talking doll named Talky Tina ended up terrorizing Telly Savalas—and jumpstarting a generation of \u003cem>Chucky \u003c/em>movies. But once again, \u003cem>Black Mirror \u003c/em>is interested in going somewhere new. By the end, not only do we get a strong performance from Cyrus—but we also get to consider some very intriguing questions about the nature of celebrity, and the limits and expectations of fandom.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Notice that I've said almost nothing about what actually happens in these new episodes. That's because originality and uncertainty and unpredictability aren't just ingredients in the \u003cem>Black Mirror\u003c/em> stew. They \u003cem>are \u003c/em>the stew. And to experience just how good, and how different, this anthology series is—and has been, from the very start—you just have to sample it for yourself.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Originality+And+Uncertainty+Still+Reign+As+%27Black+Mirror%27+Enters+Its+5th+Season&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When CBS All Access unveiled its new version of \u003cem>The Twilight Zone\u003c/em> earlier this year, the general consensus was that the initial episodes in the new series had \u003ca href=\"https://www.npr.org/2019/03/29/707977719/new-twilight-zone-reboot-pales-in-comparison-to-the-original\">fallen short\u003c/a> of Rod Serling's original version. Not only were they unworthy of \u003cem>The Twilight Zone\u003c/em> of old, but they also weren't nearly as good, or as smart, as a show that had begun in England in 2011,\u003cem> Black Mirror.\u003c/em>\u003c/p>\n\u003cp>Watching \u003cem>Black Mirror\u003c/em>'s three brand-new installments on Netflix makes it clear that the series, in our current TV universe, claims and holds the fantasy anthology series crown. Charlie Brooker and Annabel Jones head the team behind this show, which uses the technology of today—and the possible technology of tomorrow—to frame, inform or drive its stories.\u003c/p>\n\u003cp>Brooker wrote all three of these new episodes, and their scope is as wide as their impact is deep. One story is about a pop star whose personality is marketed in an Alexa-style computer figurine. Another is about a driver for an Uber-type company who blames a social media company for his personal tragedy. And a third—the most haunting and daring of the three—is about two buddies who try out a new, virtual reality version of a favorite hand-to-hand combat video game they played some 10 years earlier.\u003c/p>\n\u003cp>The video game episode is titled \"Striking Vipers,\" after the new VR game, and it's my favorite of the three, because I haven't been able to stop thinking about it. I was pretty sure I knew where this episode was going once the two characters dove into their game, but I was so wrong—and the larger questions that began being posed were so challenging—that I ended up being as blown away by the ideas as by the truly dazzling special effects.\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/2bVik34nWws'\n title='//www.youtube.com/embed/2bVik34nWws'\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>That's not to slight the other new episodes, by the way. Each of them creates a new world, introduces new characters and sets in motion a story that ultimately goes deep in very uncharted territory. The episode called \"Smithereens\" stars Andrew Scott—the sexy priest \u003ca href=\"https://www.npr.org/2019/05/16/723961358/fleabag-returns-for-a-raunchy-2nd-season-and-quits-while-it-s-ahead\">in the new season of\u003c/a> Amazon's \u003cem>Fleabag\u003c/em>—as a hired driver who kidnaps a passenger. That passenger is played by Damson Idris—who, oddly enough, also appears in the new \u003cem>Twilight Zone\u003c/em> series. In that show's time-loop episode, called \"Replay,\" he plays a student heading for college who is confronted by one dangerous situation after another.\u003c/p>\n\u003cp>The \u003cem>Black Mirror\u003c/em> episode titled \"Rachel, Jack and Ashley Too\" stars Miley Cyrus as a pink-wigged pop star whose manipulative manager has found a new way to exploit her using a tiny new high-tech toy called Ashley Too. The toy, which is part artificial intelligence, part talking-and-dancing action figure, is aimed at teenage fans. And it clearly hits the target when a young girl named Rachel (Angourie Rice) gets Ashley Too as a gift, and turns it on with a voice command.\u003c/p>\n\u003cp>Fans of the original \u003cem>Twilight Zone\u003c/em> may be flashing back to the spooky \"Living Doll\" episode, in which a talking doll named Talky Tina ended up terrorizing Telly Savalas—and jumpstarting a generation of \u003cem>Chucky \u003c/em>movies. But once again, \u003cem>Black Mirror \u003c/em>is interested in going somewhere new. By the end, not only do we get a strong performance from Cyrus—but we also get to consider some very intriguing questions about the nature of celebrity, and the limits and expectations of fandom.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Notice that I've said almost nothing about what actually happens in these new episodes. That's because originality and uncertainty and unpredictability aren't just ingredients in the \u003cem>Black Mirror\u003c/em> stew. They \u003cem>are \u003c/em>the stew. And to experience just how good, and how different, this anthology series is—and has been, from the very start—you just have to sample it for yourself.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Originality+And+Uncertainty+Still+Reign+As+%27Black+Mirror%27+Enters+Its+5th+Season&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Everything You Need To Know About 'Tales Of The City' Before The Netflix Update",
