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"content": "\u003cp>Superstar DJs might be a relatively new phenomenon, but they are some of the biggest money-makers in music. Last year, according to \u003ca href=\"https://www.forbes.com/pictures/hekj45eli/2-tisto-38-million/#30d1e97f6e37\">Forbes\u003c/a>, Calvin Harris made $63 million, Tiësto made $38 million, and Diplo made $23 million. These incredibly rich musicians (technicians?) live unbelievably lavish, globe-trotting lifestyles, while managing to stay relatively anonymous -- a luxury not afforded to pop or movie stars. It is undoubtedly enviable, but can sometimes be an irritating sight for us regular folk.\u003c/p>\n\u003cp>Turns out that Diplo surprisingly knows that. Which is where Viceland's new series, \u003ca href=\"https://www.viceland.com/en_us/show/what-would-diplo-do\">\u003cem>What Would Diplo Do?\u003c/em>\u003c/a>, comes in. The Major Lazer producer has signed off and consulted on the show, which sees -- in a stroke of comedic genius -- James Van Der Beek playing an extremely smug and hatable version of the real-life Diplo. The \u003ca href=\"https://www.viceland.com/en_us/video/what-would-diplo-do-trailer/594bff90b46f67a518f0b68c\">trailers\u003c/a> are in and this little slice of post-modern brilliance looks legitimately funny.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SP_E-OnnV9s\u003c/p>\n\u003cp>The series only came into being, thanks to a hilarious short video Van Der Beek shot for Diplo, as part of the promotional campaign for the DJ's \u003ca href=\"http://www.maddecentblockparty.com/\">Mad Decent Block Party\u003c/a> tour last summer. If the series is even half as good as this, Viceland is bound to have a winner on its hands:\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=149&v=SoAIzki2jOI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a statement to \u003ca href=\"http://www.rollingstone.com/tv/features/inside-what-would-diplo-do-how-the-tv-comedy-nails-edms-bro-culture-w495101\">\u003cem>Rolling Stone\u003c/em>\u003c/a>, Diplo said of the new series: \"This is a sort of social commentary on the social media and the EDM age… I view it as sacrificing myself to poke fun at DJ/EDM culture as a whole.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>What Would Diplo Do?\u003c/em> premiers August 3. 2017.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Superstar DJs might be a relatively new phenomenon, but they are some of the biggest money-makers in music. Last year, according to \u003ca href=\"https://www.forbes.com/pictures/hekj45eli/2-tisto-38-million/#30d1e97f6e37\">Forbes\u003c/a>, Calvin Harris made $63 million, Tiësto made $38 million, and Diplo made $23 million. These incredibly rich musicians (technicians?) live unbelievably lavish, globe-trotting lifestyles, while managing to stay relatively anonymous -- a luxury not afforded to pop or movie stars. It is undoubtedly enviable, but can sometimes be an irritating sight for us regular folk.\u003c/p>\n\u003cp>Turns out that Diplo surprisingly knows that. Which is where Viceland's new series, \u003ca href=\"https://www.viceland.com/en_us/show/what-would-diplo-do\">\u003cem>What Would Diplo Do?\u003c/em>\u003c/a>, comes in. The Major Lazer producer has signed off and consulted on the show, which sees -- in a stroke of comedic genius -- James Van Der Beek playing an extremely smug and hatable version of the real-life Diplo. The \u003ca href=\"https://www.viceland.com/en_us/video/what-would-diplo-do-trailer/594bff90b46f67a518f0b68c\">trailers\u003c/a> are in and this little slice of post-modern brilliance looks legitimately funny.\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/SP_E-OnnV9s'\n title='//www.youtube.com/embed/SP_E-OnnV9s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The series only came into being, thanks to a hilarious short video Van Der Beek shot for Diplo, as part of the promotional campaign for the DJ's \u003ca href=\"http://www.maddecentblockparty.com/\">Mad Decent Block Party\u003c/a> tour last summer. If the series is even half as good as this, Viceland is bound to have a winner on its hands:\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/SoAIzki2jOI'\n title='//www.youtube.com/embed/SoAIzki2jOI'\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 Next 'Game of Thrones' Could Be Set In Post-Apocalyptic Africa",
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"content": "\u003cp>The next \u003cem>Game of Thrones\u003c/em> could be a sci-fi epic set in Africa.\u003c/p>\n\u003cp>On Monday, Nigerian-American author Nnedi Okorafor posted an announcement on her Facebook page:\u003c/p>\n\u003cblockquote>\u003cp>\"I'm finally free to announce this: My World Fantasy Award winning novel WHO FEARS DEATH has been optioned by HBO and is now in early development as a TV series with George R. R. Martin as executive producer. Note: This did not happen overnight. It's been nearly 4 years coming.\"\u003c/p>\u003c/blockquote>\n\u003cp>Martin is, of course, the author of the novels that became the HBO smash hit \u003cem>Game of Thrones\u003c/em> and also serves as a co-executive producer of the series.\u003c/p>\n\u003cp>The news is a major win not just for Okorafor but for African fiction and representation of African issues on television. To understand why, it's important to understand the themes Okorafor explores in her work.\u003c/p>\n\u003cp>Getting to know the author is the first step in understanding her work. Born in America and the daughter of Nigerian immigrants, \u003ca href=\"http://nnedi.com/\">Nnedi Okorafor\u003c/a> grew up in Illinois. She was a star tennis player until she was diagnosed with scoliosis. It was during her recovery from surgery that Okorafor turned to writing. Her first published novels were young adult books set in West Africa, mainly in Nigeria. \u003cem>Who Fears Death \u003c/em>is her first adult novel.\u003c/p>\n\u003cfigure id=\"attachment_93822\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-93822 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-768x1025.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-1020x1361.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-1180x1574.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-960x1281.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-520x694.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0.jpg 1874w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nnedi Okorafor is the author of the sci-fi novel Who Fears Death, which has been optioned by HBO.\u003cbr> Jim Hines/Flickr\u003c/figcaption>\u003c/figure>\n\u003cp>A professor of English at the University at Buffalo, The State University of New York, Okorafor has written several other books, including the Hugo and Nebula award-winning \u003ca href=\"https://www.amazon.com/Binti-Nnedi-Okorafor/dp/0765385252/ref=sr_1_2?s=books&ie=UTF8&qid=1500667627&sr=1-2&keywords=binti+nnedi\">Binti\u003c/a>. Her main characters are usually young black African women who want to shape their own destiny but first must overcome present circumstances (going against their parents' wishes, leaving abusive relationships or coming to terms with being an unwanted outsider in a community). She contributed a short story to \u003ca href=\"http://www.starwars.com/news/star-wars-from-a-certain-point-of-view-anthology-book-celebrates-40-years-of-a-galaxy-far-far-away\">Star Wars: From A Certain Point Of View\u003c/a>, an anthology set in the Star Wars universe, due for release in October and was part of a panel discussion on Wonder Woman's \"Sister Protagonists\" at this year's San Diego Comic-Con.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What makes \u003ca href=\"https://www.amazon.com/Fears-Okorafor-18-Mar-2014-Market-Paperback/dp/B011T7CQCC/ref=pd_lpo_sbs_14_t_0?_encoding=UTF8&psc=1&refRID=9D01QZQCC2NNJPMB51P5\">Who Fears Death\u003c/a> the right fit for television? Like \u003cem>Game of Thrones\u003c/em>, it is a great blend of fantasy, magic and suspense. First published in 2010, the 304-page book is a perfect example of the way African science fiction critiques real-life, modern-day Africa. The book is set in a post-apocalyptic Sudan plagued by civil war. The light-skinned Nuru tribe enslaves and wants to exterminate the Okere tribe. Whole villages are burnt and plundered; the dark-skinned Okere women are raped by the Nuru. The novel's protagonist, Onyesonwu, was born from such a rape. Onyesonwu has magical powers, making her a threat to the Nuru and especially to her sorcerer father, Daib. Ultimately, she must overcome her fears and defeat him. In fact, the meaning of Onyesonwu's name is \"who fears death,\" given to her by her mother, in an African language invented for the book.\u003c/p>\n\u003cp>While the book has the same fantastical elements that make \u003cem>Game of Thrones\u003c/em> so popular, it is grounded in current African affairs. The cycle of armed conflict between tribes in Africa is not an invention of science fiction. Okorafor wrote that she gained inspiration for the plot from a \u003cem>Washington Post\u003c/em> article about the children born from sexual violence in Congo and Sudan during their civil wars. Their existence serves as proof of a heinous crime that no one talks about.\u003c/p>\n\u003cp>As Okorafor writes in the book:\u003c/p>\n\u003cblockquote>\u003cp>\"To be something abnormal meant that you were to serve the normal. And if you refused, they hated you ... and often the normal hated you even when you did serve them.\"\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_93821\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-93821\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-800x1201.jpg\" alt=\"\" width=\"800\" height=\"1201\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-800x1201.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-768x1153.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-1020x1532.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-1180x1772.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-960x1442.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-375x563.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-520x781.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3.jpg 1798w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Penguin Random House\u003c/figcaption>\u003c/figure>\n\u003cp>The practice of female genital mutilation is part of the story. Onyesonwu undergoes FGM and her powers are severely impaired. Steven Barnes, an African-American science fiction writer, criticized this element in the book. In a review for \u003cem>American Book Review, \u003c/em>he said Okorafor made traditional African culture look bad and should have used her book to celebrate the good aspects of the culture. Okorafor responded:\u003c/p>\n\u003cblockquote>\u003cp>\"Culture is alive and it is fluid. It is not made of stone nor is it absolute. Just because I believe that aspects of my culture are problematic does not mean I am 'betraying' my people by pointing out those problems.\"\u003c/p>\u003c/blockquote>\n\u003cp>Okorafor is confident that the TV adaptation of her book, if it happens, will remain true to her vision. In a post on her Facebook page, she explains why having Martin as a producer is a bonus:\u003c/p>\n\u003cblockquote>\u003cp>\"I think I need to say this because I see a lot of people saying weird things: They didn't just choose George R.R. Martin strictly because he's a big name and he's already with HBO and he didn't just agree to executive produce because of all these bs reasons people are making up.\u003c/p>\n\u003cp>I've known George for over three years now. Since BEFORE all this with. He's been a sort of mentor to me since the day I [met] him. We've had long phone conversations about writing, Hollywood, teaching, academia, juggling it all. If I had questions, I could just call him up and ask and I have. We are well met. This isn't just a project throwing my book into George's hands just because. He-knows-me.\u003c/p>\n\u003cp>And note: George is a really cool and wonderful person.\"\u003c/p>\u003c/blockquote>\n\u003cp>The edginess to her writing is also apparent in her social media. When a tweet showed the book jacket without her name, Okorafor was quick to let everyone know that while Martin was helping bring \u003cem>Who Fears Death\u003c/em> to television, no one should forget the writer behind the book.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mako Muzenda is a freelance journalist and blogger. She's from Zimbabwe and is now studying in South Africa at Rhodes University. Reach her\u003c/em>\u003cem> \u003ca href=\"https://twitter.com/mgmuzenda\">@MGMuzenda\u003c/a>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Next+%27Game+of+Thrones%27+Could+Be+Set+In+Post-Apocalyptic+Africa&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The new HBO project, masterminded by sci-fi writer Nnedi Okorafor and George R.R. Martin, sounds amazing.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The next \u003cem>Game of Thrones\u003c/em> could be a sci-fi epic set in Africa.\u003c/p>\n\u003cp>On Monday, Nigerian-American author Nnedi Okorafor posted an announcement on her Facebook page:\u003c/p>\n\u003cblockquote>\u003cp>\"I'm finally free to announce this: My World Fantasy Award winning novel WHO FEARS DEATH has been optioned by HBO and is now in early development as a TV series with George R. R. Martin as executive producer. Note: This did not happen overnight. It's been nearly 4 years coming.\"\u003c/p>\u003c/blockquote>\n\u003cp>Martin is, of course, the author of the novels that became the HBO smash hit \u003cem>Game of Thrones\u003c/em> and also serves as a co-executive producer of the series.\u003c/p>\n\u003cp>The news is a major win not just for Okorafor but for African fiction and representation of African issues on television. To understand why, it's important to understand the themes Okorafor explores in her work.\u003c/p>\n\u003cp>Getting to know the author is the first step in understanding her work. Born in America and the daughter of Nigerian immigrants, \u003ca href=\"http://nnedi.com/\">Nnedi Okorafor\u003c/a> grew up in Illinois. She was a star tennis player until she was diagnosed with scoliosis. It was during her recovery from surgery that Okorafor turned to writing. Her first published novels were young adult books set in West Africa, mainly in Nigeria. \u003cem>Who Fears Death \u003c/em>is her first adult novel.\u003c/p>\n\u003cfigure id=\"attachment_93822\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-93822 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-768x1025.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-1020x1361.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-1180x1574.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-960x1281.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-520x694.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0.jpg 1874w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nnedi Okorafor is the author of the sci-fi novel Who Fears Death, which has been optioned by HBO.\u003cbr> Jim Hines/Flickr\u003c/figcaption>\u003c/figure>\n\u003cp>A professor of English at the University at Buffalo, The State University of New York, Okorafor has written several other books, including the Hugo and Nebula award-winning \u003ca href=\"https://www.amazon.com/Binti-Nnedi-Okorafor/dp/0765385252/ref=sr_1_2?s=books&ie=UTF8&qid=1500667627&sr=1-2&keywords=binti+nnedi\">Binti\u003c/a>. Her main characters are usually young black African women who want to shape their own destiny but first must overcome present circumstances (going against their parents' wishes, leaving abusive relationships or coming to terms with being an unwanted outsider in a community). She contributed a short story to \u003ca href=\"http://www.starwars.com/news/star-wars-from-a-certain-point-of-view-anthology-book-celebrates-40-years-of-a-galaxy-far-far-away\">Star Wars: From A Certain Point Of View\u003c/a>, an anthology set in the Star Wars universe, due for release in October and was part of a panel discussion on Wonder Woman's \"Sister Protagonists\" at this year's San Diego Comic-Con.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What makes \u003ca href=\"https://www.amazon.com/Fears-Okorafor-18-Mar-2014-Market-Paperback/dp/B011T7CQCC/ref=pd_lpo_sbs_14_t_0?_encoding=UTF8&psc=1&refRID=9D01QZQCC2NNJPMB51P5\">Who Fears Death\u003c/a> the right fit for television? Like \u003cem>Game of Thrones\u003c/em>, it is a great blend of fantasy, magic and suspense. First published in 2010, the 304-page book is a perfect example of the way African science fiction critiques real-life, modern-day Africa. The book is set in a post-apocalyptic Sudan plagued by civil war. The light-skinned Nuru tribe enslaves and wants to exterminate the Okere tribe. Whole villages are burnt and plundered; the dark-skinned Okere women are raped by the Nuru. The novel's protagonist, Onyesonwu, was born from such a rape. Onyesonwu has magical powers, making her a threat to the Nuru and especially to her sorcerer father, Daib. Ultimately, she must overcome her fears and defeat him. In fact, the meaning of Onyesonwu's name is \"who fears death,\" given to her by her mother, in an African language invented for the book.\u003c/p>\n\u003cp>While the book has the same fantastical elements that make \u003cem>Game of Thrones\u003c/em> so popular, it is grounded in current African affairs. The cycle of armed conflict between tribes in Africa is not an invention of science fiction. Okorafor wrote that she gained inspiration for the plot from a \u003cem>Washington Post\u003c/em> article about the children born from sexual violence in Congo and Sudan during their civil wars. Their existence serves as proof of a heinous crime that no one talks about.\u003c/p>\n\u003cp>As Okorafor writes in the book:\u003c/p>\n\u003cblockquote>\u003cp>\"To be something abnormal meant that you were to serve the normal. And if you refused, they hated you ... and often the normal hated you even when you did serve them.\"\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_93821\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-93821\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-800x1201.jpg\" alt=\"\" width=\"800\" height=\"1201\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-800x1201.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-768x1153.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-1020x1532.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-1180x1772.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-960x1442.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-375x563.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-520x781.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3.jpg 1798w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Penguin Random House\u003c/figcaption>\u003c/figure>\n\u003cp>The practice of female genital mutilation is part of the story. Onyesonwu undergoes FGM and her powers are severely impaired. Steven Barnes, an African-American science fiction writer, criticized this element in the book. In a review for \u003cem>American Book Review, \u003c/em>he said Okorafor made traditional African culture look bad and should have used her book to celebrate the good aspects of the culture. Okorafor responded:\u003c/p>\n\u003cblockquote>\u003cp>\"Culture is alive and it is fluid. It is not made of stone nor is it absolute. Just because I believe that aspects of my culture are problematic does not mean I am 'betraying' my people by pointing out those problems.\"\u003c/p>\u003c/blockquote>\n\u003cp>Okorafor is confident that the TV adaptation of her book, if it happens, will remain true to her vision. In a post on her Facebook page, she explains why having Martin as a producer is a bonus:\u003c/p>\n\u003cblockquote>\u003cp>\"I think I need to say this because I see a lot of people saying weird things: They didn't just choose George R.R. Martin strictly because he's a big name and he's already with HBO and he didn't just agree to executive produce because of all these bs reasons people are making up.\u003c/p>\n\u003cp>I've known George for over three years now. Since BEFORE all this with. He's been a sort of mentor to me since the day I [met] him. We've had long phone conversations about writing, Hollywood, teaching, academia, juggling it all. If I had questions, I could just call him up and ask and I have. We are well met. This isn't just a project throwing my book into George's hands just because. He-knows-me.\u003c/p>\n\u003cp>And note: George is a really cool and wonderful person.\"\u003c/p>\u003c/blockquote>\n\u003cp>The edginess to her writing is also apparent in her social media. When a tweet showed the book jacket without her name, Okorafor was quick to let everyone know that while Martin was helping bring \u003cem>Who Fears Death\u003c/em> to television, no one should forget the writer behind the book.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mako Muzenda is a freelance journalist and blogger. She's from Zimbabwe and is now studying in South Africa at Rhodes University. Reach her\u003c/em>\u003cem> \u003ca href=\"https://twitter.com/mgmuzenda\">@MGMuzenda\u003c/a>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Next+%27Game+of+Thrones%27+Could+Be+Set+In+Post-Apocalyptic+Africa&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'Hawaii Five-0' Casting Announcement Doesn't Fix CBS's Larger Diversity Problem",
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"content": "\u003cp>This is the network TV definition of too little, too late.\u003c/p>\n\u003cp>On Wednesday, CBS announced the names of three new actors who will be joining the cast of its long-running cop drama \u003cem>Hawaii Five-0\u003c/em>. To no one's surprise, all three actors are nonwhite: Ian Anthony Dale is half Japanese, Meaghan Rath is half South Asian and Beulah Koale is of Samoan descent.\u003c/p>\n\u003cp>The announcement comes not long after the series weathered intense criticism when the show's most visible cast members of Asian descent left. Daniel Dae Kim, who is Korean-American, and Grace Park, a Canadian-American of Korean descent, left the program after CBS failed to raise their pay to the same level as the show's white co-stars, Alex O'Loughlin and Scott Caan.\u003c/p>\n\u003cp>(Another co-star, Masi Oka, who is a Japanese citizen, left the show in January.)\u003c/p>\n\u003cp>Given that \u003cem>Hawaii Five-0 \u003c/em>is set in one of the most diverse states in America, that's kind of an issue. And the headlines were brutal. \u003cem>The Washington Post\u003c/em> \u003ca href=\"https://www.washingtonpost.com/news/arts-and-entertainment/wp/2017/07/06/hawaii-five-0-cast-departures-highlight-racial-wage-gap-in-tv/?utm_term=.9f5713cb47c9\">decried\u003c/a> the \"racial wage gap\" on TV. Syndicated columnist Ruben Navarrette \u003ca href=\"http://www.mercurynews.com/2017/07/07/navarrette-cbs-handling-of-hawaii-five-0-stars-flat-out-racist/\">blamed the pay gap\u003c/a> on \"racism.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the real problem here goes all the way back to when CBS first developed the show. And it's not the only drama on the network with this difficulty.\u003c/p>\n\u003cp>When CBS first created the new \u003cem>Hawaii Five-0,\u003c/em> it retained the old show's formula of centering the action on two white male stars, setting up talented actors like Kim and Park to play second fiddle for the life of the series.\u003c/p>\n\u003cp>\"I don't understand why we're dealing with this issue now,\" says Brenda Ching, executive director of the Hawaii chapter of the performers' union SAG-AFTRA. \"Obviously, the success of the show has been phenomenal, and everybody's role has built the show. ... Even if you look back to the original \u003cem>Five-0,\u003c/em> what made the show was the diversity of the environment.\"\u003c/p>\n\u003cp>CBS has long followed the formula of surrounding white male leads with a diverse group of supporting characters (\u003cem>NCIS: New Orleans,\u003c/em> \u003cem>Bull,\u003c/em> the \u003cem>MacGyver\u003c/em> remake). They have tweaked that pattern occasionally to actually feature women and people of color as co-leads \u003cem>(NCIS: Los Angeles,\u003c/em> \u003cem>Elementary, Superior Donuts).\u003c/em>\u003c/p>\n\u003cp>But when CBS debuts its fall season in September, the network will have just one show that features a nonwhite person as the sole lead character: a reboot of \u003cem>S.W.A.T.,\u003c/em> starring Shemar Moore, who is biracial.\u003c/p>\n\u003cp>This is why diversity is so important for networks to embrace: Decisions made at the beginning of a show's life have ripple effects that extend throughout the life of the show and across the network for years to come.\u003c/p>\n\u003cp>Complicating things further is the way \u003cem>Hawaii Five-0 \u003c/em>marketing material often framed O'Loughlin, Caan, Park and Kim as equal characters, in some cases \u003ca href=\"https://fairyprincessdiaries.com/2017/07/07/calling-bs-on-hawaiifiveocbs/\">putting Park and Kim front and center\u003c/a>. For anyone looking to criticize the show for focusing on white characters, the pictures could argue otherwise — but it also could lead fans to assume all four characters were an equal ensemble in every way, including pay.