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"content": "\u003cp>In 2014, after Armistead Maupin released the final book in his \u003cem>Tales of the City\u003c/em> series, KQED Pop's \u003ca href=\"https://www.kqed.org/pop/10814/armistead-maupin-on-saying-goodbye-to-san-francisco-and-tales-of-the-city\">Tony Bravo wrote\u003c/a>, \"There's something melancholy yet appropriate about Maupin choosing to end his series at this particular point in the city's history; the San Francisco of the nearly 40 years of the series is changing rapidly and radically.\"\u003c/p>\n\u003cp>Tech domination and socio-economic inequality might dominate San Francisco's 2019 reality, but in the latest TV adaptation of Maupin's \u003cem>Tales\u003c/em>, the focus remains primarily on community, acceptance and the families we choose for ourselves. The trailer alone is a reminder of what a special haven the city has historically been—and still is in many ways. As Maupin himself once wrote: \"The worst of times in San Francisco was still better than the best of times somewhere else.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9IUSCVH61xw\u003c/p>\n\u003cp>Here then, is everything you need to know about \u003cem>Tales of the City\u003c/em> before the latest installment hits Netflix.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Birth Of The Books Was A Happy Accident\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The roots of Maupin's \u003cem>Tales\u003c/em> column started in the \u003cem>San Francisco Chronicle \u003c/em>after he attempted to write a 1976 article about the Marina Safeway. It was, at the time, a well-known pick-up joint every Wednesday night, but when Maupin failed to find any singles willing to talk honestly about what they were doing at the supermarket, he decided to transform the story into fiction. Maupin quickly made a deal with his editors that allowed him to write about gay characters too; they said as long as the gay characters only made up a third of the cast, it was okay. The community was impossible to keep out. As Maupin himself wrote: “In this town, the love that dare not speak its name never shuts up.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Maupin Loved San Francisco Before He Even Lived In It\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignright wp-image-112022\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/Screen-Shot-2019-05-21-at-4.22.09-PM.png\" alt=\"\" width=\"250\" height=\"315\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-21-at-4.22.09-PM.png 302w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-21-at-4.22.09-PM-160x201.png 160w\" sizes=\"(max-width: 250px) 100vw, 250px\">Originally hailing from Raleigh, North Carolina, the author's father was a Confederate flag-owning segregation supporter. Maupin did two tours of duty in the Navy, the bulk of which was spent working as a communications officer in Vietnam. (He returned there to build houses for disabled veterans after the war. ) The process of leaving the Navy in 1970 required Maupin to go to Treasure Island. “I stood there and looked at the city,\" he recalled. \"That extraordinary white vision rising above the blue water... [I] used to fantasize about living there… It wasn’t until several years later that I realized the dream could come true.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Tales\u003c/em> Helped People Come Out\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fbg6Ge0FqCI\u003c/p>\n\u003cp>The beautiful coming out letter that Michael wrote to his Anita Bryant-supporting parents in the original \u003cem>Tales of the City\u003c/em> book is based on Maupin’s own to his conservative parents. Others, including a caller to \u003ca href=\"https://www.kqed.org/forum/2010101870505/armistead-maupin-and-laura-linney-share-new-tales-of-the-city\">KQED's \u003cem>Forum\u003c/em>\u003c/a> last April, have since used it as a blueprint to come out to their own families. It reads in part:\u003c/p>\n\u003cblockquote>\u003cp>\"If you and Papa are responsible for the way I am, then I thank you with all my heart, for it's the light and the joy of my life... Being gay has taught me tolerance, compassion and humility. It has shown me the limitless possibilities of living. It has given me people whose passion and kindness and sensitivity have provided a constant source of strength. It has brought me into the family of man, Mama, and I like it here. I like it.\"\u003c/p>\u003c/blockquote>\n\u003cp style=\"text-align: center\">\u003cstrong>It Was A Major Step Forward For Trans Visibility\u003c/strong>\u003c/p>\n\u003cp>Though Maupin was permitted to introduce gay characters six weeks into writing his column, he was firmly prohibited from revealing Anna Madrigal's trans status for an entire year, \"or else we'd scare off the readers.\" That delay mattered little in the grand scheme of things. In a 1992\u003ca href=\"https://www.youtube.com/watch?v=v0kGn5xK6OY\"> BBC \u003cem>Arena\u003c/em> documentary\u003c/a>, Kate Bornstein, a transgender woman living in San Francisco, expressed how much \u003cem>Tales\u003c/em> meant to her growing up, saying, “I thought, if a city can accept a transexual character drawn with so much love, there is some hope.”