\u003c/p>\n\u003cp>As the controversy over Kim's and Park's departures grew\u003cem>, Hawaii Five-0\u003c/em> executive producer Peter Lenkov \u003ca href=\"https://twitter.com/PLenkov/status/883051023299788800\">posted a note on Twitter\u003c/a> saying the actors \"chose not to extend their contracts\" after \"getting unprecedented raises\" in negotiations, listing the diversity of actors elsewhere in the cast. CBS issued a statement praising Kim and Park, noting they \"tried very hard to keep them with offers for large and significant salary increases.\" \u003cem>Variety\u003c/em> has \u003ca href=\"http://variety.com/2017/tv/news/hawaii-5-0-daniel-dae-kim-grace-park-deals-1202488221/\">reported\u003c/a> that Caan and O'Loughlin make about $200,000 per episode, plus a small share of the show's back-end profits; Kim was offered a salary about $5,000 short of the show's leads and a production deal.\u003c/p>\n\u003cp>Kim issued a \u003ca href=\"https://www.facebook.com/136577846385452/photos/a.141032709273299.23386.136577846385452/1500305656679324\">statement on Facebook\u003c/a> thanking fans, the network and those who worked on the show. He noted, \"As an Asian American actor, I know first-hand how difficult it is to find opportunities at all,\" later adding, \"The path to equality is rarely easy.\"\u003c/p>\n\u003cp>Oka emailed a statement to NPR:\u003c/p>\n\u003cblockquote>\u003cp>\"I was as saddened as anyone to learn of Daniel and Grace leaving \u003cem>Hawaii Five-0\u003c/em> but I, probably more so than most, understand their reason for doing so. Sometimes you have to draw the line in the sand for something you believe in and something for which you stand. While pay equality was not my personal primary decision to leave ... I support [Kim] and [Park] in their decision to stand up for what they believe is right.\"\u003c/p>\u003c/blockquote>\n\u003cp>It's true that it isn't unusual for long-running TV shows to lose cast members as the program ages — everyone seeks pay raises, and the network tries to keep a handle on costs. Kim and Park were also different negotiations, and Lenkov said Park declined an opportunity to appear in a handful of episodes next season.\u003c/p>\n\u003cp>But these are specific issues connected to a larger, structural problem.\u003c/p>\n\u003cp>For years, I've used \u003cem>Hawaii Five-0\u003c/em> star O'Loughlin's career as an example of how the TV industry gives white males the kinds of opportunities actors of color rarely share.\u003c/p>\n\u003cp>O'Loughlin 's first starring role on CBS was as a vampire private eye in the drama series \u003cem>Moonlight,\u003c/em> which was canceled after its first season in 2008. A year later, the Australian actor was playing a Pittsburgh-based transplant surgeon on the CBS medical drama \u003cem>Three Rivers,\u003c/em> which was also canceled after its first season. CBS clearly wanted to be in the O'Loughlin business, and it finally found success casting him in a program that seemed poised to do well — a 2010 remake of a beloved CBS cop show.\u003c/p>\n\u003cp>But given that Kim had co-starred on the hit show \u003cem>Lost \u003c/em>and Park had co-starred on the critically acclaimed reboot of \u003cem>Battlestar Galactica,\u003c/em> it's tough to understand why it was so hard for CBS and the show's producers to pay them as O'Loughlin's equals.\u003c/p>\n\u003cp>The network has a similar problem with gender. For the second year in a row, every new CBS show this fall will star men, and all but one will star white men. Last TV season, CBS had one new scripted show starring a woman (\u003cem>Doubt,\u003c/em> featuring Katherine Heigl), but it was quickly canceled (the network is burning off unaired episodes this summer). CBS hasn't announced any new scripted shows starring women for the 2017-2018 season.\u003c/p>\n\u003cp>So what happens the next time the network faces a pay dispute with a female co-star on a TV show?\u003c/p>\n\u003cp>Shows like \u003cem>Doubt,\u003c/em> \u003cem>S.W.A.T.\u003c/em> and \u003cem>Superior Donuts\u003c/em> (where co-star Jermaine Fowler, who is black, is also an executive producer) seem like efforts by CBS to break the pattern. But that change is coming too gradually; today, the worlds CBS portrays are out of step with the diversity of real life.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The only question left is whether CBS will use this situation as a teachable moment, or let the wage gap live on.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Hawaii+Five-0%27+Casting+Announcement+Doesn%27t+Fix+CBS%27s+Larger+Diversity+Problem&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This is the network TV definition of too little, too late.\u003c/p>\n\u003cp>On Wednesday, CBS announced the names of three new actors who will be joining the cast of its long-running cop drama \u003cem>Hawaii Five-0\u003c/em>. To no one's surprise, all three actors are nonwhite: Ian Anthony Dale is half Japanese, Meaghan Rath is half South Asian and Beulah Koale is of Samoan descent.\u003c/p>\n\u003cp>The announcement comes not long after the series weathered intense criticism when the show's most visible cast members of Asian descent left. Daniel Dae Kim, who is Korean-American, and Grace Park, a Canadian-American of Korean descent, left the program after CBS failed to raise their pay to the same level as the show's white co-stars, Alex O'Loughlin and Scott Caan.\u003c/p>\n\u003cp>(Another co-star, Masi Oka, who is a Japanese citizen, left the show in January.)\u003c/p>\n\u003cp>Given that \u003cem>Hawaii Five-0 \u003c/em>is set in one of the most diverse states in America, that's kind of an issue. And the headlines were brutal. \u003cem>The Washington Post\u003c/em> \u003ca href=\"https://www.washingtonpost.com/news/arts-and-entertainment/wp/2017/07/06/hawaii-five-0-cast-departures-highlight-racial-wage-gap-in-tv/?utm_term=.9f5713cb47c9\">decried\u003c/a> the \"racial wage gap\" on TV. Syndicated columnist Ruben Navarrette \u003ca href=\"http://www.mercurynews.com/2017/07/07/navarrette-cbs-handling-of-hawaii-five-0-stars-flat-out-racist/\">blamed the pay gap\u003c/a> on \"racism.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the real problem here goes all the way back to when CBS first developed the show. And it's not the only drama on the network with this difficulty.\u003c/p>\n\u003cp>When CBS first created the new \u003cem>Hawaii Five-0,\u003c/em> it retained the old show's formula of centering the action on two white male stars, setting up talented actors like Kim and Park to play second fiddle for the life of the series.\u003c/p>\n\u003cp>\"I don't understand why we're dealing with this issue now,\" says Brenda Ching, executive director of the Hawaii chapter of the performers' union SAG-AFTRA. \"Obviously, the success of the show has been phenomenal, and everybody's role has built the show. ... Even if you look back to the original \u003cem>Five-0,\u003c/em> what made the show was the diversity of the environment.\"\u003c/p>\n\u003cp>CBS has long followed the formula of surrounding white male leads with a diverse group of supporting characters (\u003cem>NCIS: New Orleans,\u003c/em> \u003cem>Bull,\u003c/em> the \u003cem>MacGyver\u003c/em> remake). They have tweaked that pattern occasionally to actually feature women and people of color as co-leads \u003cem>(NCIS: Los Angeles,\u003c/em> \u003cem>Elementary, Superior Donuts).\u003c/em>\u003c/p>\n\u003cp>But when CBS debuts its fall season in September, the network will have just one show that features a nonwhite person as the sole lead character: a reboot of \u003cem>S.W.A.T.,\u003c/em> starring Shemar Moore, who is biracial.\u003c/p>\n\u003cp>This is why diversity is so important for networks to embrace: Decisions made at the beginning of a show's life have ripple effects that extend throughout the life of the show and across the network for years to come.\u003c/p>\n\u003cp>Complicating things further is the way \u003cem>Hawaii Five-0 \u003c/em>marketing material often framed O'Loughlin, Caan, Park and Kim as equal characters, in some cases \u003ca href=\"https://fairyprincessdiaries.com/2017/07/07/calling-bs-on-hawaiifiveocbs/\">putting Park and Kim front and center\u003c/a>. For anyone looking to criticize the show for focusing on white characters, the pictures could argue otherwise — but it also could lead fans to assume all four characters were an equal ensemble in every way, including pay.\u003c/p>\n\u003cp>As the controversy over Kim's and Park's departures grew\u003cem>, Hawaii Five-0\u003c/em> executive producer Peter Lenkov \u003ca href=\"https://twitter.com/PLenkov/status/883051023299788800\">posted a note on Twitter\u003c/a> saying the actors \"chose not to extend their contracts\" after \"getting unprecedented raises\" in negotiations, listing the diversity of actors elsewhere in the cast. CBS issued a statement praising Kim and Park, noting they \"tried very hard to keep them with offers for large and significant salary increases.\" \u003cem>Variety\u003c/em> has \u003ca href=\"http://variety.com/2017/tv/news/hawaii-5-0-daniel-dae-kim-grace-park-deals-1202488221/\">reported\u003c/a> that Caan and O'Loughlin make about $200,000 per episode, plus a small share of the show's back-end profits; Kim was offered a salary about $5,000 short of the show's leads and a production deal.\u003c/p>\n\u003cp>Kim issued a \u003ca href=\"https://www.facebook.com/136577846385452/photos/a.141032709273299.23386.136577846385452/1500305656679324\">statement on Facebook\u003c/a> thanking fans, the network and those who worked on the show. He noted, \"As an Asian American actor, I know first-hand how difficult it is to find opportunities at all,\" later adding, \"The path to equality is rarely easy.\"\u003c/p>\n\u003cp>Oka emailed a statement to NPR:\u003c/p>\n\u003cblockquote>\u003cp>\"I was as saddened as anyone to learn of Daniel and Grace leaving \u003cem>Hawaii Five-0\u003c/em> but I, probably more so than most, understand their reason for doing so. Sometimes you have to draw the line in the sand for something you believe in and something for which you stand. While pay equality was not my personal primary decision to leave ... I support [Kim] and [Park] in their decision to stand up for what they believe is right.\"\u003c/p>\u003c/blockquote>\n\u003cp>It's true that it isn't unusual for long-running TV shows to lose cast members as the program ages — everyone seeks pay raises, and the network tries to keep a handle on costs. Kim and Park were also different negotiations, and Lenkov said Park declined an opportunity to appear in a handful of episodes next season.\u003c/p>\n\u003cp>But these are specific issues connected to a larger, structural problem.\u003c/p>\n\u003cp>For years, I've used \u003cem>Hawaii Five-0\u003c/em> star O'Loughlin's career as an example of how the TV industry gives white males the kinds of opportunities actors of color rarely share.\u003c/p>\n\u003cp>O'Loughlin 's first starring role on CBS was as a vampire private eye in the drama series \u003cem>Moonlight,\u003c/em> which was canceled after its first season in 2008. A year later, the Australian actor was playing a Pittsburgh-based transplant surgeon on the CBS medical drama \u003cem>Three Rivers,\u003c/em> which was also canceled after its first season. CBS clearly wanted to be in the O'Loughlin business, and it finally found success casting him in a program that seemed poised to do well — a 2010 remake of a beloved CBS cop show.\u003c/p>\n\u003cp>But given that Kim had co-starred on the hit show \u003cem>Lost \u003c/em>and Park had co-starred on the critically acclaimed reboot of \u003cem>Battlestar Galactica,\u003c/em> it's tough to understand why it was so hard for CBS and the show's producers to pay them as O'Loughlin's equals.\u003c/p>\n\u003cp>The network has a similar problem with gender. For the second year in a row, every new CBS show this fall will star men, and all but one will star white men. Last TV season, CBS had one new scripted show starring a woman (\u003cem>Doubt,\u003c/em> featuring Katherine Heigl), but it was quickly canceled (the network is burning off unaired episodes this summer). CBS hasn't announced any new scripted shows starring women for the 2017-2018 season.\u003c/p>\n\u003cp>So what happens the next time the network faces a pay dispute with a female co-star on a TV show?\u003c/p>\n\u003cp>Shows like \u003cem>Doubt,\u003c/em> \u003cem>S.W.A.T.\u003c/em> and \u003cem>Superior Donuts\u003c/em> (where co-star Jermaine Fowler, who is black, is also an executive producer) seem like efforts by CBS to break the pattern. But that change is coming too gradually; today, the worlds CBS portrays are out of step with the diversity of real life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The only question left is whether CBS will use this situation as a teachable moment, or let the wage gap live on.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Hawaii+Five-0%27+Casting+Announcement+Doesn%27t+Fix+CBS%27s+Larger+Diversity+Problem&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Our Long History of Absurd Shark Content, from Left Shark to Michael Phelps Racing One",
"title": "Our Long History of Absurd Shark Content, from Left Shark to Michael Phelps Racing One",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>There's no subtle way to talk about the fact that Michael Phelps raced a shark on Sunday. (Who knew that winning 23 Olympic gold medals could end in... this?)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nR6Z_9YUvss\u003c/p>\n\u003cp>If you're wondering what happened, Phelps did not swim side-by-side with a shark, or \u003ca href=\"http://media.ufc.tv/photo_galleries/122_weighin/122_weighin-07_UFC122_Soszynski_v_Reljic.jpg\">face off\u003c/a> beforehand, à la UFC matches. In the end (spoiler alert!), even with the aid of something called a \"monofin,\" Phelps lost to both the hammerhead and great white sharks. In your face, mankind!\u003c/p>\n\u003cp>The Discovery Channel's annual \u003ca href=\"https://www.discovery.com/tv-shows/shark-week/\">\u003cem>Shark Week\u003c/em>\u003c/a> is, of course, a law unto itself at this point. But fewer species have suffered the sheer number of humiliations in the name of popular culture as the shark.\u003c/p>\n\u003cp>It can all be traced back to that infamous 1977 episode of \u003ca href=\"https://en.wikipedia.org/wiki/Happy_Days\">\u003cem>Happy Days\u003c/em>\u003c/a> in which Fonzie, propelled by Richie Cunningham in a speed boat, did a waterski jump over a shark because: ratings desperation. This is where the term \"jumping the shark\" comes from -- a phrase that has come to signify the ultimate in pushing a TV show into a ridiculous premise, in the hopes of keeping it alive past its sell-by date.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Welcome to three of the most embarrassing minutes in all of \u003cem>Happy Days\u003c/em>' -- nay television's -- history:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WvGopsM1G9g\u003c/p>\n\u003cp>It was 1975's \u003ca href=\"https://en.wikipedia.org/wiki/Jaws_(film)\">\u003cem>Jaws\u003c/em>\u003c/a> that originally put sharks on the pop culture map. Widely considered to be the world's \u003ca href=\"http://variety.com/2015/film/news/jaws-40th-anniversary-at-40-box-office-summer-blockbuster-1201521198/\">first summer blockbuster\u003c/a>, the movie gave swimmers everywhere -- including, inexplicably, the ones in pools -- phobias of what might be hiding beneath the water's surface. The movie is so enduringly adored that there is an annual event in Austin, Texas where people \u003ca href=\"https://www.buzzfeed.com/shylawatson/you-couldnt-pay-me-to-attend-this-on-the-water-screening-of?utm_term=.xmqdO33Rd#.qaO9zPPv9\">float in Lake Travis\u003c/a>, while watching the movie. (Rumor has it, a couple of years ago, organizers went to the trouble of hiring divers to tickle the feet of audience members under the water.) Last month, \u003cem>Jaws\u003c/em> also launched a series of \u003ca href=\"https://www.timeout.com/london/blog/time-out-is-launching-londons-first-cinema-to-sail-the-river-thames-050217\">\u003cem>Movies on the River\u003c/em>\u003c/a> in London, England.\u003c/p>\n\u003cp>What the adoration for the original movie so frequently forgets, however, is how completely insane this franchise eventually became. Remember: \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Jaws_3-D\">Jaws 3-D's\u003c/a>\u003c/em> plot starts with a shark breaking into SeaWorld to eat people, and ends with dolphins rescuing Dennis Quaid. Even worse than that, the premise of \u003ca href=\"https://en.wikipedia.org/wiki/Jaws:_The_Revenge\">\u003cem>Jaws 4\u003c/em>\u003c/a> is that a great white shark is stalking the one specific family that has featured in each \u003cem>Jaws\u003c/em> installment, with the purpose of seeking vengeance for its previously murdered shark brethren. This revenge-hungry shark is so angry, it follows the family all the way to the Bahamas.\u003c/p>\n\u003cp>Thankfully, a fan went to the trouble of summing up the absurdity of the entire movie thusly:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nf2K_645qtw\u003c/p>\n\u003cp>As shark movies go, 1999's \u003ca href=\"https://en.wikipedia.org/wiki/Deep_Blue_Sea_(1999_film)\">\u003cem>Deep Blue Sea\u003c/em>\u003c/a> had the good sense to alter the DNA of its sharks to turn them into actual monsters. It also won a lot of people over with one of the most joyously \u003ca href=\"https://www.youtube.com/watch?v=BS8I9H07wKw\">unexpected character death\u003c/a> scenes in movie history. Sadly, further shark movies have not faired nearly as well.\u003c/p>\n\u003cp>2016's \u003ca href=\"https://en.wikipedia.org/wiki/The_Shallows_(film)\">\u003cem>The Shallows\u003c/em>\u003c/a> starred a shark that decided that stalking and waiting all day for Blake Lively to fall off a rock was a much better idea than eating the massive dead whale that had brought it into shallow, probably-too-warm waters in the first place. Truly, the movie's premise made absolutely no sense, but 2010's \u003ca href=\"https://en.wikipedia.org/wiki/The_Reef_(2010_film)\">\u003cem>The Reef\u003c/em>\u003c/a> also featured a shark that was dead set on stalking humans as well.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NBS6r4QB86E\u003c/p>\n\u003cp>Of course, \u003cem>The Shallows\u003c/em> looks like a BBC wildlife documentary when compared with one of the most preposterous movies in history, \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Sharknado\">Sharknado\u003c/a>,\u003c/em> which suggests that, with the right combination of extreme weather conditions, sharks could legitimately get sucked into the sky and then rained down onto land-dwelling humans below, snapping at, killing, and getting chopped in half by chainsaw-wielding ex-\u003cem>Beverly Hills 90210\u003c/em> \u003ca href=\"https://en.wikipedia.org/wiki/Ian_Ziering\">cast members\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=M-pXDoe5a0E\u003c/p>\n\u003cp>\u003cem>Sharknado\u003c/em> was so insane, and such a guilty pleasure for so many, that this August, we'll be facing down \u003ca href=\"https://www.youtube.com/watch?v=hbRroXtmvOU\">\u003cem>Sharknado 5\u003c/em>\u003c/a>. No, really. There's five of these suckers now -- and there's absolutely no need for at least four of them -- especially when you consider how many shark-based B-movies already exist.\u003c/p>\n\u003cp>Here are some relatively recent shark movies you may not know about, but are 100% real: \u003cem>Shark Night 3-D, Bait 3-D, Shark Attack, 2-Headed Shark Attack, Jurassic Shark, Ghost Shark, Supershark, Dinoshark, Swamp Shark, Sand Shark, Megashark Vs. Mechashark, Megashark Vs. Giant Octopus, Shark Swarm, Shark Attack, Raging Sharks, Sharktopus\u003c/em>. Truly, the list is endless. There are a lot more out there, but that's what Google is for.\u003c/p>\n\u003cp>Outside of movies, one of the most insane iterations of pop culture-related shark humiliation took place during the halftime show of 2015's \u003ca href=\"https://en.wikipedia.org/wiki/Super_Bowl_XLIX_halftime_show\">Superbowl XLIX\u003c/a>. It's impossible to know what possessed Katy Perry to stick a couple of dancers in shark costumes to do a jaunty little routine for \"Teenage Dream,\" but all anyone could talk about the next day was Left Shark: the one that momentarily forgot its dance steps, so collapsed into flailing wildly on national television in front of 118.5 million viewers.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter\" src=\"https://68.media.tumblr.com/a22c1ea0974a1af00f8f0c44dcf447cc/tumblr_nj4pr3bVvH1s2wio8o1_500.gif\">\u003c/p>\n\u003cp>Left Shark first prompted a bazillion memes and gifs, then stretched out into \u003ca href=\"http://29odkrngwwiml6xqsb8nbfh.wpengine.netdna-cdn.com/wp-content/uploads/2015/05/Screen-Shot-2015-05-01-at-12.29.36-PM.png\">parodies\u003c/a>, \u003ca href=\"https://cdn-s3.si.com/s3fs-public/styles/marquee_large_2x/public/2015/02/03/super-bowl-left-shark-tattoo.jpg?itok=uD5Y0XBj\">tattoos\u003c/a>, \u003ca href=\"http://www.billboard.com/articles/news/6859524/katy-perry-left-shark-revealed-true-story-super-bowl\">background stories\u003c/a>, \u003ca href=\"https://www.redbubble.com/shop/left+shark\">merch\u003c/a>, and, yes, eventually, even a \u003ca href=\"http://bitterempire.com/most-ridiculous-celebrity-lawsuit-of-the-week-katy-perrys-left-shark-trademark-rejected/\">trademark-related lawsuit\u003c/a> because: America. Sure, the incriminating footage of Left Shark remains tear-inducingly funny even now, but the sheer expansion of Left Shark into so many areas of our lives was a prime example of a pop culture moment, uh, jumping the shark.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The amount of attention we give, and the scary information we perpetuate about sharks has little basis in reality (though 2003's \u003ca href=\"http://www.blumhouse.com/2016/03/16/the-true-story-behind-the-movie-open-water/\">\u003cem>Open Water\u003c/em>\u003c/a> was based on a true story). Movies that depict sharks as ruthless human-murderers are really quite unfair. The \u003ca href=\"https://www.floridamuseum.ufl.edu/fish/isaf/what-are-odds/risks-comparison/risk-death\">Florida Museum of Natural History\u003c/a> puts your chances, as an American, of being killed by a shark in your lifetime at 1 in 3,748,067. Given the fact that fireworks carries a 1 in 340,733 risk, we should probably quit being so mean to these ancient creatures. Unless of course, the rumors turn out to be true... in which case, Michael Phelps should ready himself for a life of stalking by a cartilaginous fish. Stranger things have happened.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There's no subtle way to talk about the fact that Michael Phelps raced a shark on Sunday. (Who knew that winning 23 Olympic gold medals could end in... this?)\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/nR6Z_9YUvss'\n title='//www.youtube.com/embed/nR6Z_9YUvss'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you're wondering what happened, Phelps did not swim side-by-side with a shark, or \u003ca href=\"http://media.ufc.tv/photo_galleries/122_weighin/122_weighin-07_UFC122_Soszynski_v_Reljic.jpg\">face off\u003c/a> beforehand, à la UFC matches. In the end (spoiler alert!), even with the aid of something called a \"monofin,\" Phelps lost to both the hammerhead and great white sharks. In your face, mankind!\u003c/p>\n\u003cp>The Discovery Channel's annual \u003ca href=\"https://www.discovery.com/tv-shows/shark-week/\">\u003cem>Shark Week\u003c/em>\u003c/a> is, of course, a law unto itself at this point. But fewer species have suffered the sheer number of humiliations in the name of popular culture as the shark.\u003c/p>\n\u003cp>It can all be traced back to that infamous 1977 episode of \u003ca href=\"https://en.wikipedia.org/wiki/Happy_Days\">\u003cem>Happy Days\u003c/em>\u003c/a> in which Fonzie, propelled by Richie Cunningham in a speed boat, did a waterski jump over a shark because: ratings desperation. This is where the term \"jumping the shark\" comes from -- a phrase that has come to signify the ultimate in pushing a TV show into a ridiculous premise, in the hopes of keeping it alive past its sell-by date.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Welcome to three of the most embarrassing minutes in all of \u003cem>Happy Days\u003c/em>' -- nay television's -- 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/WvGopsM1G9g'\n title='//www.youtube.com/embed/WvGopsM1G9g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It was 1975's \u003ca href=\"https://en.wikipedia.org/wiki/Jaws_(film)\">\u003cem>Jaws\u003c/em>\u003c/a> that originally put sharks on the pop culture map. Widely considered to be the world's \u003ca href=\"http://variety.com/2015/film/news/jaws-40th-anniversary-at-40-box-office-summer-blockbuster-1201521198/\">first summer blockbuster\u003c/a>, the movie gave swimmers everywhere -- including, inexplicably, the ones in pools -- phobias of what might be hiding beneath the water's surface. The movie is so enduringly adored that there is an annual event in Austin, Texas where people \u003ca href=\"https://www.buzzfeed.com/shylawatson/you-couldnt-pay-me-to-attend-this-on-the-water-screening-of?utm_term=.xmqdO33Rd#.qaO9zPPv9\">float in Lake Travis\u003c/a>, while watching the movie. (Rumor has it, a couple of years ago, organizers went to the trouble of hiring divers to tickle the feet of audience members under the water.) Last month, \u003cem>Jaws\u003c/em> also launched a series of \u003ca href=\"https://www.timeout.com/london/blog/time-out-is-launching-londons-first-cinema-to-sail-the-river-thames-050217\">\u003cem>Movies on the River\u003c/em>\u003c/a> in London, England.\u003c/p>\n\u003cp>What the adoration for the original movie so frequently forgets, however, is how completely insane this franchise eventually became. Remember: \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Jaws_3-D\">Jaws 3-D's\u003c/a>\u003c/em> plot starts with a shark breaking into SeaWorld to eat people, and ends with dolphins rescuing Dennis Quaid. Even worse than that, the premise of \u003ca href=\"https://en.wikipedia.org/wiki/Jaws:_The_Revenge\">\u003cem>Jaws 4\u003c/em>\u003c/a> is that a great white shark is stalking the one specific family that has featured in each \u003cem>Jaws\u003c/em> installment, with the purpose of seeking vengeance for its previously murdered shark brethren. This revenge-hungry shark is so angry, it follows the family all the way to the Bahamas.\u003c/p>\n\u003cp>Thankfully, a fan went to the trouble of summing up the absurdity of the entire movie thusly:\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/nf2K_645qtw'\n title='//www.youtube.com/embed/nf2K_645qtw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As shark movies go, 1999's \u003ca href=\"https://en.wikipedia.org/wiki/Deep_Blue_Sea_(1999_film)\">\u003cem>Deep Blue Sea\u003c/em>\u003c/a> had the good sense to alter the DNA of its sharks to turn them into actual monsters. It also won a lot of people over with one of the most joyously \u003ca href=\"https://www.youtube.com/watch?v=BS8I9H07wKw\">unexpected character death\u003c/a> scenes in movie history. Sadly, further shark movies have not faired nearly as well.\u003c/p>\n\u003cp>2016's \u003ca href=\"https://en.wikipedia.org/wiki/The_Shallows_(film)\">\u003cem>The Shallows\u003c/em>\u003c/a> starred a shark that decided that stalking and waiting all day for Blake Lively to fall off a rock was a much better idea than eating the massive dead whale that had brought it into shallow, probably-too-warm waters in the first place. Truly, the movie's premise made absolutely no sense, but 2010's \u003ca href=\"https://en.wikipedia.org/wiki/The_Reef_(2010_film)\">\u003cem>The Reef\u003c/em>\u003c/a> also featured a shark that was dead set on stalking humans as well.\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/NBS6r4QB86E'\n title='//www.youtube.com/embed/NBS6r4QB86E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Of course, \u003cem>The Shallows\u003c/em> looks like a BBC wildlife documentary when compared with one of the most preposterous movies in history, \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Sharknado\">Sharknado\u003c/a>,\u003c/em> which suggests that, with the right combination of extreme weather conditions, sharks could legitimately get sucked into the sky and then rained down onto land-dwelling humans below, snapping at, killing, and getting chopped in half by chainsaw-wielding ex-\u003cem>Beverly Hills 90210\u003c/em> \u003ca href=\"https://en.wikipedia.org/wiki/Ian_Ziering\">cast members\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/M-pXDoe5a0E'\n title='//www.youtube.com/embed/M-pXDoe5a0E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Sharknado\u003c/em> was so insane, and such a guilty pleasure for so many, that this August, we'll be facing down \u003ca href=\"https://www.youtube.com/watch?v=hbRroXtmvOU\">\u003cem>Sharknado 5\u003c/em>\u003c/a>. No, really. There's five of these suckers now -- and there's absolutely no need for at least four of them -- especially when you consider how many shark-based B-movies already exist.\u003c/p>\n\u003cp>Here are some relatively recent shark movies you may not know about, but are 100% real: \u003cem>Shark Night 3-D, Bait 3-D, Shark Attack, 2-Headed Shark Attack, Jurassic Shark, Ghost Shark, Supershark, Dinoshark, Swamp Shark, Sand Shark, Megashark Vs. Mechashark, Megashark Vs. Giant Octopus, Shark Swarm, Shark Attack, Raging Sharks, Sharktopus\u003c/em>. Truly, the list is endless. There are a lot more out there, but that's what Google is for.\u003c/p>\n\u003cp>Outside of movies, one of the most insane iterations of pop culture-related shark humiliation took place during the halftime show of 2015's \u003ca href=\"https://en.wikipedia.org/wiki/Super_Bowl_XLIX_halftime_show\">Superbowl XLIX\u003c/a>. It's impossible to know what possessed Katy Perry to stick a couple of dancers in shark costumes to do a jaunty little routine for \"Teenage Dream,\" but all anyone could talk about the next day was Left Shark: the one that momentarily forgot its dance steps, so collapsed into flailing wildly on national television in front of 118.5 million viewers.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter\" src=\"https://68.media.tumblr.com/a22c1ea0974a1af00f8f0c44dcf447cc/tumblr_nj4pr3bVvH1s2wio8o1_500.gif\">\u003c/p>\n\u003cp>Left Shark first prompted a bazillion memes and gifs, then stretched out into \u003ca href=\"http://29odkrngwwiml6xqsb8nbfh.wpengine.netdna-cdn.com/wp-content/uploads/2015/05/Screen-Shot-2015-05-01-at-12.29.36-PM.png\">parodies\u003c/a>, \u003ca href=\"https://cdn-s3.si.com/s3fs-public/styles/marquee_large_2x/public/2015/02/03/super-bowl-left-shark-tattoo.jpg?itok=uD5Y0XBj\">tattoos\u003c/a>, \u003ca href=\"http://www.billboard.com/articles/news/6859524/katy-perry-left-shark-revealed-true-story-super-bowl\">background stories\u003c/a>, \u003ca href=\"https://www.redbubble.com/shop/left+shark\">merch\u003c/a>, and, yes, eventually, even a \u003ca href=\"http://bitterempire.com/most-ridiculous-celebrity-lawsuit-of-the-week-katy-perrys-left-shark-trademark-rejected/\">trademark-related lawsuit\u003c/a> because: America. Sure, the incriminating footage of Left Shark remains tear-inducingly funny even now, but the sheer expansion of Left Shark into so many areas of our lives was a prime example of a pop culture moment, uh, jumping the shark.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The amount of attention we give, and the scary information we perpetuate about sharks has little basis in reality (though 2003's \u003ca href=\"http://www.blumhouse.com/2016/03/16/the-true-story-behind-the-movie-open-water/\">\u003cem>Open Water\u003c/em>\u003c/a> was based on a true story). Movies that depict sharks as ruthless human-murderers are really quite unfair. The \u003ca href=\"https://www.floridamuseum.ufl.edu/fish/isaf/what-are-odds/risks-comparison/risk-death\">Florida Museum of Natural History\u003c/a> puts your chances, as an American, of being killed by a shark in your lifetime at 1 in 3,748,067. Given the fact that fireworks carries a 1 in 340,733 risk, we should probably quit being so mean to these ancient creatures. Unless of course, the rumors turn out to be true... in which case, Michael Phelps should ready himself for a life of stalking by a cartilaginous fish. Stranger things have happened.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The 13th 'Doctor Who' is a Woman—But the Show Has Had Female Pioneers From the Very Beginning",
"title": "The 13th 'Doctor Who' is a Woman—But the Show Has Had Female Pioneers From the Very Beginning",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Over the weekend, news that British sci-fi hit \u003ca href=\"http://www.bbc.co.uk/programmes/b006q2x0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Doctor Who\u003c/em>\u003c/a> would finally be welcoming its \u003ca href=\"https://www.youtube.com/watch?v=q1IczjLYCIM\" target=\"_blank\" rel=\"noopener noreferrer\">first female Doctor\u003c/a> threw the entire internet into a frenzy of both excitement and horror.\u003c/p>\n\u003cp>https://twitter.com/blankpaperstare/status/886945669063163904\u003c/p>\n\u003cp>For many, replacing the \u003ca href=\"https://en.wikipedia.org/wiki/Time_Lord\" target=\"_blank\" rel=\"noopener noreferrer\">Time Lord\u003c/a> with a Time Lady was a long-overdue step forward for a show that traditionally relegated female characters to sidekick roles. What many don't realize is that \u003cem>Doctor Who\u003c/em> has actually been a show that assisted women in breaking boundaries from the very start.\u003c/p>\n\u003cp>The program's creator, \u003ca href=\"https://en.wikipedia.org/wiki/Sydney_Newman\" target=\"_blank\" rel=\"noopener noreferrer\">Sydney Newman\u003c/a>, originally tried to introduce the idea of a female Doctor in the 1980s, as a way to revive the then-ailing show. The head of the BBC at the time shut the idea down—not terribly surprising given that \u003ca href=\"https://en.wikipedia.org/wiki/Peter_Davison\" target=\"_blank\" rel=\"noopener noreferrer\">Peter Davison\u003c/a>, who played the Doctor between 1981 and 1984, once publicly dismissed the idea of ever having a female lead, saying: \"It’s not as if you would have a female James Bond.\" (We'll see about that too, Davison!)\u003c/p>\n\u003cp>Newman's forward-thinking was also the reason he brought in the BBC's first ever female producer, \u003ca href=\"https://en.wikipedia.org/wiki/Verity_Lambert\" target=\"_blank\" rel=\"noopener noreferrer\">Verity Lambert\u003c/a>, to work on \u003cem>Doctor Who\u003c/em> in 1963. Newman later noted: \"‘I think the best thing I ever did... was to find Verity Lambert... She was gutsy.\" Lambert's important contributions were not forgotten. In 2002, she was awarded an OBE from Queen Elizabeth II for services to film and television production.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lambert wasn't the only woman who was essential in \u003cem>Doctor Who\u003c/em>'s earliest days—that ear worm of a theme tune was created by an electronica pioneer named \u003ca href=\"https://en.wikipedia.org/wiki/Delia_Derbyshire\" target=\"_blank\" rel=\"noopener noreferrer\">Delia Derbyshire\u003c/a>. Though a man named \u003ca href=\"https://en.wikipedia.org/wiki/Ron_Grainer\" target=\"_blank\" rel=\"noopener noreferrer\">Ron Grainer\u003c/a> had written the score, Derbyshire so transformed it that Grainer was said to have asked her, \"Did I really write this?\" Derbyshire's arrangement stayed on the air, in its original form, for an impressive 17 years.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=75V4ClJZME4\u003c/p>\n\u003cp>Though Derbyshire was never formally credited by the BBC for her work on the theme tune, and received no royalties for it, what her forward-thinking approach to music did garner was a massive cult following, props from the likes of \u003ca href=\"http://www.delia-derbyshire.org/interview_surface.php\" target=\"_blank\" rel=\"noopener noreferrer\">Aphex Twin and Yoko Ono\u003c/a>, a fascinating \u003ca href=\"https://www.youtube.com/watch?v=MA6Fb0nuAYw\" target=\"_blank\" rel=\"noopener noreferrer\">documentary\u003c/a> about her life, and a street named after her in her hometown of Coventry, England.\u003c/p>\n\u003cp>Another pioneer in her field, \u003ca href=\"https://en.wikipedia.org/wiki/Judith_Merril\" target=\"_blank\" rel=\"noopener noreferrer\">Judith Merril\u003c/a> was a science fiction author who, in the late '70s and early '80s was given the task of dissecting \u003cem>Doctor Who\u003c/em> episodes directly after they had aired, for the BBC. Merril called herself the UnDoctor and would interview scientists and philosophers about various subjects raised in each episode. Merril not only got the opportunity to turn \u003cem>Doctor Who\u003c/em> into an educational experience, she clearly had a blast doing it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o9qdrgIk95k\u003c/p>\n\u003cp>By 2015, the roles for women on the show had so improved, \u003cem>Vanity Fair\u003c/em> declared \u003cem>Doctor Who\u003c/em> \u003ca href=\"http://www.vanityfair.com/hollywood/2015/12/doctor-who-finale-feminist-clara-tardis\" target=\"_blank\" rel=\"noopener noreferrer\">\"righteously feminist,\"\u003c/a> after an episode in which Clara Oswald and Ashildr take off in their own tardis. Strong, intelligent women have, in fact, shown up repeatedly since the show's 2005 re-boot. (See: Amy Pond, Rose Tyler, and Martha Jones.) [aside postid='pop_106360']\u003c/p>\n\u003cp>\u003cem>Doctor Who\u003c/em> has also been making strides forward in the sexuality stakes. It was praised earlier this year for introducing its first openly gay lead character (\u003ca href=\"http://tardis.wikia.com/wiki/Bill_Potts\" target=\"_blank\" rel=\"noopener noreferrer\">Bill Potts\u003c/a>), but has managed to approach sexuality in truly groundbreaking ways already. \u003cem>Doctor Who\u003c/em> has featured two \u003ca href=\"http://www.urbandictionary.com/define.php?term=omnisexual\" target=\"_blank\" rel=\"noopener noreferrer\">omnisexual\u003c/a> characters (the much-loved River Song and Captain Jack Harkness), as well as a married lesbian couple, \u003ca href=\"https://en.wikipedia.org/wiki/Madame_Vastra,_Jenny_Flint,_and_Strax\" target=\"_blank\" rel=\"noopener noreferrer\">Jenny Flint and Madam Vastra\u003c/a>, who also happen to be interspecies!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If the show was too male-dominated in the '70s and '80s (and it was), it's certainly more than making up for it now. Just as \u003cem>Star Trek\u003c/em> used science fiction as a means to break down taboos and social barriers (television's first \u003ca href=\"https://www.youtube.com/watch?v=9KGE7HYEie0\" target=\"_blank\" rel=\"noopener noreferrer\">interracial kiss\u003c/a>, anyone?), \u003cem>Doctor Who\u003c/em> is attempting to do the same at a much more rapid rate than anyone could have imagined in the show's early days. Now with its first female Doctor, that progress should be unstoppable.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the weekend, news that British sci-fi hit \u003ca href=\"http://www.bbc.co.uk/programmes/b006q2x0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Doctor Who\u003c/em>\u003c/a> would finally be welcoming its \u003ca href=\"https://www.youtube.com/watch?v=q1IczjLYCIM\" target=\"_blank\" rel=\"noopener noreferrer\">first female Doctor\u003c/a> threw the entire internet into a frenzy of both excitement and horror.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>For many, replacing the \u003ca href=\"https://en.wikipedia.org/wiki/Time_Lord\" target=\"_blank\" rel=\"noopener noreferrer\">Time Lord\u003c/a> with a Time Lady was a long-overdue step forward for a show that traditionally relegated female characters to sidekick roles. What many don't realize is that \u003cem>Doctor Who\u003c/em> has actually been a show that assisted women in breaking boundaries from the very start.\u003c/p>\n\u003cp>The program's creator, \u003ca href=\"https://en.wikipedia.org/wiki/Sydney_Newman\" target=\"_blank\" rel=\"noopener noreferrer\">Sydney Newman\u003c/a>, originally tried to introduce the idea of a female Doctor in the 1980s, as a way to revive the then-ailing show. The head of the BBC at the time shut the idea down—not terribly surprising given that \u003ca href=\"https://en.wikipedia.org/wiki/Peter_Davison\" target=\"_blank\" rel=\"noopener noreferrer\">Peter Davison\u003c/a>, who played the Doctor between 1981 and 1984, once publicly dismissed the idea of ever having a female lead, saying: \"It’s not as if you would have a female James Bond.\" (We'll see about that too, Davison!)\u003c/p>\n\u003cp>Newman's forward-thinking was also the reason he brought in the BBC's first ever female producer, \u003ca href=\"https://en.wikipedia.org/wiki/Verity_Lambert\" target=\"_blank\" rel=\"noopener noreferrer\">Verity Lambert\u003c/a>, to work on \u003cem>Doctor Who\u003c/em> in 1963. Newman later noted: \"‘I think the best thing I ever did... was to find Verity Lambert... She was gutsy.\" Lambert's important contributions were not forgotten. In 2002, she was awarded an OBE from Queen Elizabeth II for services to film and television production.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lambert wasn't the only woman who was essential in \u003cem>Doctor Who\u003c/em>'s earliest days—that ear worm of a theme tune was created by an electronica pioneer named \u003ca href=\"https://en.wikipedia.org/wiki/Delia_Derbyshire\" target=\"_blank\" rel=\"noopener noreferrer\">Delia Derbyshire\u003c/a>. Though a man named \u003ca href=\"https://en.wikipedia.org/wiki/Ron_Grainer\" target=\"_blank\" rel=\"noopener noreferrer\">Ron Grainer\u003c/a> had written the score, Derbyshire so transformed it that Grainer was said to have asked her, \"Did I really write this?\" Derbyshire's arrangement stayed on the air, in its original form, for an impressive 17 years.\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/75V4ClJZME4'\n title='//www.youtube.com/embed/75V4ClJZME4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though Derbyshire was never formally credited by the BBC for her work on the theme tune, and received no royalties for it, what her forward-thinking approach to music did garner was a massive cult following, props from the likes of \u003ca href=\"http://www.delia-derbyshire.org/interview_surface.php\" target=\"_blank\" rel=\"noopener noreferrer\">Aphex Twin and Yoko Ono\u003c/a>, a fascinating \u003ca href=\"https://www.youtube.com/watch?v=MA6Fb0nuAYw\" target=\"_blank\" rel=\"noopener noreferrer\">documentary\u003c/a> about her life, and a street named after her in her hometown of Coventry, England.\u003c/p>\n\u003cp>Another pioneer in her field, \u003ca href=\"https://en.wikipedia.org/wiki/Judith_Merril\" target=\"_blank\" rel=\"noopener noreferrer\">Judith Merril\u003c/a> was a science fiction author who, in the late '70s and early '80s was given the task of dissecting \u003cem>Doctor Who\u003c/em> episodes directly after they had aired, for the BBC. Merril called herself the UnDoctor and would interview scientists and philosophers about various subjects raised in each episode. Merril not only got the opportunity to turn \u003cem>Doctor Who\u003c/em> into an educational experience, she clearly had a blast doing it.\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/o9qdrgIk95k'\n title='//www.youtube.com/embed/o9qdrgIk95k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By 2015, the roles for women on the show had so improved, \u003cem>Vanity Fair\u003c/em> declared \u003cem>Doctor Who\u003c/em> \u003ca href=\"http://www.vanityfair.com/hollywood/2015/12/doctor-who-finale-feminist-clara-tardis\" target=\"_blank\" rel=\"noopener noreferrer\">\"righteously feminist,\"\u003c/a> after an episode in which Clara Oswald and Ashildr take off in their own tardis. Strong, intelligent women have, in fact, shown up repeatedly since the show's 2005 re-boot. (See: Amy Pond, Rose Tyler, and Martha Jones.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Doctor Who\u003c/em> has also been making strides forward in the sexuality stakes. It was praised earlier this year for introducing its first openly gay lead character (\u003ca href=\"http://tardis.wikia.com/wiki/Bill_Potts\" target=\"_blank\" rel=\"noopener noreferrer\">Bill Potts\u003c/a>), but has managed to approach sexuality in truly groundbreaking ways already. \u003cem>Doctor Who\u003c/em> has featured two \u003ca href=\"http://www.urbandictionary.com/define.php?term=omnisexual\" target=\"_blank\" rel=\"noopener noreferrer\">omnisexual\u003c/a> characters (the much-loved River Song and Captain Jack Harkness), as well as a married lesbian couple, \u003ca href=\"https://en.wikipedia.org/wiki/Madame_Vastra,_Jenny_Flint,_and_Strax\" target=\"_blank\" rel=\"noopener noreferrer\">Jenny Flint and Madam Vastra\u003c/a>, who also happen to be interspecies!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If the show was too male-dominated in the '70s and '80s (and it was), it's certainly more than making up for it now. Just as \u003cem>Star Trek\u003c/em> used science fiction as a means to break down taboos and social barriers (television's first \u003ca href=\"https://www.youtube.com/watch?v=9KGE7HYEie0\" target=\"_blank\" rel=\"noopener noreferrer\">interracial kiss\u003c/a>, anyone?), \u003cem>Doctor Who\u003c/em> is attempting to do the same at a much more rapid rate than anyone could have imagined in the show's early days. Now with its first female Doctor, that progress should be unstoppable.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Fuller House: Every Single WTF Moment from Season 2",
"title": "Fuller House: Every Single WTF Moment from Season 2",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/2016/03/02/fuller-house-every-single-wtf-moment-from-season-1/\">Last year, I chronicled\u003c/a> every single time I wanted to look at someone and shout \u003cem>WTF!\u003c/em>, while watching the premiere season of \u003cem>Fuller House\u003c/em>. Some faves include the line \"What if Uber sees my boobers?!\" and Stephanie Tanner ending up naked in a vat of tomato soup with a baby and a second grader:\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/Screen-Shot-2016-02-27-at-1.42.25-PM.png\">\u003cimg class=\"size-medium wp-image-20949 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/Screen-Shot-2016-02-27-at-1.42.25-PM-800x449.png\" alt=\"\" width=\"800\" height=\"449\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/Screen-Shot-2016-02-27-at-1.42.25-PM-800x449.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/Screen-Shot-2016-02-27-at-1.42.25-PM-400x224.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/Screen-Shot-2016-02-27-at-1.42.25-PM-768x431.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/Screen-Shot-2016-02-27-at-1.42.25-PM-1440x807.png 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/Screen-Shot-2016-02-27-at-1.42.25-PM-1180x662.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/Screen-Shot-2016-02-27-at-1.42.25-PM-960x538.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/Screen-Shot-2016-02-27-at-1.42.25-PM.png 1680w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>The second season bravely grabbed the WTF torch and ran with it. Here are all the latest what-in-the-world-is-going-on, how-did-we-get-here moments:\u003c/p>\n\u003cp>Danny Tanner experiences a mid-life crisis that manifests in speaking in Ebonics and refusing to shower.\u003c/p>\n\u003cp>\u003cimg class=\"size-medium wp-image-90204 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/danny-tanner.gif\" alt=\"\" width=\"500\" height=\"281\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"size-medium wp-image-90199 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/dirty-tanner.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-90198\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/danny.gif\" alt=\"\" width=\"500\" height=\"281\">\u003c/p>\n\u003cp>This isn't the only instance of \u003cem>Fuller House\u003c/em> dealing with black culture in a cringe-y way:\u003c/p>\n\u003cp>https://twitter.com/xcusemybeauty/status/884551449257984000\u003c/p>\n\u003cp>Once you think the show can't get any whiter, this happens:\u003c/p>\n\u003cp>https://twitter.com/xcusemybeauty/status/884558312565493760\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/tumblr_ohz6f522y91rexjgmo1_500.gif\">\u003cbr>\n\u003c/a> Kimmie's \"Latin lover\" fiance/ex-husband is still a full-blown caricature of a human being, whose over-the-top accent is only rivaled by Hank Azaria in \u003cem>The Birdcage\u003c/em>. Here, we see him begging for sex via a PBS joke:\u003c/p>\n\u003cp>https://twitter.com/xcusemybeauty/status/884557939960197120\u003c/p>\n\u003cp>This is what he does to convince Kimmie to stop being mad and have sex with him. Spoiler: it works.\u003c/p>\n\u003cp>\u003cimg class=\"size-medium wp-image-90206 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/fuller-house-body-roll.gif\" alt=\"\" width=\"500\" height=\"281\">\u003c/p>\n\u003cp>Stephanie's middle school band Girl Talk breaks up for a second time, when a fight over vaping breaks out during a rendition of Ace of Base's \"The Sign.\"\u003c/p>\n\u003cp>\u003cimg class=\"size-medium wp-image-90202 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/tumblr_oms0v5OGJH1vf9b9ao2_500.gif\" alt=\"\" width=\"500\" height=\"220\">\u003c/p>\n\u003cp>Danny Tanner goes nude hover-boarding in search of an outfit after \"sketchy thug types\" steal his \"threads,\" while he was skinny dipping in the Bay.\u003c/p>\n\u003cp>D.J. plys her 8-year-old with uppers so he can pull an all-nighter to win first prize at the science fair.\u003c/p>\n\u003cp>Uncle Jesse and Becky adopt a baby because they're bored:\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-58031\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/tumblr_ohzoghnLe51s0143go5_400.gif\" alt=\"tumblr_ohzoghnle51s0143go5_400\" width=\"268\" height=\"200\">\u003c/p>\n\u003cp>Uncle Joey eats a bad donut and diarrheas in the backyard.\u003c/p>\n\u003cp>A corn cob almost murders the family dog.\u003c/p>\n\u003cp>D.J. misses a house visit from four members of New Kids on the Block (and a framed photo of Donny Wahlberg) because she cracked a crown while biting into a cupcake that had a metal key hidden inside it.