\u003c/p>\n\u003cp>Maupin, executive producer of the new show, has said that a real trans woman would have been cast in the role of Anna Madrigal if it were being cast for the first time now. “When Olympia did [it] in 1992, no one else would touch it,\" Laura Linney confirmed on \u003cem>Forum\u003c/em>. \"And what she was able to do for the trans community then is something that had not been done before.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>28 Barbary Lane is Still in Russian Hill\u003c/strong>\u003c/p>\n\u003cp>Though 28 Barbary Lane is a fictitious address, it's based on the real-life Macondray Lane in Russian Hill, described in 1978's \u003cem>Tales Of The City\u003c/em> thusly:\u003c/p>\n\u003cblockquote>\u003cp>\"The house was on Barbary Lane, a narrow, wooded walk-way off Leavenworth between Union and Filbert. It was a well-weathered, three-story structure made of brown shingles. It made Mary Ann think of an old bear with bits of foliage caught in its fur. She liked it instantly.\"\u003c/p>\u003c/blockquote>\n\u003cp style=\"text-align: center\">\u003cstrong>The First \u003cem>Tales\u003c/em> TV Adaptation Is Now 26 Years Old\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">Just as SF residents are prone to revisiting Maupin's \u003cem>Tales\u003c/em> books, Laura Linney and Olivia Dukakis have been doing the same thing with their roles as Mary Ann Singleton and Anna Madrigal respectively, since 1993. At the time of that first adaptation—which also starred a gloriously freewheeling Parker Posey—the series had PBS's highest ever ratings for a drama. It also had the distinction of being one of the first positive portrayals of the LGBTQ community in TV history.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FOzpSSsJbV8\u003c/p>\n\u003cp>Linney and Dukakis reprised their roles on Showtime in 1998 and 2001. Back in April, Laura Linney told \u003ca href=\"https://www.kqed.org/forum/2010101870505/armistead-maupin-and-laura-linney-share-new-tales-of-the-city\">\u003cem>Forum\u003c/em>\u003c/a>: “There was something about walking back on that set again. Being able to step back into that world, into that house… It goes deep for me now… It means something to me, not just my character now.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The New Series Seems To Be Based On 2010's \u003cem>Mary Ann in Autumn\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The darkest of the \u003cem>Tales\u003c/em> books, 1989's \u003ca href=\"https://en.wikipedia.org/wiki/Sure_of_You\">\u003cem>Sure of You\u003c/em>\u003c/a> saw Mary Ann leaving San Francisco, her husband and her adopted daughter, Shawna, to pursue a prestigious TV job in New York. In 2010's \u003cem>Mary Ann In Autumn\u003c/em>, she returns to the city in ill-health, reconnecting with the loved ones of her past, including her estranged daughter, who is now a popular sex blogger. Though the Netflix adaptation isn't sticking with the plot exactly—in the book, Shawna was dating a professional clown named Otto; in the series, played by Ellen Page, she is involved with a woman named Claire (Zosia Mamet)—the bare bones probably remain similar. “We’ve hired queer writers to write the story,\" Maupin told \u003cem>Forum\u003c/em>, \"and they’ve shared their experiences.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Tales of the City \u003cem>premieres on Netflix, June 7.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2014, after Armistead Maupin released the final book in his \u003cem>Tales of the City\u003c/em> series, KQED Pop's \u003ca href=\"https://www.kqed.org/pop/10814/armistead-maupin-on-saying-goodbye-to-san-francisco-and-tales-of-the-city\">Tony Bravo wrote\u003c/a>, \"There's something melancholy yet appropriate about Maupin choosing to end his series at this particular point in the city's history; the San Francisco of the nearly 40 years of the series is changing rapidly and radically.\"\u003c/p>\n\u003cp>Tech domination and socio-economic inequality might dominate San Francisco's 2019 reality, but in the latest TV adaptation of Maupin's \u003cem>Tales\u003c/em>, the focus remains primarily on community, acceptance and the families we choose for ourselves. The trailer alone is a reminder of what a special haven the city has historically been—and still is in many ways. As Maupin himself once wrote: \"The worst of times in San Francisco was still better than the best of times somewhere else.”\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/9IUSCVH61xw'\n title='//www.youtube.com/embed/9IUSCVH61xw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here then, is everything you need to know about \u003cem>Tales of the City\u003c/em> before the latest installment hits Netflix.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Birth Of The Books Was A Happy Accident\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The roots of Maupin's \u003cem>Tales\u003c/em> column started in the \u003cem>San Francisco Chronicle \u003c/em>after he attempted to write a 1976 article about the Marina Safeway. It was, at the time, a well-known pick-up joint every Wednesday night, but when Maupin failed to find any singles willing to talk honestly about what they were doing at the supermarket, he decided to transform the story into fiction. Maupin quickly made a deal with his editors that allowed him to write about gay characters too; they said as long as the gay characters only made up a third of the cast, it was okay. The community was impossible to keep out. As Maupin himself wrote: “In this town, the love that dare not speak its name never shuts up.