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-57765\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-1.27.42-PM-1020x569.png\" alt=\"screen-shot-2017-01-09-at-1-27-42-pm\" width=\"640\" height=\"357\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-1.27.42-PM-1020x569.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-1.27.42-PM-160x89.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-1.27.42-PM-800x446.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-1.27.42-PM-768x428.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-1.27.42-PM-1180x658.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-1.27.42-PM-960x535.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-1.27.42-PM-240x134.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-1.27.42-PM-375x209.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-1.27.42-PM-520x290.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-1.27.42-PM.png 1680w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>D.J. fondles Joey McIntyre, while doped up on pain killers, and repeatedly mumbles, \"I like this. I really like this.\"\u003c/p>\n\u003cp>D.J. has a sex dream about Joey McIntyre in front of her children.\u003c/p>\n\u003cp>We're forced to believe that said members of NKOTB are in a hurry to get to a sold out gig for 20,000 fans at a stadium. Sure, Jan.\u003c/p>\n\u003cp>Everyone at Kimmy's high school reunion ostracizes her when they find out she has a UTI.\u003c/p>\n\u003cp>The term \"cellfie\" is invented when the cast take a selfie in a fake prison cell.\u003c/p>\n\u003cp>\u003cimg class=\"wp-image-90203 size-full aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/cellfie.gif\" alt=\"\" width=\"840\" height=\"472\">\u003c/p>\n\u003cp>A pet chicken is sucked out of a car's sunroof and presumed dead, but makes its way back to the house alive.\u003c/p>\n\u003cp>Less WTF and more OMG YAS: Every time the writers troll ultra-conservative Republican Candace Cameron:\u003c/p>\n\u003cp>https://twitter.com/xcusemybeauty/status/884556660353548289\u003c/p>\n\u003cp>https://twitter.com/xcusemybeauty/status/884557162915090432\u003c/p>\n\u003cp>Also more OMG YAS than WTF: this child's Oscar-worthy comedic performance:\u003c/p>\n\u003cp>https://twitter.com/xcusemybeauty/status/884542730373746689\u003c/p>\n\u003cp>The writers continue to refuse to accept that Mary Kate and Ashley Olsen want nothing to do with this revival:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/6f00deb7230bc886bbf436cf49eb3fc199299c6a.gif\">\u003cimg class=\"aligncenter size-large wp-image-58035\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/6f00deb7230bc886bbf436cf49eb3fc199299c6a.gif\" alt=\"6f00deb7230bc886bbf436cf49eb3fc199299c6a\" width=\"512\" height=\"288\">\u003c/a>\u003c/p>\n\u003cp>Dear set designer, why would an 8-year-old need not one, not two, but three electric guitars?\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.26.51-PM.png\">\u003cimg class=\"aligncenter size-large wp-image-57772\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.26.51-PM-1020x574.png\" alt=\"screen-shot-2017-01-09-at-12-26-51-pm\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.26.51-PM-1020x574.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.26.51-PM-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.26.51-PM-800x450.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.26.51-PM-768x432.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.26.51-PM-1180x664.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.26.51-PM-960x540.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.26.51-PM-240x135.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.26.51-PM-375x211.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.26.51-PM-520x293.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.26.51-PM.png 1675w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Too soon:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.15.32-PM.png\">\u003cimg class=\"aligncenter size-large wp-image-57770\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.15.32-PM-1020x571.png\" alt=\"screen-shot-2017-01-09-at-12-15-32-pm\" width=\"640\" height=\"358\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.15.32-PM-1020x571.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.15.32-PM-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.15.32-PM-800x448.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.15.32-PM-768x430.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.15.32-PM-1180x661.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.15.32-PM-960x538.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.15.32-PM-240x134.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.15.32-PM-375x210.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.15.32-PM-520x291.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.15.32-PM.png 1680w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Yes, that is a windmill created out of Barbies.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-11.46.42-AM.png\">\u003cimg class=\"aligncenter size-large wp-image-57768\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-11.46.42-AM-1020x571.png\" alt=\"screen-shot-2017-01-09-at-11-46-42-am\" width=\"640\" height=\"358\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-11.46.42-AM-1020x571.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-11.46.42-AM-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-11.46.42-AM-800x448.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-11.46.42-AM-768x430.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-11.46.42-AM-1180x660.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-11.46.42-AM-960x537.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-11.46.42-AM-240x134.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-11.46.42-AM-375x210.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-11.46.42-AM-520x291.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-11.46.42-AM.png 1680w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cbr>\nStephanie spends an entire episode flipping through a picture book about Ariana Grande:\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.21.02-PM.png\">\u003cbr>\n\u003c/a> \u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-7.50.01-PM.png\">\u003cimg class=\"aligncenter size-large wp-image-57757\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-7.50.01-PM-1020x571.png\" alt=\"screen-shot-2017-01-07-at-7-50-01-pm\" width=\"640\" height=\"358\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-7.50.01-PM-1020x571.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-7.50.01-PM-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-7.50.01-PM-800x448.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-7.50.01-PM-768x430.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-7.50.01-PM-1180x661.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-7.50.01-PM-960x538.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-7.50.01-PM-240x134.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-7.50.01-PM-375x210.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-7.50.01-PM-520x291.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-7.50.01-PM.png 1676w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.17.04-PM.png\"> \u003cimg class=\"aligncenter size-large wp-image-57758\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.17.04-PM-1020x573.png\" alt=\"screen-shot-2017-01-07-at-8-17-04-pm\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.17.04-PM-1020x573.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.17.04-PM-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.17.04-PM-800x449.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.17.04-PM-768x431.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.17.04-PM-1180x663.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.17.04-PM-960x539.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.17.04-PM-240x135.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.17.04-PM-375x211.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.17.04-PM-520x292.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.17.04-PM.png 1679w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>She eventually crafts a tiny version of the Ariana picture book for a hand puppet:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-6.48.27-PM.png\">\u003cimg class=\"aligncenter size-full wp-image-57759\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.21.02-PM.png\" alt=\"screen-shot-2017-01-07-at-8-21-02-pm\" width=\"910\" height=\"873\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.21.02-PM.png 910w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.21.02-PM-160x153.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.21.02-PM-800x767.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.21.02-PM-768x737.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.21.02-PM-240x230.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.21.02-PM-375x360.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.21.02-PM-520x499.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.21.02-PM-32x32.png 32w\" sizes=\"(max-width: 910px) 100vw, 910px\">\u003c/a>\u003c/p>\n\u003cp>https://twitter.com/xcusemybeauty/status/884555587433840640\u003c/p>\n\u003cp>I don't even remember why these kids are dressed like this, but the explanation probably wouldn't make sense anyway:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-5.28.36-PM.png\">\u003cimg class=\"aligncenter size-large wp-image-57755\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-5.28.36-PM-1020x571.png\" alt=\"screen-shot-2017-01-07-at-5-28-36-pm\" width=\"640\" height=\"358\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-5.28.36-PM-1020x571.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-5.28.36-PM-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-5.28.36-PM-800x448.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-5.28.36-PM-768x430.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-5.28.36-PM-1180x661.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-5.28.36-PM-960x538.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-5.28.36-PM-240x134.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-5.28.36-PM-375x210.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-5.28.36-PM-520x291.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-5.28.36-PM.png 1680w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>\u003cimg class=\"size-medium wp-image-90201 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/werk-baby-tanner.gif\" alt=\"\" width=\"540\" height=\"304\">\u003c/p>\n\u003cp>In summary:\u003c/p>\n\u003cp>\u003cimg class=\"size-medium wp-image-90200 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/in-summary.gif\" alt=\"\" width=\"500\" height=\"281\">\u003c/p>\n\u003cp>Worried that we will only get two WTF seasons of\u003cem> Fuller House\u003c/em>? Well, fear not. The third is set to premiere on September 22, 2017, which also happens to be the 30th anniversary of the original show:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.instagram.com/p/BV0AsIBlloJ/\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/2016/03/02/fuller-house-every-single-wtf-moment-from-season-1/\">Last year, I chronicled\u003c/a> every single time I wanted to look at someone and shout \u003cem>WTF!\u003c/em>, while watching the premiere season of \u003cem>Fuller House\u003c/em>. Some faves include the line \"What if Uber sees my boobers?!\" and Stephanie Tanner ending up naked in a vat of tomato soup with a baby and a second grader:\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/Screen-Shot-2016-02-27-at-1.42.25-PM.png\">\u003cimg class=\"size-medium wp-image-20949 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/Screen-Shot-2016-02-27-at-1.42.25-PM-800x449.png\" alt=\"\" width=\"800\" height=\"449\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/Screen-Shot-2016-02-27-at-1.42.25-PM-800x449.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/Screen-Shot-2016-02-27-at-1.42.25-PM-400x224.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/Screen-Shot-2016-02-27-at-1.42.25-PM-768x431.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/Screen-Shot-2016-02-27-at-1.42.25-PM-1440x807.png 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/Screen-Shot-2016-02-27-at-1.42.25-PM-1180x662.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/Screen-Shot-2016-02-27-at-1.42.25-PM-960x538.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/Screen-Shot-2016-02-27-at-1.42.25-PM.png 1680w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>The second season bravely grabbed the WTF torch and ran with it. Here are all the latest what-in-the-world-is-going-on, how-did-we-get-here moments:\u003c/p>\n\u003cp>Danny Tanner experiences a mid-life crisis that manifests in speaking in Ebonics and refusing to shower.\u003c/p>\n\u003cp>\u003cimg class=\"size-medium wp-image-90204 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/danny-tanner.gif\" alt=\"\" width=\"500\" height=\"281\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"size-medium wp-image-90199 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/dirty-tanner.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-90198\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/danny.gif\" alt=\"\" width=\"500\" height=\"281\">\u003c/p>\n\u003cp>This isn't the only instance of \u003cem>Fuller House\u003c/em> dealing with black culture in a cringe-y way:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Once you think the show can't get any whiter, this happens:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/tumblr_ohz6f522y91rexjgmo1_500.gif\">\u003cbr>\n\u003c/a> Kimmie's \"Latin lover\" fiance/ex-husband is still a full-blown caricature of a human being, whose over-the-top accent is only rivaled by Hank Azaria in \u003cem>The Birdcage\u003c/em>. Here, we see him begging for sex via a PBS joke:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This is what he does to convince Kimmie to stop being mad and have sex with him. Spoiler: it works.\u003c/p>\n\u003cp>\u003cimg class=\"size-medium wp-image-90206 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/fuller-house-body-roll.gif\" alt=\"\" width=\"500\" height=\"281\">\u003c/p>\n\u003cp>Stephanie's middle school band Girl Talk breaks up for a second time, when a fight over vaping breaks out during a rendition of Ace of Base's \"The Sign.\"\u003c/p>\n\u003cp>\u003cimg class=\"size-medium wp-image-90202 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/tumblr_oms0v5OGJH1vf9b9ao2_500.gif\" alt=\"\" width=\"500\" height=\"220\">\u003c/p>\n\u003cp>Danny Tanner goes nude hover-boarding in search of an outfit after \"sketchy thug types\" steal his \"threads,\" while he was skinny dipping in the Bay.\u003c/p>\n\u003cp>D.J. plys her 8-year-old with uppers so he can pull an all-nighter to win first prize at the science fair.\u003c/p>\n\u003cp>Uncle Jesse and Becky adopt a baby because they're bored:\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-58031\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/tumblr_ohzoghnLe51s0143go5_400.gif\" alt=\"tumblr_ohzoghnle51s0143go5_400\" width=\"268\" height=\"200\">\u003c/p>\n\u003cp>Uncle Joey eats a bad donut and diarrheas in the backyard.\u003c/p>\n\u003cp>A corn cob almost murders the family dog.\u003c/p>\n\u003cp>D.J. misses a house visit from four members of New Kids on the Block (and a framed photo of Donny Wahlberg) because she cracked a crown while biting into a cupcake that had a metal key hidden inside it.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-57765\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-1.27.42-PM-1020x569.png\" alt=\"screen-shot-2017-01-09-at-1-27-42-pm\" width=\"640\" height=\"357\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-1.27.42-PM-1020x569.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-1.27.42-PM-160x89.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-1.27.42-PM-800x446.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-1.27.42-PM-768x428.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-1.27.42-PM-1180x658.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-1.27.42-PM-960x535.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-1.27.42-PM-240x134.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-1.27.42-PM-375x209.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-1.27.42-PM-520x290.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-1.27.42-PM.png 1680w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>D.J. fondles Joey McIntyre, while doped up on pain killers, and repeatedly mumbles, \"I like this. I really like this.\"\u003c/p>\n\u003cp>D.J. has a sex dream about Joey McIntyre in front of her children.\u003c/p>\n\u003cp>We're forced to believe that said members of NKOTB are in a hurry to get to a sold out gig for 20,000 fans at a stadium. Sure, Jan.\u003c/p>\n\u003cp>Everyone at Kimmy's high school reunion ostracizes her when they find out she has a UTI.\u003c/p>\n\u003cp>The term \"cellfie\" is invented when the cast take a selfie in a fake prison cell.\u003c/p>\n\u003cp>\u003cimg class=\"wp-image-90203 size-full aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/cellfie.gif\" alt=\"\" width=\"840\" height=\"472\">\u003c/p>\n\u003cp>A pet chicken is sucked out of a car's sunroof and presumed dead, but makes its way back to the house alive.\u003c/p>\n\u003cp>Less WTF and more OMG YAS: Every time the writers troll ultra-conservative Republican Candace Cameron:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Also more OMG YAS than WTF: this child's Oscar-worthy comedic performance:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The writers continue to refuse to accept that Mary Kate and Ashley Olsen want nothing to do with this revival:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/6f00deb7230bc886bbf436cf49eb3fc199299c6a.gif\">\u003cimg class=\"aligncenter size-large wp-image-58035\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/6f00deb7230bc886bbf436cf49eb3fc199299c6a.gif\" alt=\"6f00deb7230bc886bbf436cf49eb3fc199299c6a\" width=\"512\" height=\"288\">\u003c/a>\u003c/p>\n\u003cp>Dear set designer, why would an 8-year-old need not one, not two, but three electric guitars?\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.26.51-PM.png\">\u003cimg class=\"aligncenter size-large wp-image-57772\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.26.51-PM-1020x574.png\" alt=\"screen-shot-2017-01-09-at-12-26-51-pm\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.26.51-PM-1020x574.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.26.51-PM-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.26.51-PM-800x450.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.26.51-PM-768x432.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.26.51-PM-1180x664.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.26.51-PM-960x540.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.26.51-PM-240x135.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.26.51-PM-375x211.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.26.51-PM-520x293.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.26.51-PM.png 1675w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Too soon:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.15.32-PM.png\">\u003cimg class=\"aligncenter size-large wp-image-57770\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.15.32-PM-1020x571.png\" alt=\"screen-shot-2017-01-09-at-12-15-32-pm\" width=\"640\" height=\"358\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.15.32-PM-1020x571.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.15.32-PM-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.15.32-PM-800x448.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.15.32-PM-768x430.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.15.32-PM-1180x661.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.15.32-PM-960x538.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.15.32-PM-240x134.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.15.32-PM-375x210.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.15.32-PM-520x291.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-12.15.32-PM.png 1680w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Yes, that is a windmill created out of Barbies.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-11.46.42-AM.png\">\u003cimg class=\"aligncenter size-large wp-image-57768\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-11.46.42-AM-1020x571.png\" alt=\"screen-shot-2017-01-09-at-11-46-42-am\" width=\"640\" height=\"358\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-11.46.42-AM-1020x571.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-11.46.42-AM-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-11.46.42-AM-800x448.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-11.46.42-AM-768x430.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-11.46.42-AM-1180x660.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-11.46.42-AM-960x537.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-11.46.42-AM-240x134.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-11.46.42-AM-375x210.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-11.46.42-AM-520x291.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-09-at-11.46.42-AM.png 1680w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cbr>\nStephanie spends an entire episode flipping through a picture book about Ariana Grande:\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.21.02-PM.png\">\u003cbr>\n\u003c/a> \u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-7.50.01-PM.png\">\u003cimg class=\"aligncenter size-large wp-image-57757\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-7.50.01-PM-1020x571.png\" alt=\"screen-shot-2017-01-07-at-7-50-01-pm\" width=\"640\" height=\"358\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-7.50.01-PM-1020x571.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-7.50.01-PM-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-7.50.01-PM-800x448.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-7.50.01-PM-768x430.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-7.50.01-PM-1180x661.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-7.50.01-PM-960x538.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-7.50.01-PM-240x134.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-7.50.01-PM-375x210.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-7.50.01-PM-520x291.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-7.50.01-PM.png 1676w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.17.04-PM.png\"> \u003cimg class=\"aligncenter size-large wp-image-57758\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.17.04-PM-1020x573.png\" alt=\"screen-shot-2017-01-07-at-8-17-04-pm\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.17.04-PM-1020x573.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.17.04-PM-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.17.04-PM-800x449.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.17.04-PM-768x431.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.17.04-PM-1180x663.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.17.04-PM-960x539.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.17.04-PM-240x135.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.17.04-PM-375x211.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.17.04-PM-520x292.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-8.17.04-PM.png 1679w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>She eventually crafts a tiny version of the Ariana picture book for a hand 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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>I don't even remember why these kids are dressed like this, but the explanation probably wouldn't make sense anyway:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-5.28.36-PM.png\">\u003cimg class=\"aligncenter size-large wp-image-57755\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-5.28.36-PM-1020x571.png\" alt=\"screen-shot-2017-01-07-at-5-28-36-pm\" width=\"640\" height=\"358\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-5.28.36-PM-1020x571.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-5.28.36-PM-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-5.28.36-PM-800x448.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-5.28.36-PM-768x430.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-5.28.36-PM-1180x661.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-5.28.36-PM-960x538.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-5.28.36-PM-240x134.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-5.28.36-PM-375x210.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-5.28.36-PM-520x291.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-07-at-5.28.36-PM.png 1680w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>\u003cimg class=\"size-medium wp-image-90201 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/werk-baby-tanner.gif\" alt=\"\" width=\"540\" height=\"304\">\u003c/p>\n\u003cp>In summary:\u003c/p>\n\u003cp>\u003cimg class=\"size-medium wp-image-90200 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/in-summary.gif\" alt=\"\" width=\"500\" height=\"281\">\u003c/p>\n\u003cp>Worried that we will only get two WTF seasons of\u003cem> Fuller House\u003c/em>? Well, fear not. The third is set to premiere on September 22, 2017, which also happens to be the 30th anniversary of the original show:\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>",