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Maupin Loved San Francisco Before He Even Lived In It\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignright wp-image-112022\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/Screen-Shot-2019-05-21-at-4.22.09-PM.png\" alt=\"\" width=\"250\" height=\"315\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-21-at-4.22.09-PM.png 302w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-21-at-4.22.09-PM-160x201.png 160w\" sizes=\"(max-width: 250px) 100vw, 250px\">Originally hailing from Raleigh, North Carolina, the author's father was a Confederate flag-owning segregation supporter. Maupin did two tours of duty in the Navy, the bulk of which was spent working as a communications officer in Vietnam. (He returned there to build houses for disabled veterans after the war. ) The process of leaving the Navy in 1970 required Maupin to go to Treasure Island. “I stood there and looked at the city,\" he recalled. \"That extraordinary white vision rising above the blue water... [I] used to fantasize about living there… It wasn’t until several years later that I realized the dream could come true.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Tales\u003c/em> Helped People Come Out\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fbg6Ge0FqCI'\n title='//www.youtube.com/embed/fbg6Ge0FqCI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The beautiful coming out letter that Michael wrote to his Anita Bryant-supporting parents in the original \u003cem>Tales of the City\u003c/em> book is based on Maupin’s own to his conservative parents. Others, including a caller to \u003ca href=\"https://www.kqed.org/forum/2010101870505/armistead-maupin-and-laura-linney-share-new-tales-of-the-city\">KQED's \u003cem>Forum\u003c/em>\u003c/a> last April, have since used it as a blueprint to come out to their own families. It reads in part:\u003c/p>\n\u003cblockquote>\u003cp>\"If you and Papa are responsible for the way I am, then I thank you with all my heart, for it's the light and the joy of my life... Being gay has taught me tolerance, compassion and humility. It has shown me the limitless possibilities of living. It has given me people whose passion and kindness and sensitivity have provided a constant source of strength. It has brought me into the family of man, Mama, and I like it here. I like it.\"\u003c/p>\u003c/blockquote>\n\u003cp style=\"text-align: center\">\u003cstrong>It Was A Major Step Forward For Trans Visibility\u003c/strong>\u003c/p>\n\u003cp>Though Maupin was permitted to introduce gay characters six weeks into writing his column, he was firmly prohibited from revealing Anna Madrigal's trans status for an entire year, \"or else we'd scare off the readers.\" That delay mattered little in the grand scheme of things. In a 1992\u003ca href=\"https://www.youtube.com/watch?v=v0kGn5xK6OY\"> BBC \u003cem>Arena\u003c/em> documentary\u003c/a>, Kate Bornstein, a transgender woman living in San Francisco, expressed how much \u003cem>Tales\u003c/em> meant to her growing up, saying, “I thought, if a city can accept a transexual character drawn with so much love, there is some hope.”\u003c/p>\n\u003cp>Maupin, executive producer of the new show, has said that a real trans woman would have been cast in the role of Anna Madrigal if it were being cast for the first time now. “When Olympia did [it] in 1992, no one else would touch it,\" Laura Linney confirmed on \u003cem>Forum\u003c/em>. \"And what she was able to do for the trans community then is something that had not been done before.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>28 Barbary Lane is Still in Russian Hill\u003c/strong>\u003c/p>\n\u003cp>Though 28 Barbary Lane is a fictitious address, it's based on the real-life Macondray Lane in Russian Hill, described in 1978's \u003cem>Tales Of The City\u003c/em> thusly:\u003c/p>\n\u003cblockquote>\u003cp>\"The house was on Barbary Lane, a narrow, wooded walk-way off Leavenworth between Union and Filbert. It was a well-weathered, three-story structure made of brown shingles. It made Mary Ann think of an old bear with bits of foliage caught in its fur. She liked it instantly.\"\u003c/p>\u003c/blockquote>\n\u003cp style=\"text-align: center\">\u003cstrong>The First \u003cem>Tales\u003c/em> TV Adaptation Is Now 26 Years Old\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">Just as SF residents are prone to revisiting Maupin's \u003cem>Tales\u003c/em> books, Laura Linney and Olivia Dukakis have been doing the same thing with their roles as Mary Ann Singleton and Anna Madrigal respectively, since 1993. At the time of that first adaptation—which also starred a gloriously freewheeling Parker Posey—the series had PBS's highest ever ratings for a drama. It also had the distinction of being one of the first positive portrayals of the LGBTQ community in TV history.\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/FOzpSSsJbV8'\n title='//www.youtube.com/embed/FOzpSSsJbV8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Linney and Dukakis reprised their roles on Showtime in 1998 and 2001. Back in April, Laura Linney told \u003ca href=\"https://www.kqed.org/forum/2010101870505/armistead-maupin-and-laura-linney-share-new-tales-of-the-city\">\u003cem>Forum\u003c/em>\u003c/a>: “There was something about walking back on that set again. Being able to step back into that world, into that house… It goes deep for me now… It means something to me, not just my character now.