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"disqusTitle": "Cult Hit 'Pretty Little Liars' Leaves Behind an Accidental Avant-Garde Legacy",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">This month,\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">P\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">retty Little Liars\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> concluded its seventh (and final) season, making it the longest-running original series on ABC Family (recently renamed \u003c/span>\u003cspan style=\"font-weight: 400\">Freeform\u003c/span>\u003cspan style=\"font-weight: 400\">). \u003c/span>It has become a cult classic, a teen obsession, and a fascinating portrait of a show unraveling to the point of surrealism. \u003cspan style=\"font-weight: 400\">The series' success is partly due to what the writers got right -- their knack for fascinating portraits of female friendship, their Hitchcock-ian ability to layer subtle terror over a picturesque setting -- but also all the things they did wrong.\u003c/span>\u003c/p>\n\u003cp>Showrunner I. Marlene King initially planned for two seasons, and wrote a clear narrative arc based on that timeframe. When \u003cem>PLL\u003c/em> was eventually renewed for three more seasons, King announced that she would solve the central mystery at the end of the fifth season, saying, “If it goes beyond five, I'm screwed.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A\u003c/span>\u003cspan style=\"font-weight: 400\">s the series progressed, it became clear that King's team was writing itself into a maze with no solution. This didn’t dampen my enthusiasm at all because the failings of the writers created something utterly brilliant. If you imagine all of the inconsistent story-lines as a single, intentional text, it becomes a challenging, post-modern masterpiece. It destabilizes reality with circular plots that cannot exist in linear time. It critiques the arrogance of certainty, and reveals the violent power structures beneath the suburban idyll. Or at least, it can seem that way at 2am, after you’ve watched seven episodes back-to-back.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-1mqgKH2u18\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There is an expectation of a contract between TV shows and viewers; unless a show is explicitly promoted as something avant-garde or absurdist, viewers anticipate a rational narrative, that mysteries will be solved, questions will be answered, and time will flow in a predictable fashion. Hell, even shows that meddle with time-travel create rules.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Early experimental filmmakers were the first to thwart those expectations. After viewing the seminal surrealist film \u003c/span>\u003ca href=\"http://www.imdb.com/title/tt0020530/\">\u003ci>\u003cspan style=\"font-weight: 400\">Un Chien Andalou\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, filmmaker and critic \u003c/span>\u003ca href=\"https://en.wikipedia.org/wiki/Adonis_A._Kyrou\">\u003cspan style=\"font-weight: 400\">Ado Kyrou\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> said, \"For the first time in the history of the cinema, a director tries not to please but rather to alienate nearly all potential spectators.\" \u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=054OIVlmjUM\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Early surrealist films questioned the logic of cause and effect. They toyed with the viewer’s expectations of a narrative, offering instead unconnected, inexplicable scenes unfolding in random order. In \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Un Chien Andalou\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, a man pulls pianos weighted with dead donkeys towards a woman. Ants crawl on a hand. A book is transformed into a gun. The film is punctuated with random declarations of time, like “Sixteen years ago” and “Around three in the morning.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Time was just as strange and unpredictable on \u003cem>PLL\u003c/em>. \u003c/span>\u003cspan style=\"font-weight: 400\">The show starts with the characters in 11th grade, with the first two seasons each spanning a couple of months. At the beginning of Season 3, they enter their senior year. Then, there are 49 episodes, spread out over three seasons, which all seem to take place in November of their senior year, even though the show treats events as if they are occurring over weeks and months. For example, one character joins a police academy and then graduates. None of this is ever explicitly acknowledged; all of it is pieced together by fans desperate to make rational sense of a show that has increasingly abandoned the boundaries of rationality.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">PLL\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> focuses on a four girls, nicknamed the “Liars,” who were friends with Allison, a queen bee mean girl who went missing. A year later, after her body is found, the girls begin receiving anonymous text messages threatening to reveal secrets that only Allison would know. The texts are signed “A.” What follows is a twisting path of blackmail, surveillance, and misdirection. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As the \u003cem>PLL\u003c/em> writers built this mystery, they\u003c/span>\u003cspan style=\"font-weight: 400\"> created a rich tapestry of symbols. \u003c/span>\u003ca href=\"https://twitter.com/imarleneking\">\u003cspan style=\"font-weight: 400\">I. Marlene King\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who has over \u003c/span>\u003cspan style=\"font-weight: 400\">800,000 Twitter followers\u003c/span>\u003cspan style=\"font-weight: 400\">, many of them \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">PLL\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> fans, tweeted clues from the set that would point to A’s identity: vintage movie posters, certain songs, a black swan costume. An entire community of devoted fans made a library of videos, mining every episode for visual clues, and editing them together to illustrate their theories. No detail was too small: the title of a book on a character’s nightstand, the way the character is framed in a mirror, handwriting analysis, wardrobe motifs.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But in the most recent seasons, it became clear that most of the symbols were completely meaningless, and that some of Kings’s tweets to fans were outright lies. Fans were \u003c/span>\u003ca href=\"https://www.buzzfeed.com/alobosc11/lies-marlene-king-told-me-why-i-am-more-than-done-17w8y?utm_term=.xmxxgXg5x#.nfEAmlm6A\">\u003cspan style=\"font-weight: 400\">furious\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. There was so much public backlash that I. Marlene King made a video \u003c/span>\u003ca href=\"http://www.seventeen.com/celebrity/movies-tv/news/a32704/marlene-king-promises-to-stop-lying-to-fans/\">\u003cspan style=\"font-weight: 400\">promising\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=BUv-K7XYSrs\">\u003cspan style=\"font-weight: 400\">answers\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and tweeted the following:\u003c/span>\u003c/p>\n\u003cp>https://twitter.com/imarleneking/status/626092044767768576?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For me, all of this brought to mind the purposeful irrationality of surrealist film and the writings of \u003c/span>\u003ca href=\"https://en.wikipedia.org/wiki/Luis_Bu%C3%B1uel\">\u003cspan style=\"font-weight: 400\">Luis Buñuel\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> about his collaborations with \u003c/span>\u003cspan style=\"font-weight: 400\">Salvador Dalí\u003c/span>\u003cspan style=\"font-weight: 400\">: “Nothing, in the film, symbolizes anything. The only method of investigation of the symbols would be, perhaps, psychoanalysis.\"\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As is fitting for psychoanalysis, my most profound interaction with \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">PLL\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> came in a dream. At the end of the second season, a girl at the Liars' high school is unmasked as A. But since it was renewed, another A picked up where the first left off, continuing to torment the Liars and raising the stakes. In Season 6, yet another A is unmasked. Then she is killed, and a new A immediately takes her place. It makes no sense. Why would these girls constantly be faced with shadowy, almost omniscient tormentors, one after another? One night, after bingeing episodes, I dreamt that the Liars were all living in a computer simulation, and A wasn’t a person at all -- A was a virus.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m not saying that this is the interpretation intended by the writers. But when I woke up, I couldn’t stop thinking about how much \u003cem>PLL\u003c/em> resembled the real world. Much of the violence in our world is structural. Police brutality doesn’t occur because “bad apple” police officers all happen to coincidentally kill unarmed black people. Police brutality against people of color is a symptom, and the virus is racism. Violence in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">PLL\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is not dependent on one independent actor. When one A dies, another takes her place. A is the virus. The individual A's are just the symptom. On \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Pretty Little Liars\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, as in our world, violence is systemic.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the seasons, as the Liars try to discover one A identity after another, the show has become famous for its red herrings. The girls follow logical leads, leading them to suspect various characters, but, while they uncover secrets about their town and learn some A identities, their central mysteries remain. In an era where many shows are defined by the success of the main character, there is something fascinating and subversive about a show where the characters never have the answers.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/what.gif\">\u003cimg class=\"aligncenter size-full wp-image-91114\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/what.gif\" alt=\"\" width=\"500\" height=\"282\">\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While many\u003ca href=\"https://ww2.kqed.org/pop/2016/12/20/post-truth-men-like-trump-are-nothing-new-weve-been-watching-them-on-tv-for-years/\"> \u003c/a>\u003c/span>\u003ca href=\"https://ww2.kqed.org/pop/2016/12/20/post-truth-men-like-trump-are-nothing-new-weve-been-watching-them-on-tv-for-years/\">\u003cspan style=\"font-weight: 400\">procedurals cater to a post-truth environment\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> where Sherlock Holmes knockoffs are always right\u003c/span>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Pretty Little Liars\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is the exact opposite. We watch as these intelligent girls follow all of the leads only to see the answers evaporate again and again. It begins to feel like a post-modern critique of certainty -- a reminder of how difficult it is to ever see the whole picture. Instead of being in a reality set up to ensure that they are always right, the Liars' reality demands that they question everything. Certainty is off the table, and all possibilities must be considered. \u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the show's final season, the writers attempted to supply answers once and for all. But there was no way to adequately resolve all of the loose ends, and that's okay. After seven years, I’ve come to love the uncertainty. There are plenty of shows that have answers. What I love most about \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Pretty Little Liars\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> are the questions.\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">This month,\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">P\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">retty Little Liars\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> concluded its seventh (and final) season, making it the longest-running original series on ABC Family (recently renamed \u003c/span>\u003cspan style=\"font-weight: 400\">Freeform\u003c/span>\u003cspan style=\"font-weight: 400\">). \u003c/span>It has become a cult classic, a teen obsession, and a fascinating portrait of a show unraveling to the point of surrealism. \u003cspan style=\"font-weight: 400\">The series' success is partly due to what the writers got right -- their knack for fascinating portraits of female friendship, their Hitchcock-ian ability to layer subtle terror over a picturesque setting -- but also all the things they did wrong.\u003c/span>\u003c/p>\n\u003cp>Showrunner I. Marlene King initially planned for two seasons, and wrote a clear narrative arc based on that timeframe. When \u003cem>PLL\u003c/em> was eventually renewed for three more seasons, King announced that she would solve the central mystery at the end of the fifth season, saying, “If it goes beyond five, I'm screwed.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A\u003c/span>\u003cspan style=\"font-weight: 400\">s the series progressed, it became clear that King's team was writing itself into a maze with no solution. This didn’t dampen my enthusiasm at all because the failings of the writers created something utterly brilliant. If you imagine all of the inconsistent story-lines as a single, intentional text, it becomes a challenging, post-modern masterpiece. It destabilizes reality with circular plots that cannot exist in linear time. It critiques the arrogance of certainty, and reveals the violent power structures beneath the suburban idyll. Or at least, it can seem that way at 2am, after you’ve watched seven episodes back-to-back.\u003c/span>\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/-1mqgKH2u18'\n title='//www.youtube.com/embed/-1mqgKH2u18'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">There is an expectation of a contract between TV shows and viewers; unless a show is explicitly promoted as something avant-garde or absurdist, viewers anticipate a rational narrative, that mysteries will be solved, questions will be answered, and time will flow in a predictable fashion. Hell, even shows that meddle with time-travel create rules.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Early experimental filmmakers were the first to thwart those expectations. After viewing the seminal surrealist film \u003c/span>\u003ca href=\"http://www.imdb.com/title/tt0020530/\">\u003ci>\u003cspan style=\"font-weight: 400\">Un Chien Andalou\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, filmmaker and critic \u003c/span>\u003ca href=\"https://en.wikipedia.org/wiki/Adonis_A._Kyrou\">\u003cspan style=\"font-weight: 400\">Ado Kyrou\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> said, \"For the first time in the history of the cinema, a director tries not to please but rather to alienate nearly all potential spectators.\" \u003c/span>\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/054OIVlmjUM'\n title='//www.youtube.com/embed/054OIVlmjUM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Early surrealist films questioned the logic of cause and effect. They toyed with the viewer’s expectations of a narrative, offering instead unconnected, inexplicable scenes unfolding in random order. In \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Un Chien Andalou\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, a man pulls pianos weighted with dead donkeys towards a woman. Ants crawl on a hand. A book is transformed into a gun. The film is punctuated with random declarations of time, like “Sixteen years ago” and “Around three in the morning.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Time was just as strange and unpredictable on \u003cem>PLL\u003c/em>. \u003c/span>\u003cspan style=\"font-weight: 400\">The show starts with the characters in 11th grade, with the first two seasons each spanning a couple of months. At the beginning of Season 3, they enter their senior year. Then, there are 49 episodes, spread out over three seasons, which all seem to take place in November of their senior year, even though the show treats events as if they are occurring over weeks and months. For example, one character joins a police academy and then graduates. None of this is ever explicitly acknowledged; all of it is pieced together by fans desperate to make rational sense of a show that has increasingly abandoned the boundaries of rationality.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">PLL\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> focuses on a four girls, nicknamed the “Liars,” who were friends with Allison, a queen bee mean girl who went missing. A year later, after her body is found, the girls begin receiving anonymous text messages threatening to reveal secrets that only Allison would know. The texts are signed “A.” What follows is a twisting path of blackmail, surveillance, and misdirection. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As the \u003cem>PLL\u003c/em> writers built this mystery, they\u003c/span>\u003cspan style=\"font-weight: 400\"> created a rich tapestry of symbols. \u003c/span>\u003ca href=\"https://twitter.com/imarleneking\">\u003cspan style=\"font-weight: 400\">I. Marlene King\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who has over \u003c/span>\u003cspan style=\"font-weight: 400\">800,000 Twitter followers\u003c/span>\u003cspan style=\"font-weight: 400\">, many of them \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">PLL\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> fans, tweeted clues from the set that would point to A’s identity: vintage movie posters, certain songs, a black swan costume. An entire community of devoted fans made a library of videos, mining every episode for visual clues, and editing them together to illustrate their theories. No detail was too small: the title of a book on a character’s nightstand, the way the character is framed in a mirror, handwriting analysis, wardrobe motifs.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But in the most recent seasons, it became clear that most of the symbols were completely meaningless, and that some of Kings’s tweets to fans were outright lies. Fans were \u003c/span>\u003ca href=\"https://www.buzzfeed.com/alobosc11/lies-marlene-king-told-me-why-i-am-more-than-done-17w8y?utm_term=.xmxxgXg5x#.nfEAmlm6A\">\u003cspan style=\"font-weight: 400\">furious\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. There was so much public backlash that I. Marlene King made a video \u003c/span>\u003ca href=\"http://www.seventeen.com/celebrity/movies-tv/news/a32704/marlene-king-promises-to-stop-lying-to-fans/\">\u003cspan style=\"font-weight: 400\">promising\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=BUv-K7XYSrs\">\u003cspan style=\"font-weight: 400\">answers\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and tweeted the following:\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cspan style=\"font-weight: 400\">For me, all of this brought to mind the purposeful irrationality of surrealist film and the writings of \u003c/span>\u003ca href=\"https://en.wikipedia.org/wiki/Luis_Bu%C3%B1uel\">\u003cspan style=\"font-weight: 400\">Luis Buñuel\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> about his collaborations with \u003c/span>\u003cspan style=\"font-weight: 400\">Salvador Dalí\u003c/span>\u003cspan style=\"font-weight: 400\">: “Nothing, in the film, symbolizes anything. The only method of investigation of the symbols would be, perhaps, psychoanalysis.\"\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As is fitting for psychoanalysis, my most profound interaction with \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">PLL\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> came in a dream. At the end of the second season, a girl at the Liars' high school is unmasked as A. But since it was renewed, another A picked up where the first left off, continuing to torment the Liars and raising the stakes. In Season 6, yet another A is unmasked. Then she is killed, and a new A immediately takes her place. It makes no sense. Why would these girls constantly be faced with shadowy, almost omniscient tormentors, one after another? One night, after bingeing episodes, I dreamt that the Liars were all living in a computer simulation, and A wasn’t a person at all -- A was a virus.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m not saying that this is the interpretation intended by the writers. But when I woke up, I couldn’t stop thinking about how much \u003cem>PLL\u003c/em> resembled the real world. Much of the violence in our world is structural. Police brutality doesn’t occur because “bad apple” police officers all happen to coincidentally kill unarmed black people. Police brutality against people of color is a symptom, and the virus is racism. Violence in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">PLL\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is not dependent on one independent actor. When one A dies, another takes her place. A is the virus. The individual A's are just the symptom. On \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Pretty Little Liars\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, as in our world, violence is systemic.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the seasons, as the Liars try to discover one A identity after another, the show has become famous for its red herrings. The girls follow logical leads, leading them to suspect various characters, but, while they uncover secrets about their town and learn some A identities, their central mysteries remain. In an era where many shows are defined by the success of the main character, there is something fascinating and subversive about a show where the characters never have the answers.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/what.gif\">\u003cimg class=\"aligncenter size-full wp-image-91114\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/what.gif\" alt=\"\" width=\"500\" height=\"282\">\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While many\u003ca href=\"https://ww2.kqed.org/pop/2016/12/20/post-truth-men-like-trump-are-nothing-new-weve-been-watching-them-on-tv-for-years/\"> \u003c/a>\u003c/span>\u003ca href=\"https://ww2.kqed.org/pop/2016/12/20/post-truth-men-like-trump-are-nothing-new-weve-been-watching-them-on-tv-for-years/\">\u003cspan style=\"font-weight: 400\">procedurals cater to a post-truth environment\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> where Sherlock Holmes knockoffs are always right\u003c/span>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Pretty Little Liars\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is the exact opposite. We watch as these intelligent girls follow all of the leads only to see the answers evaporate again and again. It begins to feel like a post-modern critique of certainty -- a reminder of how difficult it is to ever see the whole picture. Instead of being in a reality set up to ensure that they are always right, the Liars' reality demands that they question everything. Certainty is off the table, and all possibilities must be considered. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the show's final season, the writers attempted to supply answers once and for all. But there was no way to adequately resolve all of the loose ends, and that's okay. After seven years, I’ve come to love the uncertainty. There are plenty of shows that have answers. What I love most about \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Pretty Little Liars\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> are the questions.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Rob Kardashian's Treatment of Blac Chyna Isn't a Slice of Reality TV Drama, It's Illegal",