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The New Series Seems To Be Based On 2010's \u003cem>Mary Ann in Autumn\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The darkest of the \u003cem>Tales\u003c/em> books, 1989's \u003ca href=\"https://en.wikipedia.org/wiki/Sure_of_You\">\u003cem>Sure of You\u003c/em>\u003c/a> saw Mary Ann leaving San Francisco, her husband and her adopted daughter, Shawna, to pursue a prestigious TV job in New York. In 2010's \u003cem>Mary Ann In Autumn\u003c/em>, she returns to the city in ill-health, reconnecting with the loved ones of her past, including her estranged daughter, who is now a popular sex blogger. Though the Netflix adaptation isn't sticking with the plot exactly—in the book, Shawna was dating a professional clown named Otto; in the series, played by Ellen Page, she is involved with a woman named Claire (Zosia Mamet)—the bare bones probably remain similar. “We’ve hired queer writers to write the story,\" Maupin told \u003cem>Forum\u003c/em>, \"and they’ve shared their experiences.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tales of the City \u003cem>premieres on Netflix, June 7.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Not since he dressed up like \"Toxic\"-era Britney Spears and awkwardly spun around in a giant martini glass \u003ca href=\"https://www.youtube.com/watch?v=UrpaUZNkoy4\">for \u003cem>Lip Sync Battle, \u003c/em>\u003c/a>have we seen Antoni Porowski embrace his femme side. But in a new episode of \u003ca href=\"https://www.youtube.com/playlist?list=PLH2AwWZu87Peufq38lhcmFGKHKpFOgmiR\">\u003cem>Drag Me\u003c/em>\u003c/a>, \u003cem>Queer Eye\u003c/em>'s food guy submits to a full makeover—complete with feathery popsicle dress—by \u003cem>Drag Race\u003c/em> Season 10's Miz Cracker.\u003c/p>\n\u003cp>The 14-minute special sees Antoni opening up about his social anxiety, sexual fluidity and Polish heritage. Along the way, Miz Cracker gives \u003ca href=\"https://www.kqed.org/pop/102931/slumber-partying-like-its-1999-with-bob-the-drag-queen\">Bob the Drag Queen\u003c/a> props, gifts Antoni a bra \"with a story and a smell\" and explains in detail how to walk like a lady.\u003c/p>\n\u003cp>Watch the full episode, including the reveal of Antoni's drag alter-ego, Eva Cado:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tUw1Q2NP9As&feature=youtu.be\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not since he dressed up like \"Toxic\"-era Britney Spears and awkwardly spun around in a giant martini glass \u003ca href=\"https://www.youtube.com/watch?v=UrpaUZNkoy4\">for \u003cem>Lip Sync Battle, \u003c/em>\u003c/a>have we seen Antoni Porowski embrace his femme side. But in a new episode of \u003ca href=\"https://www.youtube.com/playlist?list=PLH2AwWZu87Peufq38lhcmFGKHKpFOgmiR\">\u003cem>Drag Me\u003c/em>\u003c/a>, \u003cem>Queer Eye\u003c/em>'s food guy submits to a full makeover—complete with feathery popsicle dress—by \u003cem>Drag Race\u003c/em> Season 10's Miz Cracker.\u003c/p>\n\u003cp>The 14-minute special sees Antoni opening up about his social anxiety, sexual fluidity and Polish heritage. Along the way, Miz Cracker gives \u003ca href=\"https://www.kqed.org/pop/102931/slumber-partying-like-its-1999-with-bob-the-drag-queen\">Bob the Drag Queen\u003c/a> props, gifts Antoni a bra \"with a story and a smell\" and explains in detail how to walk like a lady.\u003c/p>\n\u003cp>Watch the full episode, including the reveal of Antoni's drag alter-ego, Eva Cado:\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/tUw1Q2NP9As'\n title='//www.youtube.com/embed/tUw1Q2NP9As'\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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"disqusTitle": "The Ramadan Podcast Where Muslims Go Beyond 'Islam 101'",
"title": "The Ramadan Podcast Where Muslims Go Beyond 'Islam 101'",
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"content": "\u003cp>In a media landscape that can still be pretty awful for Muslims, \u003ca href=\"https://tell-them-i-am.scpr.org/\">\u003cem>Tell Them, I Am\u003c/em>\u003c/a>, a new podcast from KPCC, aims to give Muslims a space to define their own identities outside of stereotypes and broad generalizations.\u003c/p>\n\u003cp>Over the course of the series, host and producer Misha Euceph interviewed 22 people, all Muslims, about the defining moments of their lives. While the show dropped episodes every weekday of Ramadan, \u003cem>Tell Them, I Am\u003c/em> doesn't really have anything to do with the holiday. \"If somebody released something during Christmas time or during Hanukkah,\" Euceph says, \"they wouldn't necessarily be asked about like, what are important aspects of Christmas or Hanukkah.\"\u003c/p>\n\u003cp>It's in each guest's hands how much they want to talk about culture or religion; for some it's a central part of their story, for others it's mostly incidental. Tan France of Queer Eye \u003ca href=\"https://megaphone.link/KPC4654190347\">talks about\u003c/a> his first big \"I told you so,\" which involved his older brother and a metal fan. Ramy Youssef, creator of the Hulu show \u003cem>Ramy\u003c/em>, \u003ca href=\"https://megaphone.link/KPC9282014844\">talks about\u003c/a> the medical condition that catalyzed his acting career. Alia Shawkat \u003ca href=\"https://megaphone.link/KPC6837056702\">talks about\u003c/a> the extremes of her stoner-y teenage rebellion, including borrowing urine to cheat a drug test (Spoiler: It didn't work).