"title": "Rob Kardashian's Treatment of Blac Chyna Isn't a Slice of Reality TV Drama, It's Illegal",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>This week, Rob Kardashian and Blac Chyna aired all of their dirty laundry on social media. In the midst of their horrifying online exchanges, Blac Chyna alleged that Rob Kardashian had physically abused her. The allegation didn't seem particularly unfeasible given everything else that was going on.\u003c/p>\n\u003cp>After enduring online verbal abuse from her ex -- relating to her sex life, spending habits, recreational activities, and parenting (among other things) -- the father of her second child went on to post photos of her that were so explicit, Instagram had to take them down. Twice. Eventually, the photo-sharing app was forced to\u003ca href=\"http://www.tmz.com/2017/07/05/rob-kardashian-instagram-page-shut-down-tweets-blac-chyna-nudes/\"> \u003c/a>\u003ca href=\"http://www.tmz.com/2017/07/05/rob-kardashian-instagram-page-shut-down-tweets-blac-chyna-nudes/\">shut Kardashian's entire account down\u003c/a> to make him stop posting revenge porn.\u003c/p>\n\u003cp>While the dirty laundry aired by Kardashian online is shocking even by 2017 standards (even Snoop Dogg felt the need to \u003ca href=\"https://www.youtube.com/watch?v=we2l4GEQYyY\">weigh in\u003c/a>), what isn't new is Rob's penchant for misogyny. The youngest Kardashian has a long and well-documented history when it comes to hating, and attempting to shame, women -- including his sisters.\u003c/p>\n\u003cp>Rob has been a regular on his family's reality TV hit, \u003cem>Keeping Up With the Kardashians\u003c/em>, on and off since it launched in 2007. It has been difficult in that time not to notice the vernacular he uses any time he has a disagreement with one of his sisters -- his go-to word has consistently been \u003ca href=\"https://www.youtube.com/watch?v=vshHTXWzT-U\">\"whore.\"\u003c/a> The show has also effectively demonstrated that when Rob Kardashian is triggered, he lashes out quickly, aggressively, and in a manner that is usually startlingly uncalled for.\u003c/p>\n\u003cp>Even when his relationship with Chyna was happy, Kardashian referred to his baby mama in objectifying and dehumanizing ways online, most memorably:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter wp-image-90172\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/article-rob-0224.jpg\" alt=\"\" width=\"250\" height=\"202\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/article-rob-0224.jpg 750w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/article-rob-0224-160x129.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/article-rob-0224-240x194.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/article-rob-0224-375x303.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/article-rob-0224-520x420.jpg 520w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003c/p>\n\u003cp>Little surprise then, that Kardashian is also a prolific slut-shamer. In his most recent rants about Blac Chyna, he said: \"She everybody’s and it’s been that way.\" He once told Kim: \u003ca href=\"https://www.youtube.com/watch?v=3z3msnEwNes\">\"I hope your sex tape haunts you for the rest of your life.\"\u003c/a> Another of Rob's exes, Adrienne Bailon, recently noted on an episode of \u003ca href=\"http://www.eonline.com/news/796608/adrienne-bailon-clears-up-past-rob-kardashian-rumors-i-absolutely-never-cheated\">\u003cem>The Real\u003c/em>\u003c/a>: \"I absolutely never cheated on Rob... And the way it's said—it's like, 'She slept with mad people.' I'm like, 'Uh, I can't speak for anybody else, but I can assure [you] that was not me.'\"\u003c/p>\n\u003cp>Similarly, when Kardashian and Rita Ora split, he went on an unhinged Twitter tirade that prompted the (appalling) phrase \"Rita Whora\" to start trending.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter wp-image-90173\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/A9M-GEPCcAEBmi0.jpg-large.jpg\" alt=\"\" width=\"440\" height=\"660\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/A9M-GEPCcAEBmi0.jpg-large.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/A9M-GEPCcAEBmi0.jpg-large-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/A9M-GEPCcAEBmi0.jpg-large-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/A9M-GEPCcAEBmi0.jpg-large-375x563.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/A9M-GEPCcAEBmi0.jpg-large-520x780.jpg 520w\" sizes=\"(max-width: 440px) 100vw, 440px\">\u003c/p>\n\u003cp>Every time Rob Kardashian breaks up with a woman, he publicly and viciously accuses her of sleeping around. His behavior is consistent, horrifying, and very familiar to anybody who has ever found themselves caught in an abusive relationship.\u003c/p>\n\u003cp>In an article designed to help individuals recognize whether or not they are in an abusive relationship, \u003ca href=\"https://www.helpguide.org/articles/abuse/domestic-violence-and-abuse.htm\">Helpguide.org\u003c/a> describes a number of traits displayed publicly by Kardashian: \"Abusive individuals need to feel in charge of the relationship. Your abuser may treat you… as [a] possession.\"\u003c/p>\n\u003cp>It goes on: \"An abuser will do everything he or she can to make you feel bad about yourself or defective in some way. Insults, name-calling, shaming, and public put-downs are all weapons of abuse designed to erode your self-esteem and make you feel powerless.\u003c/p>\n\u003cp>\"Abusers... will commonly shift the responsibility on to you: Somehow, his… behavior is your fault.\"\u003c/p>\n\u003cp>This last one is why Rob Kardashian is so focused on the sex lives of his exes -- it gives him an excuse to enact the aforementioned public put-downs that he wields in a desperate bid to shame his exes into submission and \"feel in charge\" again.\u003c/p>\n\u003cp>In Blac Chyna's Snapchat posts that allege Rob \"beat\" and \"put hand\" on her, she also exclaims: \"I'm supposed to be quiet because you're a Kardashian.\" It is undoubtedly true that famous men have historically been given free passes when it comes to getting away with domestic violence, and, when it comes to this specific allegation, at this stage, it can only be Chyna's word against Kardashian's.\u003c/p>\n\u003cp>However, if Chyna wished to press charges against Kardashian for revenge porn, she would be well within her rights, as a California resident, to do so.\u003c/p>\n\u003cp>According to \u003ca href=\"https://www.wksexcrimes.com/what-you-need-to-know-about-californias-revenge-porn-law/\">Whallin & Klarich Law Corporation\u003c/a>: \"Under SB 255, an act of revenge porn is defined as someone who 'photographs or records by any means the image of the intimate body part or parts of another identifiable person, under circumstances where the parties agree or understand that the image shall remain private, and the person subsequently distributes the image taken, with the intent to cause serious emotional distress, and the depicted person suffers serious emotional distress.\"\u003c/p>\n\u003cp>Further, \"SB 255 classifies revenge porn as disorderly conduct, which is a misdemeanor in California. If you are convicted of this crime, a first offense could land you in county jail for up to six months and you could also be fined up to $1,000 fine under PC 647.\"\u003c/p>\n\u003cp>It is reasonably unlikely that Blac Chyna would seek to prosecute an individual that she co-parents with, but if she did move in that direction, it may teach Kardashian -- and other abusers, famous or otherwise -- a valuable lesson. Currently, Rob Kardashian thinks so little of the abuse he spews onto social media, he keeps doing it over and over again. Even Instagram's objections to the images he was posting did not to deter him from repeatedly posting them. There is a level of self-entitlement and privilege -- not to mention his own sense of being justified -- that should set alarm bells off for everyone in Rob Kardashian's vicinity, as well as everyone watching this whole sorry mess go down from a safe distance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kardashian's behavior is both abusive and illegal. It should be recognized as such and not merely treated as another slice of reality TV drama.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, Rob Kardashian and Blac Chyna aired all of their dirty laundry on social media. In the midst of their horrifying online exchanges, Blac Chyna alleged that Rob Kardashian had physically abused her. The allegation didn't seem particularly unfeasible given everything else that was going on.\u003c/p>\n\u003cp>After enduring online verbal abuse from her ex -- relating to her sex life, spending habits, recreational activities, and parenting (among other things) -- the father of her second child went on to post photos of her that were so explicit, Instagram had to take them down. Twice. Eventually, the photo-sharing app was forced to\u003ca href=\"http://www.tmz.com/2017/07/05/rob-kardashian-instagram-page-shut-down-tweets-blac-chyna-nudes/\"> \u003c/a>\u003ca href=\"http://www.tmz.com/2017/07/05/rob-kardashian-instagram-page-shut-down-tweets-blac-chyna-nudes/\">shut Kardashian's entire account down\u003c/a> to make him stop posting revenge porn.\u003c/p>\n\u003cp>While the dirty laundry aired by Kardashian online is shocking even by 2017 standards (even Snoop Dogg felt the need to \u003ca href=\"https://www.youtube.com/watch?v=we2l4GEQYyY\">weigh in\u003c/a>), what isn't new is Rob's penchant for misogyny. The youngest Kardashian has a long and well-documented history when it comes to hating, and attempting to shame, women -- including his sisters.\u003c/p>\n\u003cp>Rob has been a regular on his family's reality TV hit, \u003cem>Keeping Up With the Kardashians\u003c/em>, on and off since it launched in 2007. It has been difficult in that time not to notice the vernacular he uses any time he has a disagreement with one of his sisters -- his go-to word has consistently been \u003ca href=\"https://www.youtube.com/watch?v=vshHTXWzT-U\">\"whore.\"\u003c/a> The show has also effectively demonstrated that when Rob Kardashian is triggered, he lashes out quickly, aggressively, and in a manner that is usually startlingly uncalled for.\u003c/p>\n\u003cp>Even when his relationship with Chyna was happy, Kardashian referred to his baby mama in objectifying and dehumanizing ways online, most memorably:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter wp-image-90172\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/article-rob-0224.jpg\" alt=\"\" width=\"250\" height=\"202\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/article-rob-0224.jpg 750w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/article-rob-0224-160x129.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/article-rob-0224-240x194.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/article-rob-0224-375x303.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/article-rob-0224-520x420.jpg 520w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003c/p>\n\u003cp>Little surprise then, that Kardashian is also a prolific slut-shamer. In his most recent rants about Blac Chyna, he said: \"She everybody’s and it’s been that way.\" He once told Kim: \u003ca href=\"https://www.youtube.com/watch?v=3z3msnEwNes\">\"I hope your sex tape haunts you for the rest of your life.\"\u003c/a> Another of Rob's exes, Adrienne Bailon, recently noted on an episode of \u003ca href=\"http://www.eonline.com/news/796608/adrienne-bailon-clears-up-past-rob-kardashian-rumors-i-absolutely-never-cheated\">\u003cem>The Real\u003c/em>\u003c/a>: \"I absolutely never cheated on Rob... And the way it's said—it's like, 'She slept with mad people.' I'm like, 'Uh, I can't speak for anybody else, but I can assure [you] that was not me.'\"\u003c/p>\n\u003cp>Similarly, when Kardashian and Rita Ora split, he went on an unhinged Twitter tirade that prompted the (appalling) phrase \"Rita Whora\" to start trending.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter wp-image-90173\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/A9M-GEPCcAEBmi0.jpg-large.jpg\" alt=\"\" width=\"440\" height=\"660\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/A9M-GEPCcAEBmi0.jpg-large.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/A9M-GEPCcAEBmi0.jpg-large-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/A9M-GEPCcAEBmi0.jpg-large-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/A9M-GEPCcAEBmi0.jpg-large-375x563.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/A9M-GEPCcAEBmi0.jpg-large-520x780.jpg 520w\" sizes=\"(max-width: 440px) 100vw, 440px\">\u003c/p>\n\u003cp>Every time Rob Kardashian breaks up with a woman, he publicly and viciously accuses her of sleeping around. His behavior is consistent, horrifying, and very familiar to anybody who has ever found themselves caught in an abusive relationship.\u003c/p>\n\u003cp>In an article designed to help individuals recognize whether or not they are in an abusive relationship, \u003ca href=\"https://www.helpguide.org/articles/abuse/domestic-violence-and-abuse.htm\">Helpguide.org\u003c/a> describes a number of traits displayed publicly by Kardashian: \"Abusive individuals need to feel in charge of the relationship. Your abuser may treat you… as [a] possession.\"\u003c/p>\n\u003cp>It goes on: \"An abuser will do everything he or she can to make you feel bad about yourself or defective in some way. Insults, name-calling, shaming, and public put-downs are all weapons of abuse designed to erode your self-esteem and make you feel powerless.\u003c/p>\n\u003cp>\"Abusers... will commonly shift the responsibility on to you: Somehow, his… behavior is your fault.\"\u003c/p>\n\u003cp>This last one is why Rob Kardashian is so focused on the sex lives of his exes -- it gives him an excuse to enact the aforementioned public put-downs that he wields in a desperate bid to shame his exes into submission and \"feel in charge\" again.\u003c/p>\n\u003cp>In Blac Chyna's Snapchat posts that allege Rob \"beat\" and \"put hand\" on her, she also exclaims: \"I'm supposed to be quiet because you're a Kardashian.\" It is undoubtedly true that famous men have historically been given free passes when it comes to getting away with domestic violence, and, when it comes to this specific allegation, at this stage, it can only be Chyna's word against Kardashian's.\u003c/p>\n\u003cp>However, if Chyna wished to press charges against Kardashian for revenge porn, she would be well within her rights, as a California resident, to do so.\u003c/p>\n\u003cp>According to \u003ca href=\"https://www.wksexcrimes.com/what-you-need-to-know-about-californias-revenge-porn-law/\">Whallin & Klarich Law Corporation\u003c/a>: \"Under SB 255, an act of revenge porn is defined as someone who 'photographs or records by any means the image of the intimate body part or parts of another identifiable person, under circumstances where the parties agree or understand that the image shall remain private, and the person subsequently distributes the image taken, with the intent to cause serious emotional distress, and the depicted person suffers serious emotional distress.\"\u003c/p>\n\u003cp>Further, \"SB 255 classifies revenge porn as disorderly conduct, which is a misdemeanor in California. If you are convicted of this crime, a first offense could land you in county jail for up to six months and you could also be fined up to $1,000 fine under PC 647.\"\u003c/p>\n\u003cp>It is reasonably unlikely that Blac Chyna would seek to prosecute an individual that she co-parents with, but if she did move in that direction, it may teach Kardashian -- and other abusers, famous or otherwise -- a valuable lesson. Currently, Rob Kardashian thinks so little of the abuse he spews onto social media, he keeps doing it over and over again. Even Instagram's objections to the images he was posting did not to deter him from repeatedly posting them. There is a level of self-entitlement and privilege -- not to mention his own sense of being justified -- that should set alarm bells off for everyone in Rob Kardashian's vicinity, as well as everyone watching this whole sorry mess go down from a safe distance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kardashian's behavior is both abusive and illegal. It should be recognized as such and not merely treated as another slice of reality TV drama.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you didn’t watch the entirety of new Netflix series \u003ca href=\"http://www.imdb.com/title/tt5770786/episodes?season=1&ref_=tt_eps_sn_1\">\u003cem>GLOW\u003c/em>\u003c/a> over the weekend, chances are you were simply too busy doing a plethora of amazing Pride-related stuff. That’s okay. You can casually start watching this show about women’s wrestling next weekend, only to find that you can’t step away from your TV. Truly, this is the most addictive show to hit screens since \u003ca href=\"https://ww2.kqed.org/pop/tag/stranger-things/\">\u003cem>Stranger Things \u003c/em>\u003c/a>(the ’80s — and \u003ca href=\"https://www.kqed.org/arts/tag/netflix\">Netflix\u003c/a> — is clearly having a moment right now).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wnKEoXbBTEw\u003c/p>\n\u003cp>Amidst all of the leotards, compelling drama, and genuinely heart-felt humor, it took me a couple of episodes to really notice Rhonda Richardson, a.k.a. Britannica (the smartest of all of the wrestling personas in the show, she clobbers her opponents with a text book).\u003c/p>\n\u003cp>Rhonda’s character has so far been noticed online for her \u003ca href=\"http://www.refinery29.com/2017/06/160673/kate-nash-glow-robyn-lively-teen-witch\">resemblance to Robyn Lively\u003c/a> in 1989’s \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0098453/?ref_=nv_sr_1\">Teen Witch\u003c/a>, \u003c/em>and not much else. This is a reflection of how many amazing characters there are in this thing, rather than an indictment of her character. Rhonda is a beautiful and outspoken live wire with a sweet nature and unfiltered sexuality.\u003c/p>\n\u003cfigure id=\"attachment_88615\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-88615\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480.jpg\" alt=\"\" width=\"700\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-520x357.jpg 520w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Netflix\u003c/figcaption>\u003c/figure>\n\u003cp>It was in \u003cem>GLOW\u003c/em>‘s third episode (the hilariously titled “Wrath of Kuntar”) that it clicked.\u003cbr>\n“Hang on, that’s Kate Nash!” I said.\u003cbr>\n“Who the hell is Kate Nash?” my perplexed binge-watching companion asked.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I hit pause and put this on:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ryH5cga0yUI\u003c/p>\n\u003cp>Nash has been an indie music darling in the UK for a decade — something quite evident by the 13 million views the “Foundations” video has wracked up on YouTube thus far. Her first album, \u003ca href=\"https://en.wikipedia.org/wiki/Made_of_Bricks\">\u003cem>Made of Bricks\u003c/em>\u003c/a>, was full of jaunty piano-based tunes about unrequited crushes, bad relationships, and childhood friendships. Nash unselfconsciously sang the entire thing in her broad London accent. Legend has it, the album was only written to kill boredom, after the singer \u003ca href=\"http://www.bbc.co.uk/music/reviews/nbvr/\">broke her foot\u003c/a> in a panic induced by getting rejected from the theater school of her choice. On her home soil, the twist of fate catapulted her into actual, \u003ca href=\"https://www.youtube.com/watch?v=KBWudCTDKEI\">BRIT-Award-winning\u003c/a> stardom (she beat PJ Harvey and Bat For Lashes in the 2008 Best British Female category).\u003c/p>\n\u003cp>At the start of her music career, the then-20-year-old Nash combined wholesome, traditionally feminine aesthetics with a penchant for cursing and unfiltered opinion-giving. It was an intoxicating combination, but one that didn’t really speak to the more punk rock aspects of Nash’s character. On the side, away from all the adoration, she played bass part-time in a punk band called \u003ca href=\"https://www.youtube.com/watch?v=LJspXDQRdjk\">the Receeders\u003c/a>. She also fully embraced underground, DIY culture with her own fanzine and blog, \u003ca href=\"http://myignorantyouth.blogspot.com/\">\u003cem>My Ignorant Youth\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Nash’s second album, 2010’s \u003ca href=\"https://www.youtube.com/watch?v=GNPxAOQbIpM&list=PLeYteSIQR-Q--so3wG1DGoLmxHeTL8sEx\">\u003cem>My Best Friend is You\u003c/em>\u003c/a>, had elements of her earlier sweetness — even incorporating ’60s girl group vibes on lead single, \u003ca href=\"https://www.youtube.com/watch?v=OqV-embx_tA\">“Do-Wah-Doo”\u003c/a> — but her on-stage image got spikier and the album tracks were far dirtier and more caustic than anyone had expected. By the time 2013’s \u003ca href=\"https://www.youtube.com/watch?v=bfBoxX64d6I\">\u003cem>Girl Talk\u003c/em> \u003c/a>came out, it was widely noted that Nash had \u003ca href=\"https://consequenceofsound.net/2012/06/video-kate-nash-under-estimate-the-girl/\">“gone full riot grrrl.”\u003c/a> Reviews were a little mixed, but Nash doubled down, creating a YouTube channel called \u003ca href=\"https://www.youtube.com/watch?v=quNE_r79qMk\">Girl Gang TV\u003c/a>, that \u003ca href=\"https://www.theguardian.com/music/2015/feb/06/kate-nashs-girl-gang-the-online-community-for-todays-riot-grrrls\">\u003cem>The Guardian\u003c/em>\u003c/a> dubbed “a meeting place for a new generation of likeminded feminists.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=quNE_r79qMk\u003c/p>\n\u003cp>Suffice it to say, Kate Nash ending up on a show about sexism, female empowerment, community amongst women, and DIY determination shouldn’t be in the least bit surprising, especially since, before that pesky broken foot, she had been more interested in a career in acting than in music. (Fun fact: she attended the same London \u003ca href=\"https://en.wikipedia.org/wiki/BRIT_School\">school for performing arts\u003c/a> that Amy Winehouse and Adele did.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kate Nash’s fourth album is due out sometime before February 2018, but it’s hard to imagine \u003cem>GLOW\u003c/em> not taking over her life for the forseeable future. The cool thing is, this second leap into the limelight comes with its own in-built girl gang — something she’s been trying to cultivate on her own for years.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you didn’t watch the entirety of new Netflix series \u003ca href=\"http://www.imdb.com/title/tt5770786/episodes?season=1&ref_=tt_eps_sn_1\">\u003cem>GLOW\u003c/em>\u003c/a> over the weekend, chances are you were simply too busy doing a plethora of amazing Pride-related stuff. That’s okay. You can casually start watching this show about women’s wrestling next weekend, only to find that you can’t step away from your TV. Truly, this is the most addictive show to hit screens since \u003ca href=\"https://ww2.kqed.org/pop/tag/stranger-things/\">\u003cem>Stranger Things \u003c/em>\u003c/a>(the ’80s — and \u003ca href=\"https://www.kqed.org/arts/tag/netflix\">Netflix\u003c/a> — is clearly having a moment right now).\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/wnKEoXbBTEw'\n title='//www.youtube.com/embed/wnKEoXbBTEw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Amidst all of the leotards, compelling drama, and genuinely heart-felt humor, it took me a couple of episodes to really notice Rhonda Richardson, a.k.a. Britannica (the smartest of all of the wrestling personas in the show, she clobbers her opponents with a text book).\u003c/p>\n\u003cp>Rhonda’s character has so far been noticed online for her \u003ca href=\"http://www.refinery29.com/2017/06/160673/kate-nash-glow-robyn-lively-teen-witch\">resemblance to Robyn Lively\u003c/a> in 1989’s \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0098453/?ref_=nv_sr_1\">Teen Witch\u003c/a>, \u003c/em>and not much else. This is a reflection of how many amazing characters there are in this thing, rather than an indictment of her character. Rhonda is a beautiful and outspoken live wire with a sweet nature and unfiltered sexuality.\u003c/p>\n\u003cfigure id=\"attachment_88615\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-88615\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480.jpg\" alt=\"\" width=\"700\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-520x357.jpg 520w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Netflix\u003c/figcaption>\u003c/figure>\n\u003cp>It was in \u003cem>GLOW\u003c/em>‘s third episode (the hilariously titled “Wrath of Kuntar”) that it clicked.\u003cbr>\n“Hang on, that’s Kate Nash!” I said.\u003cbr>\n“Who the hell is Kate Nash?” my perplexed binge-watching companion asked.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I hit pause and put this on:\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/ryH5cga0yUI'\n title='//www.youtube.com/embed/ryH5cga0yUI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nash has been an indie music darling in the UK for a decade — something quite evident by the 13 million views the “Foundations” video has wracked up on YouTube thus far. Her first album, \u003ca href=\"https://en.wikipedia.org/wiki/Made_of_Bricks\">\u003cem>Made of Bricks\u003c/em>\u003c/a>, was full of jaunty piano-based tunes about unrequited crushes, bad relationships, and childhood friendships. Nash unselfconsciously sang the entire thing in her broad London accent. Legend has it, the album was only written to kill boredom, after the singer \u003ca href=\"http://www.bbc.co.uk/music/reviews/nbvr/\">broke her foot\u003c/a> in a panic induced by getting rejected from the theater school of her choice. On her home soil, the twist of fate catapulted her into actual, \u003ca href=\"https://www.youtube.com/watch?v=KBWudCTDKEI\">BRIT-Award-winning\u003c/a> stardom (she beat PJ Harvey and Bat For Lashes in the 2008 Best British Female category).\u003c/p>\n\u003cp>At the start of her music career, the then-20-year-old Nash combined wholesome, traditionally feminine aesthetics with a penchant for cursing and unfiltered opinion-giving. It was an intoxicating combination, but one that didn’t really speak to the more punk rock aspects of Nash’s character. On the side, away from all the adoration, she played bass part-time in a punk band called \u003ca href=\"https://www.youtube.com/watch?v=LJspXDQRdjk\">the Receeders\u003c/a>. She also fully embraced underground, DIY culture with her own fanzine and blog, \u003ca href=\"http://myignorantyouth.blogspot.com/\">\u003cem>My Ignorant Youth\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Nash’s second album, 2010’s \u003ca href=\"https://www.youtube.com/watch?v=GNPxAOQbIpM&list=PLeYteSIQR-Q--so3wG1DGoLmxHeTL8sEx\">\u003cem>My Best Friend is You\u003c/em>\u003c/a>, had elements of her earlier sweetness — even incorporating ’60s girl group vibes on lead single, \u003ca href=\"https://www.youtube.com/watch?v=OqV-embx_tA\">“Do-Wah-Doo”\u003c/a> — but her on-stage image got spikier and the album tracks were far dirtier and more caustic than anyone had expected. By the time 2013’s \u003ca href=\"https://www.youtube.com/watch?v=bfBoxX64d6I\">\u003cem>Girl Talk\u003c/em> \u003c/a>came out, it was widely noted that Nash had \u003ca href=\"https://consequenceofsound.net/2012/06/video-kate-nash-under-estimate-the-girl/\">“gone full riot grrrl.”\u003c/a> Reviews were a little mixed, but Nash doubled down, creating a YouTube channel called \u003ca href=\"https://www.youtube.com/watch?v=quNE_r79qMk\">Girl Gang TV\u003c/a>, that \u003ca href=\"https://www.theguardian.com/music/2015/feb/06/kate-nashs-girl-gang-the-online-community-for-todays-riot-grrrls\">\u003cem>The Guardian\u003c/em>\u003c/a> dubbed “a meeting place for a new generation of likeminded feminists.”\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/quNE_r79qMk'\n title='//www.youtube.com/embed/quNE_r79qMk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Suffice it to say, Kate Nash ending up on a show about sexism, female empowerment, community amongst women, and DIY determination shouldn’t be in the least bit surprising, especially since, before that pesky broken foot, she had been more interested in a career in acting than in music. (Fun fact: she attended the same London \u003ca href=\"https://en.wikipedia.org/wiki/BRIT_School\">school for performing arts\u003c/a> that Amy Winehouse and Adele did.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kate Nash’s fourth album is due out sometime before February 2018, but it’s hard to imagine \u003cem>GLOW\u003c/em> not taking over her life for the forseeable future. The cool thing is, this second leap into the limelight comes with its own in-built girl gang — something she’s been trying to cultivate on her own for years.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'RuPaul's Drag Race' Winner Sasha Velour Cut From A Different Fabric",