\u003c/p>\n\u003cp>And every episode of the podcast offers glimpses into Euceph's story: the fashion she endured to be more popular in middle school; the glamour she didn't quite inherit from her mother; the drive to prove people wrong that sent her up actual mountains.\u003c/p>\n\u003cp>The idea for \u003cem>Tell Them, I Am\u003c/em> has been brewing in Euceph's head for at least a decade, maybe longer. She says that when she moved to the U.S. from Pakistan in 2003, being Muslim went from the default to a label that eclipsed her entire identity. The name of the show is about transcending that—it comes from a story in the Bible, where God responds to the question, \"Who are you?\" by saying, \"You can tell them that I am 'I am.'\" Not a name, not a category, simply, \"I am.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We called up Euceph to ask about the highlights of her interviews—our interview has been edited and condensed for clarity.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>There's been a lot in the media recently about Muslims observing Ramadan, whether it's Reps. Ilhan Omar and Rashida Tlaib \u003c/strong>\u003ca href=\"https://www.npr.org/2019/05/21/725308102/muslim-lawmakers-host-ramadan-feast-at-capitol\">\u003cstrong>breaking the fast at the Capitol\u003c/strong>\u003c/a>\u003cstrong> with other lawmakers, or Portland Trail Blazers center Enes Kanter \u003c/strong>\u003ca href=\"https://www.washingtonpost.com/opinions/2019/05/09/enes-kanter-when-ramadan-nba-playoffs-collide-my-faith-is-my-strength/?noredirect=on&utm_term=.f34ee5c5b8c7\">\u003cstrong>fasting through the height of the NBA playoffs\u003c/strong>\u003c/a>\u003cstrong>. These stories often focus on the challenges and spirituality of fasting. But is there anything deeper about Ramadan that people miss? \u003c/strong>\u003c/p>\n\u003cp>If somebody released something during Christmas time or during Hanukkah, they wouldn't necessarily be asked about like, what are important aspects of Christmas or Hanukkah. The way people often ask about Ramadan, it kinda goes to like, Islam 101.\u003c/p>\n\u003cp>We release this podcast during Ramadan because it's a time of community, and a lot of coverage is being focused on Muslims in that way, where there's this Ramadan 101 going on. But there's also like, \"What is a Muslim?\"\u003c/p>\n\u003cp>I think education about what it means to be Muslim and the rituals of being Muslim is one thing, but there's so much to Muslims beyond that. And so many Muslims are not even necessarily fasting during Ramadan, but they are experiencing some form of community that's different. And so I think just allowing them to exist outside of just those rituals and those Orthodox practices that we commonly associate with Muslims, and allowing them to be culturally Muslim and allowing them to tell their stories outside of those boxes.\u003c/p>\n\u003cp>\u003cstrong>In the \u003c/strong>\u003ca href=\"https://megaphone.link/KPC9167622305\">\u003cstrong>first episode\u003c/strong>\u003c/a>\u003cstrong> of your podcast, you talk about how there's only a few very specific ways that Muslims are depicted, but there aren't ever really times where they're shown as just normal. They're very much \"othered.\"\u003c/strong>\u003c/p>\n\u003cp>Yeah. For example, it's interesting to me that like Rashida Tlaib and Ilhan Omar are these congresswomen who are in positions of power, and they're doing things that are actually very much traditional. Like they're showing Muslims breaking their fast or they're like introducing people to like \"Oh, like this is what it means to be a Muslim.\" But there are also other aspects of Muslim culture that are a little bit deeper toned. There's a lot of Muslim music and Muslim art and I think there is so much more of that that could actually have more impact than educating people on what Ramadan means. No one else is going to fast to try to understand what it means to be Muslim, right? But people can see Muslim art or listen to Muslim music, even if they're not Muslim, and be impacted by it in the same way.\u003c/p>\n\u003cp>And so if there's something I want from people who are Muslim who are in positions of power, it's to get a little bit more nuanced. Because they are not thinking about the 101 aspect of being Muslim 24/7, so why are we dumbing it down for the general public? I think we actually will have a greater impact if we go a couple layers deeper.\u003c/p>\n\u003cp>\u003cstrong>Is there a moment you had while you were recording this show that you find especially powerful or memorable?\u003c/strong>\u003c/p>\n\u003cp>The [interview with \u003ca href=\"https://cms.megaphone.fm/channel/tellthemiam?selected=KPC4117929019\">Deana Haggag\u003c/a>, CEO of the arts funding organization United States Artists] literally blew me away. I knew she was going to talk about taking her dad to this DIY Art Space in New Jersey. I had no idea the way that she was going to frame it as this emotional and mental switch where she had been thinking that she was running away from her culture by pursuing the arts, and then she realized that the arts were actually inherently part of everything in her culture.\u003c/p>\n\u003cfigure id=\"attachment_112234\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg class=\"size-full wp-image-112234\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/06/deanna_haggag__sq-18dfe5d20af073a67a1b6d80e5a98cd8ea9a8680.jpg\" alt=\"Illustration of Deana Haggag.