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"content": "\u003cp>On Friday night, a new American monarch rose to power beneath a cascade of rose petals, a cracked mask and the ballads of Whitney Houston.\u003c/p>\n\u003cp>But she didn't just use the glamour, comedy, acting and lip syncing prowess that fans of \u003ca href=\"http://www.npr.org/2016/08/25/491338249/shante-he-stays-rupaul-reflects-on-decades-of-drag-and-2-emmy-nominations\">RuPaul's Drag Race\u003c/a> have come to expect from America's Next Drag Superstar. Sasha Velour relies on brains.\u003c/p>\n\u003cp>\u003cstrong>An \"amateur drag historian\"\u003c/strong>\u003c/p>\n\u003cp>When the 30-year-old queen is at home in Brooklyn, N.Y., she produces and stars in a monthly drag cabaret event called Nightgowns. She co-founded \u003cem>Velour\u003c/em>, a magazine spotlighting lesser-known styles and issues in drag. She received an MFA from the Center for Cartoon Studies and studied political art as a Fulbright Scholar in Moscow.\u003c/p>\n\u003cp>She also considers herself an \"amateur drag historian,\" acknowledging there have always been different schools of drag — all competing, warring, pushing the art in new directions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But for Velour, her style comes from simultaneously paying tribute to the queens who came before her and blocking out any voices that might try to dictate what her drag should be.\u003c/p>\n\u003cp>\"I want to do something that is not just a pastiche of drag that's come before, but is really authentically me,\" she said. \"I try to tune out all the drag that's out there and tap into the drag that I was doing when I was a little kid — when I didn't even know the word 'queer' or that gay people were out there. ... Tapping into the things I've always loved and building a drag that honors those.\"\u003c/p>\n\u003cp>And now that season nine is a wrap, Velour can officially add being the ninth queen crowned on \u003cem>RuPaul's Drag Race\u003c/em> to her resume — bringing her eclectic, academic and sometimes controversially intellectual brand of drag to the main stage of American queer culture.\u003c/p>\n\u003cfigure id=\"attachment_88504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-88504 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-800x363.jpg\" alt=\"\" width=\"800\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-800x363.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-160x73.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-768x349.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-1020x463.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-1920x872.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-1180x536.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-960x436.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-240x109.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-375x170.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-520x236.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Velour competed against 13 other drag queens in season nine of RuPaul's Drag Race to snatch the crown and a prize of $100,000.\u003cbr> (Courtesy of VH1)\u003c/figcaption>\u003c/figure>\n\u003cp>\"I mean, it's been one of the biggest things I've gotten pushback about, is being an intellectual and what that means,\" she said. \"I grew up in this house of intellectuals, and for me it wasn't like a negative thing. And what I've discovered is for a lot of people it is. But I think knowing history, liking to talk about ideas — like, I just genuinely like to geek out and go on these intellectual thought journeys. I want to show people it's not elitist to be a deep thinker.\"\u003c/p>\n\u003cp>\u003cstrong>Advancing an art form\u003c/strong>\u003c/p>\n\u003cp>As reigning queen of the \u003cem>Drag Race\u003c/em> empire, Velour said she plans to use her platform — and cash prize of $100,000 — to bring other LGBTQ artists across America into the spotlight. Over the next year, she hopes to take projects like Nightgowns and \u003cem>Velour\u003c/em> magazine across the country, showcasing and connecting drag communities from America's big cities and small towns.\u003c/p>\n\u003cp>\"I just want to be able to get kings and queens and nonbinary performers working together and having discussions about what drag is currently, what it has been and where we can move it to that is truly new,\" she said. \"I think if we work together and have a conversation, we can really advance the art form.\"\u003c/p>\n\u003cp>Velour also plans to follow in the footsteps of other notable \u003cem>Drag Race\u003c/em> alumni by dipping her toes into video production and music — albeit with an noticeably Velourian spin.\u003c/p>\n\u003cp>\"When I was on the show, I said I will never create drag queen music. There's too much of it and it's horrible,\" she said. \"But then they kind of tricked me into [doing] this weird, academic talk-rapping that's — it's not for everyone, but the people who love it are really into it.\"\u003c/p>\n\u003cp>The \"talk-rapping\" she's referring to, for the record, is in two collaborations with fellow season nine contestants — \"C.L.A.T.\" and RuPaul's \"Category Is...\" remix, which was produced as a challenge on the show.\u003c/p>\n\u003cp>In one verse, Velour opens with: \"Radical, magical, liberal art. Gender is a construct; tear it apart.\" Which, for her, is what the art of drag is all about — challenging gender and empowering people to follow their own paths.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r0o0PK7AXFE\u003c/p>\n\u003cp>\"A lot of people still have the idea that drag goes from one end of the gender spectrum to the other end of the gender spectrum, and they expect drag queens to be masculine out of drag and hyper-feminine in drag,\" she said. \"I think that portrays a lot of binary thinking and ultimately a lot of misogyny. I hope people appreciate that drag always has been more about the blurriness of gender rather than these two extremes.\"\u003c/p>\n\u003cp>\u003cstrong>\"We make ourselves royals\"\u003c/strong>\u003c/p>\n\u003cp>As Velour watched her victory Friday night as the first queen ever to be crowned on VH1, she had a moment thinking back to her childhood — before she had other LGBTQ people in her life or understood the world of gay culture.\u003c/p>\n\u003cp>\"I imagined scrolling through channels and just discovering [\u003cem>Drag Race\u003c/em>] on VH1. This, like, giant theater full of people cheering for queer people in the most glamorous, fabulous costumes — just being emotional, being angry about politics, being truly themselves. And I thought about how powerful that would be, and it was really humbling,\" Velour said. \"That's really the message of drag in the end. We make ourselves royals.\"\u003c/p>\n\u003cp>\"I hope that speaks to people and reminds them that America is full of scrappy, strange, beautiful people making magic for themselves.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The third issue of \u003cem>Velour\u003c/em> comes out on July 5 and will include the contestants from season nine of \u003cem>RuPaul's Drag Race\u003c/em>. It will also feature discussions on the connection between transgender politics, liberation and the drag community.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27RuPaul%27s+Drag+Race%27+Winner+Sasha+Velour+Cut+From+A+Different+Fabric&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday night, a new American monarch rose to power beneath a cascade of rose petals, a cracked mask and the ballads of Whitney Houston.\u003c/p>\n\u003cp>But she didn't just use the glamour, comedy, acting and lip syncing prowess that fans of \u003ca href=\"http://www.npr.org/2016/08/25/491338249/shante-he-stays-rupaul-reflects-on-decades-of-drag-and-2-emmy-nominations\">RuPaul's Drag Race\u003c/a> have come to expect from America's Next Drag Superstar. Sasha Velour relies on brains.\u003c/p>\n\u003cp>\u003cstrong>An \"amateur drag historian\"\u003c/strong>\u003c/p>\n\u003cp>When the 30-year-old queen is at home in Brooklyn, N.Y., she produces and stars in a monthly drag cabaret event called Nightgowns. She co-founded \u003cem>Velour\u003c/em>, a magazine spotlighting lesser-known styles and issues in drag. She received an MFA from the Center for Cartoon Studies and studied political art as a Fulbright Scholar in Moscow.\u003c/p>\n\u003cp>She also considers herself an \"amateur drag historian,\" acknowledging there have always been different schools of drag — all competing, warring, pushing the art in new directions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for Velour, her style comes from simultaneously paying tribute to the queens who came before her and blocking out any voices that might try to dictate what her drag should be.\u003c/p>\n\u003cp>\"I want to do something that is not just a pastiche of drag that's come before, but is really authentically me,\" she said. \"I try to tune out all the drag that's out there and tap into the drag that I was doing when I was a little kid — when I didn't even know the word 'queer' or that gay people were out there. ... Tapping into the things I've always loved and building a drag that honors those.\"\u003c/p>\n\u003cp>And now that season nine is a wrap, Velour can officially add being the ninth queen crowned on \u003cem>RuPaul's Drag Race\u003c/em> to her resume — bringing her eclectic, academic and sometimes controversially intellectual brand of drag to the main stage of American queer culture.\u003c/p>\n\u003cfigure id=\"attachment_88504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-88504 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-800x363.jpg\" alt=\"\" width=\"800\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-800x363.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-160x73.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-768x349.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-1020x463.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-1920x872.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-1180x536.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-960x436.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-240x109.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-375x170.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-520x236.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Velour competed against 13 other drag queens in season nine of RuPaul's Drag Race to snatch the crown and a prize of $100,000.\u003cbr> (Courtesy of VH1)\u003c/figcaption>\u003c/figure>\n\u003cp>\"I mean, it's been one of the biggest things I've gotten pushback about, is being an intellectual and what that means,\" she said. \"I grew up in this house of intellectuals, and for me it wasn't like a negative thing. And what I've discovered is for a lot of people it is. But I think knowing history, liking to talk about ideas — like, I just genuinely like to geek out and go on these intellectual thought journeys. I want to show people it's not elitist to be a deep thinker.\"\u003c/p>\n\u003cp>\u003cstrong>Advancing an art form\u003c/strong>\u003c/p>\n\u003cp>As reigning queen of the \u003cem>Drag Race\u003c/em> empire, Velour said she plans to use her platform — and cash prize of $100,000 — to bring other LGBTQ artists across America into the spotlight. Over the next year, she hopes to take projects like Nightgowns and \u003cem>Velour\u003c/em> magazine across the country, showcasing and connecting drag communities from America's big cities and small towns.\u003c/p>\n\u003cp>\"I just want to be able to get kings and queens and nonbinary performers working together and having discussions about what drag is currently, what it has been and where we can move it to that is truly new,\" she said. \"I think if we work together and have a conversation, we can really advance the art form.\"\u003c/p>\n\u003cp>Velour also plans to follow in the footsteps of other notable \u003cem>Drag Race\u003c/em> alumni by dipping her toes into video production and music — albeit with an noticeably Velourian spin.\u003c/p>\n\u003cp>\"When I was on the show, I said I will never create drag queen music. There's too much of it and it's horrible,\" she said. \"But then they kind of tricked me into [doing] this weird, academic talk-rapping that's — it's not for everyone, but the people who love it are really into it.\"\u003c/p>\n\u003cp>The \"talk-rapping\" she's referring to, for the record, is in two collaborations with fellow season nine contestants — \"C.L.A.T.\" and RuPaul's \"Category Is...\" remix, which was produced as a challenge on the show.\u003c/p>\n\u003cp>In one verse, Velour opens with: \"Radical, magical, liberal art. Gender is a construct; tear it apart.\" Which, for her, is what the art of drag is all about — challenging gender and empowering people to follow their own paths.\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/r0o0PK7AXFE'\n title='//www.youtube.com/embed/r0o0PK7AXFE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"A lot of people still have the idea that drag goes from one end of the gender spectrum to the other end of the gender spectrum, and they expect drag queens to be masculine out of drag and hyper-feminine in drag,\" she said. \"I think that portrays a lot of binary thinking and ultimately a lot of misogyny. I hope people appreciate that drag always has been more about the blurriness of gender rather than these two extremes.\"\u003c/p>\n\u003cp>\u003cstrong>\"We make ourselves royals\"\u003c/strong>\u003c/p>\n\u003cp>As Velour watched her victory Friday night as the first queen ever to be crowned on VH1, she had a moment thinking back to her childhood — before she had other LGBTQ people in her life or understood the world of gay culture.\u003c/p>\n\u003cp>\"I imagined scrolling through channels and just discovering [\u003cem>Drag Race\u003c/em>] on VH1. This, like, giant theater full of people cheering for queer people in the most glamorous, fabulous costumes — just being emotional, being angry about politics, being truly themselves. And I thought about how powerful that would be, and it was really humbling,\" Velour said. \"That's really the message of drag in the end. We make ourselves royals.\"\u003c/p>\n\u003cp>\"I hope that speaks to people and reminds them that America is full of scrappy, strange, beautiful people making magic for themselves.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The third issue of \u003cem>Velour\u003c/em> comes out on July 5 and will include the contestants from season nine of \u003cem>RuPaul's Drag Race\u003c/em>. It will also feature discussions on the connection between transgender politics, liberation and the drag community.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27RuPaul%27s+Drag+Race%27+Winner+Sasha+Velour+Cut+From+A+Different+Fabric&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "In the Age of Trump, Escapist Entertainment Has Become an Impossibility",
"title": "In the Age of Trump, Escapist Entertainment Has Become an Impossibility",
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"content": "\u003cp>Back in February, David Frum, former speechwriter for President George W. Bush, jokingly likened the first few weeks of the Trump administration to my favorite show about Russian spies:\u003c/p>\n\u003cp>https://twitter.com/davidfrum/status/831355704690798592\u003c/p>\n\u003cp>I laughed, re-tweeted, and then stopped laughing. Wait, I \u003cem>do\u003c/em> sort of feel like an off-screen extra in an episode of \u003cem>The Americans!\u003c/em>\u003c/p>\n\u003cp>It has become uncanny to watch fictional stories in this age of post-truth, alternative facts, and daily melodrama. Nothing feels entirely fictional or entirely real; what used to be a respite of guilty pleasures and genuine entertainment is now an eerie reminder of the specific uncertainties, dangers, and horrors of this particular time.\u003c/p>\n\u003cp>My suspension of belief no longer exists, and even if it did, it doesn't seem smart or responsible to suspend it. Of course, fiction usually seeks to reveal something about our lives and our worlds, but this current intersection between fiction and reality is something different for me.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Hulu's comment sections under episodes of \u003cem>The Handmaid's Tale\u003c/em>, people debate our current dystopia more than anything related to plot or character. In January, Orwell's \u003ca href=\"https://www.nytimes.com/2017/01/25/books/1984-george-orwell-donald-trump.html?mcubz=2\">\u003cem>1984\u003c/em> \u003c/a>had a 9,500 percent increase in sales, as readers no doubt wanted to brush up on doublethink. Even \u003cem>The Bachelorette\u003c/em>, which is usually quite willfully anachronistic, has the first black Bachelorette being courted by a man \u003ca href=\"http://people.com/tv/bachelorette-lee-garrett-alleged-offensive-tweets/\">who allegedly believes Black Lives Matter is a terrorist group and liberal woman aren't to be trusted\u003c/a>.\u003c/p>\n\u003cp>While I haven't re-read \u003cem>1984\u003c/em>, I have found myself drawn to watching \u003cem>Scandal\u003c/em> again, a particularly soapy show that I'd given up on years ago when it went off the rails. I was curious to see how the narrative would unfold, considering our reality seems more nail-biting and suspenseful than anything we could make up. I was not surprised that the gory, amoral roller coaster suddenly had the sickening gravitas of one of those true crime TV documentaries. None of the behind-the-scenes machinations felt that far-fetched. In fact, the murder, mayhem, and subterfuge is all quite symbolically rich, as if there is something meaningful to be gleaned from Elizabeth getting bashed with a baseball bat or the Electoral College being blackmailed. \u003cem>Scandal\u003c/em> has become an artsy exposé!\u003c/p>\n\u003cp>After speaking with writers from \u003cem>Scandal\u003c/em>, \u003cem>House of Cards\u003c/em>, \u003cem>Veep\u003c/em>, and \u003cem>Madam Secretary, The New York Times'\u003c/em> Jim Rutenberg discovered the new reality of what it's like to \u003ca href=\"https://www.nytimes.com/2017/04/12/arts/television/political-tv-in-age-of-trump-shonda-rhimes-scandal-veep-madame-secretary-house-of-cards-hbo.html?mcubz=2&_r=0\">write TV in the age of Trump\u003c/a>: \"Suddenly, the writers who work on political television shows were competing less with one another and more with real life, because of a president who transformed their seemingly escapist scripts into something resembling nonfiction — and scrambled the traditional notions of political cause and effect that they tended to base their drama upon.\"\u003c/p>\n\u003cp>That's at the heart of it for me, as a fiction writer and someone who loves stories: what role does fiction play when the truth is stranger than fiction, and when it's ever more essential that we value and uncover the truth?\u003c/p>\n\u003cp>Perhaps fiction, even the lighthearted television variety, has a responsibility to keep us alert to our reality rather than inspire us to escape it. Not everyone and everything has to be political all the time, and yet I have to admit that, lately, when I watch a show that doesn't at least \u003cem>somehow\u003c/em> engage with our current political and cultural climate, I find myself asking, \u003cem>What is the point of this? \u003c/em>Even comedy sitcoms like \u003cem>\u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/01/black-ishs-lemons-is-art-for-the-age-of-trump/512978/\">Black-ish \u003c/a>\u003c/em>and \u003cem>Kimmy Schmidt\u003c/em> find a way to get some commentary in.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus-america-fix.gif\">\u003cimg class=\"size-full wp-image-86030 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus-america-fix.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>\u003cem>The Handmaid's Tale\u003c/em> has been discussed extensively (and very beautifully in \u003ca href=\"http://lithub.com/the-handmaids-tale-adapts-more-than-the-novel-here-is-america/\">Emily Temple's piece for Lit Hub\u003c/a>). I've had a lot of mixed emotions and assessments while watching, but the most unfamiliar sensation has been a too-real sense of doom, fear, and portent. Most things I watch, even disturbing things, don't stick with me for too long afterwards. I take them in, think about them, and let them go pretty easily. But \u003cem>The Handmaid's Tale\u003c/em> leaves this strange and unprecedented after-image that frightens me and inspires me to (among other things) stay updated on \u003ca href=\"https://medium.com/@Amy_Siskind\">Amy's Siskind's list of things that are subtly changing around us\u003c/a>. It's no surprise that women have been \u003ca href=\"https://ww2.kqed.org/pop/2017/05/12/the-frightening-realism-of-the-handmaids-tale-is-inspiring-costumed-protests-and-a-lot-of-freaking-out/\">showing up to protests in red cloaks and white bonnets\u003c/a>. It's really quite something to see images from the Texas State Capitol (\u003ca href=\"http://www.huffingtonpost.com/entry/women-wore-handmaids-tale-robes-to-ohio-statehouse-to-protest-anti-abortion-law_us_5940080ee4b02402687d0047?ncid=engmodushpmg00000004\">and just the other day in Ohio\u003c/a>) that evoke scenes from a book I read in 12th grade English class.\u003c/p>\n\u003cp>https://twitter.com/HuffPostWomen/status/874676690617851904\u003c/p>\n\u003cp>\"Yes: your life, right now, is both text and context for this television show,\" Temple writes. Later, she continues, \"...what it really does is remind us of the true precariousness of our own situation in America. We rely so much on the perceived rules of our society, but in fact we have almost no control. We assume that the rules will protect us, but those rules aren’t actually real.\"\u003c/p>\n\u003cp>What this all points to on a very macro and existential level is that what is \"real\" is so often not. We construct notions of something being lasting, fixed, and solid, and we use this illusion to comfort ourselves into a false sense of security and inaction. Sometimes, it is the illusion of fiction's unlikeliness, sometimes the illusion of a boundary or an impossibility. More and more, I get the impression our fictional stories are trying to point out the danger of the illusions, rather than weave them for our entertainment.\u003c/p>\n\u003cp>I'm reminded of the second part of Mark Twain's famous quote. \"Truth is stranger than fiction, but it is because Fiction is obliged to stick to possibilities; Truth isn't.\" We have no idea what plot twist is coming next; the truth does not have to stick to what is possible.