\" width=\"200\" height=\"200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/06/deanna_haggag__sq-18dfe5d20af073a67a1b6d80e5a98cd8ea9a8680.jpg 200w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/deanna_haggag__sq-18dfe5d20af073a67a1b6d80e5a98cd8ea9a8680-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Illustration of Deana Haggag. \u003ccite>(Emmen Ahmed/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like, she says everything down to our religion is in song, everything is dance and the country Egypt is a museum. And by institutionalizing art, she was doing something that was foreign to her parents because art was so much a part of their lives. Listening to her I was like, \"Oh my God. That's exactly the struggle that I have had.\"\u003c/p>\n\u003cp>And I related so deeply but I had never been able to articulate it in that way. My parents would recite Urdu poetry at the dinner table back and forth to each other, or in the car on a road trip we would listen to Sufi classical music. My dad does Islamic calligraphy in wood and leather as a hobby. These are things that are just deeply a part of my life. Colors and aesthetic and music and how we dress and look—all those things are such a part of who I am.\u003c/p>\n\u003cp>\u003cstrong>The show centers Muslim voices, but the stories aren't centered around being Muslim. How do you explain that to your interview subjects so that they understand what you're going for?\u003c/strong>\u003c/p>\n\u003cp>We were just like, we don't want to pigeonhole you. We don't want to ask you about that aspect of your identity. We want \u003cem>you \u003c/em>to figure out a defining moment.\u003c/p>\n\u003cp>I think most of the people who ended up being guests on this show, they kind of got it right away, even if it took them a moment to figure out what that moment was in their life. But basically, what we would say is, \u003cem>\"Listen, you've probably always been asked about being Muslim and blah blah blah.\"\u003c/em> Some of our queer Muslim guests were like, \"Oh my God, thank God you're not asking me about the gay Muslim thing.\"\u003c/p>\n\u003cp>\u003cstrong>You're really trying to move beyond the surface level of people's stories. How do you get that kind of vulnerability out of people?\u003c/strong>\u003c/p>\n\u003cp>I think it's a wonder what listening can do. I try to mostly just stay quiet and stay out of the story and the interview process as much as possible....\u003c/p>\n\u003cp>And when your interviewer is with somebody who's Muslim, who's also been pigeonholed, and who can relate to your experience I think maybe there's a little bit more of a comfort level there. You're willing to go to places where you wouldn't with another interviewer who doesn't know anything about your experience.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I think a lot of times Muslims are called to respond to certain things in the media and they don't have control over their own narrative. And this simple act of not deciding ahead of time what the story is, but rather letting your guests dictate the story, gives them power to define their narrative again and to lead with their story rather than their label. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a media landscape that can still be pretty awful for Muslims, \u003ca href=\"https://tell-them-i-am.scpr.org/\">\u003cem>Tell Them, I Am\u003c/em>\u003c/a>, a new podcast from KPCC, aims to give Muslims a space to define their own identities outside of stereotypes and broad generalizations.\u003c/p>\n\u003cp>Over the course of the series, host and producer Misha Euceph interviewed 22 people, all Muslims, about the defining moments of their lives. While the show dropped episodes every weekday of Ramadan, \u003cem>Tell Them, I Am\u003c/em> doesn't really have anything to do with the holiday. \"If somebody released something during Christmas time or during Hanukkah,\" Euceph says, \"they wouldn't necessarily be asked about like, what are important aspects of Christmas or Hanukkah.\"\u003c/p>\n\u003cp>It's in each guest's hands how much they want to talk about culture or religion; for some it's a central part of their story, for others it's mostly incidental. Tan France of Queer Eye \u003ca href=\"https://megaphone.link/KPC4654190347\">talks about\u003c/a> his first big \"I told you so,\" which involved his older brother and a metal fan. Ramy Youssef, creator of the Hulu show \u003cem>Ramy\u003c/em>, \u003ca href=\"https://megaphone.link/KPC9282014844\">talks about\u003c/a> the medical condition that catalyzed his acting career. Alia Shawkat \u003ca href=\"https://megaphone.link/KPC6837056702\">talks about\u003c/a> the extremes of her stoner-y teenage rebellion, including borrowing urine to cheat a drug test (Spoiler: It didn't work).\u003c/p>\n\u003cp>And every episode of the podcast offers glimpses into Euceph's story: the fashion she endured to be more popular in middle school; the glamour she didn't quite inherit from her mother; the drive to prove people wrong that sent her up actual mountains.\u003c/p>\n\u003cp>The idea for \u003cem>Tell Them, I Am\u003c/em> has been brewing in Euceph's head for at least a decade, maybe longer. She says that when she moved to the U.S. from Pakistan in 2003, being Muslim went from the default to a label that eclipsed her entire identity. The name of the show is about transcending that—it comes from a story in the Bible, where God responds to the question, \"Who are you?\" by saying, \"You can tell them that I am 'I am.'\" Not a name, not a category, simply, \"I am.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We called up Euceph to ask about the highlights of her interviews—our interview has been edited and condensed for clarity.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>There's been a lot in the media recently about Muslims observing Ramadan, whether it's Reps. Ilhan Omar and Rashida Tlaib \u003c/strong>\u003ca href=\"https://www.npr.org/2019/05/21/725308102/muslim-lawmakers-host-ramadan-feast-at-capitol\">\u003cstrong>breaking the fast at the Capitol\u003c/strong>\u003c/a>\u003cstrong> with other lawmakers, or Portland Trail Blazers center Enes Kanter \u003c/strong>\u003ca href=\"https://www.washingtonpost.com/opinions/2019/05/09/enes-kanter-when-ramadan-nba-playoffs-collide-my-faith-is-my-strength/?noredirect=on&utm_term=.f34ee5c5b8c7\">\u003cstrong>fasting through the height of the NBA playoffs\u003c/strong>\u003c/a>\u003cstrong>. These stories often focus on the challenges and spirituality of fasting. But is there anything deeper about Ramadan that people miss? \u003c/strong>\u003c/p>\n\u003cp>If somebody released something during Christmas time or during Hanukkah, they wouldn't necessarily be asked about like, what are important aspects of Christmas or Hanukkah. The way people often ask about Ramadan, it kinda goes to like, Islam 101.\u003c/p>\n\u003cp>We release this podcast during Ramadan because it's a time of community, and a lot of coverage is being focused on Muslims in that way, where there's this Ramadan 101 going on. But there's also like, \"What is a Muslim?\"\u003c/p>\n\u003cp>I think education about what it means to be Muslim and the rituals of being Muslim is one thing, but there's so much to Muslims beyond that. And so many Muslims are not even necessarily fasting during Ramadan, but they are experiencing some form of community that's different. And so I think just allowing them to exist outside of just those rituals and those Orthodox practices that we commonly associate with Muslims, and allowing them to be culturally Muslim and allowing them to tell their stories outside of those boxes.\u003c/p>\n\u003cp>\u003cstrong>In the \u003c/strong>\u003ca href=\"https://megaphone.link/KPC9167622305\">\u003cstrong>first episode\u003c/strong>\u003c/a>\u003cstrong> of your podcast, you talk about how there's only a few very specific ways that Muslims are depicted, but there aren't ever really times where they're shown as just normal. They're very much \"othered.\"\u003c/strong>\u003c/p>\n\u003cp>Yeah. For example, it's interesting to me that like Rashida Tlaib and Ilhan Omar are these congresswomen who are in positions of power, and they're doing things that are actually very much traditional. Like they're showing Muslims breaking their fast or they're like introducing people to like \"Oh, like this is what it means to be a Muslim.\" But there are also other aspects of Muslim culture that are a little bit deeper toned. There's a lot of Muslim music and Muslim art and I think there is so much more of that that could actually have more impact than educating people on what Ramadan means. No one else is going to fast to try to understand what it means to be Muslim, right? But people can see Muslim art or listen to Muslim music, even if they're not Muslim, and be impacted by it in the same way.\u003c/p>\n\u003cp>And so if there's something I want from people who are Muslim who are in positions of power, it's to get a little bit more nuanced. Because they are not thinking about the 101 aspect of being Muslim 24/7, so why are we dumbing it down for the general public? I think we actually will have a greater impact if we go a couple layers deeper.\u003c/p>\n\u003cp>\u003cstrong>Is there a moment you had while you were recording this show that you find especially powerful or memorable?\u003c/strong>\u003c/p>\n\u003cp>The [interview with \u003ca href=\"https://cms.megaphone.fm/channel/tellthemiam?selected=KPC4117929019\">Deana Haggag\u003c/a>, CEO of the arts funding organization United States Artists] literally blew me away. I knew she was going to talk about taking her dad to this DIY Art Space in New Jersey. I had no idea the way that she was going to frame it as this emotional and mental switch where she had been thinking that she was running away from her culture by pursuing the arts, and then she realized that the arts were actually inherently part of everything in her culture.\u003c/p>\n\u003cfigure id=\"attachment_112234\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg class=\"size-full wp-image-112234\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/06/deanna_haggag__sq-18dfe5d20af073a67a1b6d80e5a98cd8ea9a8680.jpg\" alt=\"Illustration of Deana Haggag.\" width=\"200\" height=\"200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/06/deanna_haggag__sq-18dfe5d20af073a67a1b6d80e5a98cd8ea9a8680.jpg 200w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/deanna_haggag__sq-18dfe5d20af073a67a1b6d80e5a98cd8ea9a8680-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Illustration of Deana Haggag. \u003ccite>(Emmen Ahmed/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like, she says everything down to our religion is in song, everything is dance and the country Egypt is a museum. 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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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