\u003c/p>\n\u003cp>Of course, this is just TV and pop culture that I'm considering here. \u003ca href=\"https://www.pastemagazine.com/articles/2017/03/20-radical-films-to-watch-in-the-age-of-trump.html\">Films\u003c/a>, \u003ca href=\"http://www.billboard.com/articles/columns/rock/7678148/what-protest-music-are-people-buying-at-record-shops-trump\">music\u003c/a>, \u003ca href=\"http://www.salon.com/2017/02/17/its-gallows-humor-canadian-actors-on-writing-comedy-in-the-trump-era/\">comedy\u003c/a>, \u003ca href=\"https://pen.org/press-clip/hope-alive-age-trump-poets-writers-creating-new-vision/\">literature\u003c/a>, and \u003ca href=\"https://hyperallergic.com/352519/13-artists-design-flags-for-the-age-of-trump-with-plans-to-burn-them-later/\">visual art\u003c/a> are ever more vital (Google \"any art form\" in the age of Trump, and you get incredible results). As Charles McNulty writes \u003ca href=\"http://www.latimes.com/entertainment/arts/la-ca-cm-mcnulty-notebook-20170324-story.html\">in the \u003cem>LA Times\u003c/em>\u003c/a>, \"The arts and the humanities nixed by Trump’s budget proposal pose a direct challenge to demagoguery. Literature, theater, music and the visual arts promote contemplation. They invite individuals to ask questions, consider alternative views and second-guess what they’ve been brainwashed into believing.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Let's keep paying very close attention to all the stories we're being told, and to what we believe is true.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in February, David Frum, former speechwriter for President George W. Bush, jokingly likened the first few weeks of the Trump administration to my favorite show about Russian spies:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>I laughed, re-tweeted, and then stopped laughing. Wait, I \u003cem>do\u003c/em> sort of feel like an off-screen extra in an episode of \u003cem>The Americans!\u003c/em>\u003c/p>\n\u003cp>It has become uncanny to watch fictional stories in this age of post-truth, alternative facts, and daily melodrama. Nothing feels entirely fictional or entirely real; what used to be a respite of guilty pleasures and genuine entertainment is now an eerie reminder of the specific uncertainties, dangers, and horrors of this particular time.\u003c/p>\n\u003cp>My suspension of belief no longer exists, and even if it did, it doesn't seem smart or responsible to suspend it. Of course, fiction usually seeks to reveal something about our lives and our worlds, but this current intersection between fiction and reality is something different for me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Hulu's comment sections under episodes of \u003cem>The Handmaid's Tale\u003c/em>, people debate our current dystopia more than anything related to plot or character. In January, Orwell's \u003ca href=\"https://www.nytimes.com/2017/01/25/books/1984-george-orwell-donald-trump.html?mcubz=2\">\u003cem>1984\u003c/em> \u003c/a>had a 9,500 percent increase in sales, as readers no doubt wanted to brush up on doublethink. Even \u003cem>The Bachelorette\u003c/em>, which is usually quite willfully anachronistic, has the first black Bachelorette being courted by a man \u003ca href=\"http://people.com/tv/bachelorette-lee-garrett-alleged-offensive-tweets/\">who allegedly believes Black Lives Matter is a terrorist group and liberal woman aren't to be trusted\u003c/a>.\u003c/p>\n\u003cp>While I haven't re-read \u003cem>1984\u003c/em>, I have found myself drawn to watching \u003cem>Scandal\u003c/em> again, a particularly soapy show that I'd given up on years ago when it went off the rails. I was curious to see how the narrative would unfold, considering our reality seems more nail-biting and suspenseful than anything we could make up. I was not surprised that the gory, amoral roller coaster suddenly had the sickening gravitas of one of those true crime TV documentaries. None of the behind-the-scenes machinations felt that far-fetched. In fact, the murder, mayhem, and subterfuge is all quite symbolically rich, as if there is something meaningful to be gleaned from Elizabeth getting bashed with a baseball bat or the Electoral College being blackmailed. \u003cem>Scandal\u003c/em> has become an artsy exposé!\u003c/p>\n\u003cp>After speaking with writers from \u003cem>Scandal\u003c/em>, \u003cem>House of Cards\u003c/em>, \u003cem>Veep\u003c/em>, and \u003cem>Madam Secretary, The New York Times'\u003c/em> Jim Rutenberg discovered the new reality of what it's like to \u003ca href=\"https://www.nytimes.com/2017/04/12/arts/television/political-tv-in-age-of-trump-shonda-rhimes-scandal-veep-madame-secretary-house-of-cards-hbo.html?mcubz=2&_r=0\">write TV in the age of Trump\u003c/a>: \"Suddenly, the writers who work on political television shows were competing less with one another and more with real life, because of a president who transformed their seemingly escapist scripts into something resembling nonfiction — and scrambled the traditional notions of political cause and effect that they tended to base their drama upon.\"\u003c/p>\n\u003cp>That's at the heart of it for me, as a fiction writer and someone who loves stories: what role does fiction play when the truth is stranger than fiction, and when it's ever more essential that we value and uncover the truth?\u003c/p>\n\u003cp>Perhaps fiction, even the lighthearted television variety, has a responsibility to keep us alert to our reality rather than inspire us to escape it. Not everyone and everything has to be political all the time, and yet I have to admit that, lately, when I watch a show that doesn't at least \u003cem>somehow\u003c/em> engage with our current political and cultural climate, I find myself asking, \u003cem>What is the point of this? \u003c/em>Even comedy sitcoms like \u003cem>\u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/01/black-ishs-lemons-is-art-for-the-age-of-trump/512978/\">Black-ish \u003c/a>\u003c/em>and \u003cem>Kimmy Schmidt\u003c/em> find a way to get some commentary in.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus-america-fix.gif\">\u003cimg class=\"size-full wp-image-86030 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus-america-fix.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>\u003cem>The Handmaid's Tale\u003c/em> has been discussed extensively (and very beautifully in \u003ca href=\"http://lithub.com/the-handmaids-tale-adapts-more-than-the-novel-here-is-america/\">Emily Temple's piece for Lit Hub\u003c/a>). I've had a lot of mixed emotions and assessments while watching, but the most unfamiliar sensation has been a too-real sense of doom, fear, and portent. Most things I watch, even disturbing things, don't stick with me for too long afterwards. I take them in, think about them, and let them go pretty easily. But \u003cem>The Handmaid's Tale\u003c/em> leaves this strange and unprecedented after-image that frightens me and inspires me to (among other things) stay updated on \u003ca href=\"https://medium.com/@Amy_Siskind\">Amy's Siskind's list of things that are subtly changing around us\u003c/a>. It's no surprise that women have been \u003ca href=\"https://ww2.kqed.org/pop/2017/05/12/the-frightening-realism-of-the-handmaids-tale-is-inspiring-costumed-protests-and-a-lot-of-freaking-out/\">showing up to protests in red cloaks and white bonnets\u003c/a>. It's really quite something to see images from the Texas State Capitol (\u003ca href=\"http://www.huffingtonpost.com/entry/women-wore-handmaids-tale-robes-to-ohio-statehouse-to-protest-anti-abortion-law_us_5940080ee4b02402687d0047?ncid=engmodushpmg00000004\">and just the other day in Ohio\u003c/a>) that evoke scenes from a book I read in 12th grade English class.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\"Yes: your life, right now, is both text and context for this television show,\" Temple writes. Later, she continues, \"...what it really does is remind us of the true precariousness of our own situation in America. We rely so much on the perceived rules of our society, but in fact we have almost no control. We assume that the rules will protect us, but those rules aren’t actually real.\"\u003c/p>\n\u003cp>What this all points to on a very macro and existential level is that what is \"real\" is so often not. We construct notions of something being lasting, fixed, and solid, and we use this illusion to comfort ourselves into a false sense of security and inaction. Sometimes, it is the illusion of fiction's unlikeliness, sometimes the illusion of a boundary or an impossibility. More and more, I get the impression our fictional stories are trying to point out the danger of the illusions, rather than weave them for our entertainment.\u003c/p>\n\u003cp>I'm reminded of the second part of Mark Twain's famous quote. \"Truth is stranger than fiction, but it is because Fiction is obliged to stick to possibilities; Truth isn't.\" We have no idea what plot twist is coming next; the truth does not have to stick to what is possible.\u003c/p>\n\u003cp>Of course, this is just TV and pop culture that I'm considering here. \u003ca href=\"https://www.pastemagazine.com/articles/2017/03/20-radical-films-to-watch-in-the-age-of-trump.html\">Films\u003c/a>, \u003ca href=\"http://www.billboard.com/articles/columns/rock/7678148/what-protest-music-are-people-buying-at-record-shops-trump\">music\u003c/a>, \u003ca href=\"http://www.salon.com/2017/02/17/its-gallows-humor-canadian-actors-on-writing-comedy-in-the-trump-era/\">comedy\u003c/a>, \u003ca href=\"https://pen.org/press-clip/hope-alive-age-trump-poets-writers-creating-new-vision/\">literature\u003c/a>, and \u003ca href=\"https://hyperallergic.com/352519/13-artists-design-flags-for-the-age-of-trump-with-plans-to-burn-them-later/\">visual art\u003c/a> are ever more vital (Google \"any art form\" in the age of Trump, and you get incredible results). As Charles McNulty writes \u003ca href=\"http://www.latimes.com/entertainment/arts/la-ca-cm-mcnulty-notebook-20170324-story.html\">in the \u003cem>LA Times\u003c/em>\u003c/a>, \"The arts and the humanities nixed by Trump’s budget proposal pose a direct challenge to demagoguery. Literature, theater, music and the visual arts promote contemplation. They invite individuals to ask questions, consider alternative views and second-guess what they’ve been brainwashed into believing.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How Big Brother Magazine Paved the Way for 'Jackass,' Jonah Hill, and Our Collective Desensitization",
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"content": "\u003cp>In case you haven't checked Hulu's new movies section recently, there's a documentary that just came out titled \u003ca href=\"https://www.hulu.com/watch/1086233\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dumb: The Story of Big Brother Magazine\u003c/em>\u003c/a>. Unless you were a skateboarder in the '90s, you probably have no idea what \u003ca href=\"https://en.wikipedia.org/wiki/Big_Brother_(magazine)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Big Brother\u003c/em>\u003c/a> was. But the magazine's influence\u003cem> \u003c/em>is still ricocheting around the pop culture landscape and has undoubtedly touched you at some point, whether you know it or not.\u003c/p>\n\u003cp>The most obvious thing to come out of \u003cem>Big Brother\u003c/em> was \u003cem>Jackass—\u003c/em>MTV's paean to stupid stunts and behaving badly. Before \u003cem>Jackass\u003c/em>, \u003ca href=\"https://en.wikipedia.org/wiki/Johnny_Knoxville\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Knoxville\u003c/a> made a name for himself in the skate community (despite not even being a skater) by showing up on \u003cem>Big Brother\u003c/em> videos and literally attacking himself with a variety of weapons, including an actual gun.\u003c/p>\n\u003cp>As somebody who was pretty submerged in the skateboard community the year the video below came out (1998), I cannot overstate the gleeful-yet-horrified impact that watching Knoxville shoot himself had at that time. Approach this footage with caution if you don't like cursing and/ or watching dudes really, really hurt themselves:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xU9eakbujlg\u003c/p>\n\u003cp>By the time Knoxville had thrown himself in front of a moving vehicle for another\u003ca href=\"https://www.youtube.com/playlist?list=PLltys3SF2WxOE69B-797-dRWCKqV2bJB-\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Big Brother\u003c/em>\u003c/a> video, just a year later, the skate community was as desensitized to this kind of stunt as the entire nation would later become after three seasons of \u003cem>Jackass\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It wasn't just the \u003cem>Big Brother\u003c/em> skate videos that were nuts, \u003cem>Big Brother\u003c/em> magazine made \u003cem>National Lampoon\u003c/em> look like \u003cem>Disney Adventures. \u003c/em>(\u003ca href=\"https://en.wikipedia.org/wiki/Chris_Pontius\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Pontius\u003c/a> wrote for it, \u003ca href=\"https://en.wikipedia.org/wiki/Steve-O\" target=\"_blank\" rel=\"noopener noreferrer\">Steve-O\u003c/a> literally set his face on fire to get in the magazine, and Jason \"\u003ca href=\"https://en.wikipedia.org/wiki/Jason_Acu%C3%B1a\" target=\"_blank\" rel=\"noopener noreferrer\">Wee Man\u003c/a>\" Acuña was the subscription manager.) It was less about skateboarding and more about self-consciously trying to offend—which is why there were \u003ca href=\"https://www.youtube.com/watch?v=Jwrz1pc-tv8\" target=\"_blank\" rel=\"noopener noreferrer\">news stories warning parents\u003c/a> about the dangers of \u003cem>Big Brother,\u003c/em> and why it ended up being owned by \u003ca href=\"https://en.wikipedia.org/wiki/Hustler\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hustler\u003c/em>\u003c/a>-founder and First Amendment fan, \u003ca href=\"https://en.wikipedia.org/wiki/Larry_Flynt\" target=\"_blank\" rel=\"noopener noreferrer\">Larry Flynt\u003c/a>.\u003c/p>\n\u003cp>Truly, in the pre-internet age,\u003cem> Big Brother\u003c/em> was a dark entity. It was a window into the most self-destructive, nihilistic elements of skateboarding. It was uncomfortable to read. There were graphic depictions of bodily fluids and rampant, full frontal nudity. It was sometimes homophobic and frequently sexist. Its \"KIDS ISSUE\" had a cover designed to appeal to children, but articles about bestiality and BDSM inside. Instructions on how to take drugs and how to commit suicide were featured. \u003cem>Big Brother\u003c/em> embraced every taboo possible in the same decade that political correctness became a thing, and thrived both because, and in spite, of it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0jcKEifF0og\u003c/p>\n\u003cp>When \u003cem>Big Brother\u003c/em> first emerged in 1992, the shadier, dirtier, riskier elements of skating were already well-established (thanks in no small part to \u003ca href=\"https://www.youtube.com/watch?v=hzx5Ji3Yyas&t=2137s\" target=\"_blank\" rel=\"noopener noreferrer\">what was happening in the Bay Area\u003c/a> in the late '80s and early '90s). \u003cem>Big Brother\u003c/em> just did more to shine a light on them than anyone else ever had, and subsequently managed to push skateboarding's focus almost entirely in that direction—at least for a few years. The more sexual and offensive content there was in the magazine, the more the entire skateboard industry embraced shock value.\u003c/p>\n\u003cp>As previously stated, without \u003cem>Big Brother\u003c/em>, there would have been no \u003cem>Jackass. \u003c/em>And without\u003cem> Jackass,\u003c/em> the boundaries of how ridiculous and dangerous you can be on television and in movies would not be where they are now. Actor Jonah Hill, speaking in the \u003cem>Dumb\u003c/em> documentary, describes \u003cem>Big Brother\u003c/em> as his \"biggest influence comedically\" because it made him think \"humor could be cool, because it could be dangerous.\" In the world of print, one has to wonder if men's magazines like \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Maxim_(magazine)\" target=\"_blank\" rel=\"noopener noreferrer\">Maxim\u003c/a> \u003c/em>(launched 1995)\u003cem> \u003c/em>and\u003cem> \u003ca href=\"https://books.google.com/books?id=nT6pCgAAQBAJ&pg=PT294&lpg=PT294&dq=FHM+launched+in+USA&source=bl&ots=sR6FGQFBb1&sig=mhjhC1nOhYsIQ46CJQV2vmi0bmg&hl=en&sa=X&ved=0ahUKEwiNjser16zUAhUN5mMKHbxDBF4Q6AEISjAG#v=onepage&q=FHM%20launched%20in%20USA&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">FHM\u003c/a>\u003c/em> (launched 1999) would have had the idea of incorporating so much unclothed female flesh into non-related and mainstream content if \u003cem>Big Brother\u003c/em> hadn't done it first\u003cem>.\u003c/em>\u003c/p>\n\u003cp>One of the great ironies of \u003cem>Big Brother\u003c/em> is that it helped create the environment that caused the boom in skateboarding in the late '90s and early 2000s, but was simultaneously destroyed because of it. Once skating hit the mainstream—thanks in part to the growing success of the \u003ca href=\"http://xgames.espn.com/xgames/\" target=\"_blank\" rel=\"noopener noreferrer\">X Games\u003c/a>—skate companies, wishing to cultivate an air of respectability, couldn't get away from \u003cem>Big Brother\u003c/em> fast enough. And without advertising dollars, the magazine was doomed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the post-internet age, it's difficult to imagine anything being able to shock quite like \u003cem>Big Brother\u003c/em> did in its heyday—but \u003cem>Big Brother\u003c/em> is also an indelible part of why we, as a culture, are inherently less shockable now.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In case you haven't checked Hulu's new movies section recently, there's a documentary that just came out titled \u003ca href=\"https://www.hulu.com/watch/1086233\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dumb: The Story of Big Brother Magazine\u003c/em>\u003c/a>. Unless you were a skateboarder in the '90s, you probably have no idea what \u003ca href=\"https://en.wikipedia.org/wiki/Big_Brother_(magazine)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Big Brother\u003c/em>\u003c/a> was. But the magazine's influence\u003cem> \u003c/em>is still ricocheting around the pop culture landscape and has undoubtedly touched you at some point, whether you know it or not.\u003c/p>\n\u003cp>The most obvious thing to come out of \u003cem>Big Brother\u003c/em> was \u003cem>Jackass—\u003c/em>MTV's paean to stupid stunts and behaving badly. Before \u003cem>Jackass\u003c/em>, \u003ca href=\"https://en.wikipedia.org/wiki/Johnny_Knoxville\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Knoxville\u003c/a> made a name for himself in the skate community (despite not even being a skater) by showing up on \u003cem>Big Brother\u003c/em> videos and literally attacking himself with a variety of weapons, including an actual gun.\u003c/p>\n\u003cp>As somebody who was pretty submerged in the skateboard community the year the video below came out (1998), I cannot overstate the gleeful-yet-horrified impact that watching Knoxville shoot himself had at that time. Approach this footage with caution if you don't like cursing and/ or watching dudes really, really hurt themselves:\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/xU9eakbujlg'\n title='//www.youtube.com/embed/xU9eakbujlg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By the time Knoxville had thrown himself in front of a moving vehicle for another\u003ca href=\"https://www.youtube.com/playlist?list=PLltys3SF2WxOE69B-797-dRWCKqV2bJB-\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Big Brother\u003c/em>\u003c/a> video, just a year later, the skate community was as desensitized to this kind of stunt as the entire nation would later become after three seasons of \u003cem>Jackass\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It wasn't just the \u003cem>Big Brother\u003c/em> skate videos that were nuts, \u003cem>Big Brother\u003c/em> magazine made \u003cem>National Lampoon\u003c/em> look like \u003cem>Disney Adventures. \u003c/em>(\u003ca href=\"https://en.wikipedia.org/wiki/Chris_Pontius\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Pontius\u003c/a> wrote for it, \u003ca href=\"https://en.wikipedia.org/wiki/Steve-O\" target=\"_blank\" rel=\"noopener noreferrer\">Steve-O\u003c/a> literally set his face on fire to get in the magazine, and Jason \"\u003ca href=\"https://en.wikipedia.org/wiki/Jason_Acu%C3%B1a\" target=\"_blank\" rel=\"noopener noreferrer\">Wee Man\u003c/a>\" Acuña was the subscription manager.) It was less about skateboarding and more about self-consciously trying to offend—which is why there were \u003ca href=\"https://www.youtube.com/watch?v=Jwrz1pc-tv8\" target=\"_blank\" rel=\"noopener noreferrer\">news stories warning parents\u003c/a> about the dangers of \u003cem>Big Brother,\u003c/em> and why it ended up being owned by \u003ca href=\"https://en.wikipedia.org/wiki/Hustler\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hustler\u003c/em>\u003c/a>-founder and First Amendment fan, \u003ca href=\"https://en.wikipedia.org/wiki/Larry_Flynt\" target=\"_blank\" rel=\"noopener noreferrer\">Larry Flynt\u003c/a>.\u003c/p>\n\u003cp>Truly, in the pre-internet age,\u003cem> Big Brother\u003c/em> was a dark entity. It was a window into the most self-destructive, nihilistic elements of skateboarding. It was uncomfortable to read. There were graphic depictions of bodily fluids and rampant, full frontal nudity. It was sometimes homophobic and frequently sexist. Its \"KIDS ISSUE\" had a cover designed to appeal to children, but articles about bestiality and BDSM inside. Instructions on how to take drugs and how to commit suicide were featured. \u003cem>Big Brother\u003c/em> embraced every taboo possible in the same decade that political correctness became a thing, and thrived both because, and in spite, of it.\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/0jcKEifF0og'\n title='//www.youtube.com/embed/0jcKEifF0og'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When \u003cem>Big Brother\u003c/em> first emerged in 1992, the shadier, dirtier, riskier elements of skating were already well-established (thanks in no small part to \u003ca href=\"https://www.youtube.com/watch?v=hzx5Ji3Yyas&t=2137s\" target=\"_blank\" rel=\"noopener noreferrer\">what was happening in the Bay Area\u003c/a> in the late '80s and early '90s). \u003cem>Big Brother\u003c/em> just did more to shine a light on them than anyone else ever had, and subsequently managed to push skateboarding's focus almost entirely in that direction—at least for a few years. The more sexual and offensive content there was in the magazine, the more the entire skateboard industry embraced shock value.\u003c/p>\n\u003cp>As previously stated, without \u003cem>Big Brother\u003c/em>, there would have been no \u003cem>Jackass. \u003c/em>And without\u003cem> Jackass,\u003c/em> the boundaries of how ridiculous and dangerous you can be on television and in movies would not be where they are now. Actor Jonah Hill, speaking in the \u003cem>Dumb\u003c/em> documentary, describes \u003cem>Big Brother\u003c/em> as his \"biggest influence comedically\" because it made him think \"humor could be cool, because it could be dangerous.\" In the world of print, one has to wonder if men's magazines like \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Maxim_(magazine)\" target=\"_blank\" rel=\"noopener noreferrer\">Maxim\u003c/a> \u003c/em>(launched 1995)\u003cem> \u003c/em>and\u003cem> \u003ca href=\"https://books.google.com/books?id=nT6pCgAAQBAJ&pg=PT294&lpg=PT294&dq=FHM+launched+in+USA&source=bl&ots=sR6FGQFBb1&sig=mhjhC1nOhYsIQ46CJQV2vmi0bmg&hl=en&sa=X&ved=0ahUKEwiNjser16zUAhUN5mMKHbxDBF4Q6AEISjAG#v=onepage&q=FHM%20launched%20in%20USA&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">FHM\u003c/a>\u003c/em> (launched 1999) would have had the idea of incorporating so much unclothed female flesh into non-related and mainstream content if \u003cem>Big Brother\u003c/em> hadn't done it first\u003cem>.\u003c/em>\u003c/p>\n\u003cp>One of the great ironies of \u003cem>Big Brother\u003c/em> is that it helped create the environment that caused the boom in skateboarding in the late '90s and early 2000s, but was simultaneously destroyed because of it. Once skating hit the mainstream—thanks in part to the growing success of the \u003ca href=\"http://xgames.espn.com/xgames/\" target=\"_blank\" rel=\"noopener noreferrer\">X Games\u003c/a>—skate companies, wishing to cultivate an air of respectability, couldn't get away from \u003cem>Big Brother\u003c/em> fast enough. And without advertising dollars, the magazine was doomed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the post-internet age, it's difficult to imagine anything being able to shock quite like \u003cem>Big Brother\u003c/em> did in its heyday—but \u003cem>Big Brother\u003c/em> is also an indelible part of why we, as a culture, are inherently less shockable now.\u003c/p>\n\n\u003c/div>\u003c/p>",
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"order": 3
},
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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