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"content": "\u003cp>Meg Murray from \u003ca href=\"http://www.imdb.com/title/tt1620680/?ref_=fn_al_tt_1\">\u003cem>A Wrinkle in Time\u003c/em>\u003c/a> and Wakandan princess Shuri from \u003ca href=\"http://www.imdb.com/title/tt1825683/?ref_=nv_sr_1\">\u003cem>Black Panther\u003c/em>\u003c/a> are a far cry from the typical Disney heroine. In Meg and Shuri, we have two outspoken black girls. This, in itself is a dramatic change for the company: in the past, Disney has rarely celebrated black girls for being smart or self-assured.\u003c/p>\n\u003cp>Shuri invents the gadgets that her brother T'Challa (aka Black Panther) uses to save the people of Wakanda. Think about it: how would the Black Panther repel all the blows he's dealt without the outfit Shuri created?\u003c/p>\n\u003cp>Then there's Meg Murray. She's the empathetic, brilliant child of scientists. She is unwavering in her faith that her missing father will return to her one day, even though her strengths — and struggles — aren't appreciated by anyone outside of her family.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0yB-IjDOx60\u003c/p>\n\u003cp>These characters, and their storylines, seem distinctly different from the female protagonists that preceded them in Disney movies. But for Disney, reimagining what it means to be a female hero is nothing new.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After decades of being accused of reinforcing racist and \u003ca href=\"https://www.washingtonpost.com/posteverything/wp/2016/06/24/princess-culture-is-bad-for-girls-now-theres-proof/?utm_term=.222684d43025\">sexist stereotypes\u003c/a>, Disney attempted to reframe the princess/girl-hero archetype with films like \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0114148/?ref_=fn_al_tt_1\">Pocahontas\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0120762/?ref_=fn_al_tt_1\">Mulan\u003c/a> and \u003ca href=\"http://www.imdb.com/title/tt0780521/?ref_=fn_al_tt_1\">The Princess and the Frog\u003c/a>. \u003c/em>These films all featured young women of color. It's true that the girl heroes were strong, but their achievements often felt secondary to their romantic relationships.\u003c/p>\n\u003cp>Add to that, the way they were portrayed was often problematic: Viewers who were excited to see Disney's first black princess were dismayed when they realized that Tiana spent most of the movie as a frog. And for folks who know anything about colonial history, Pocahontas was a disappointment, too. The real life Pocahontas didn't fall in love with an English sailor — as a child, she was in fact forced to marry a white colonizer \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2015/06/pocahontas-feminism/397190/\">old enough to be her father\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9q1QF8G47oU\u003c/p>\n\u003cp>Since then, Disney has made some progress in depicting strong, dynamic people of color. In 2016's \u003ca href=\"http://www.imdb.com/title/tt3521164/?ref_=fn_al_tt_1\">\u003cem>Moana\u003c/em>\u003c/a>, the titular character's love for her people and her culture is the key to saving her island. And (though its protagonist wasn't a girl,) 2017's \u003ca href=\"http://www.imdb.com/title/tt2380307/?ref_=fn_al_tt_1\">\u003cem>Coco \u003c/em>\u003c/a>was widely lauded for portraying Mexican culture in a thoughtful, beautiful way.\u003c/p>\n\u003cp>Which brings us to today's Disney heroines: Meg Murray and Shuri. They're compelling young women of color whose stories don't need to be bolstered by romantic love or sanitized history.\u003c/p>\n\u003cp>But what made Disney take such the leap to, once again, re-imagine its girl-hero?\u003c/p>\n\u003cp>UCLA professor and co-author of the annual \u003ca href=\"http://documents.latimes.com/ucla-hollywood-diversity-report-2018/\">Hollywood Diversity Report,\u003c/a> Dr. Ana-Christina Ramón says the business conditions were right. 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The live action reboots of \u003cem>\u003ca href=\"http://www.imdb.com/title/tt1661199/?ref_=nv_sr_1\">Cinderella\u003c/a> \u003c/em>and\u003cem>\u003ca href=\"http://www.imdb.com/title/tt2771200/?ref_=nv_sr_1\"> Beauty and the Beast\u003c/a> — \u003c/em>in which both traditional Disney princesses were made more independent — were the \u003ca href=\"http://www.boxofficemojo.com/yearly/chart/?yr=2015\">9th highest grossing film of 2015\u003c/a> and the \u003ca href=\"https://www.the-numbers.com/market/2017/top-grossing-movies\">second highest grossing film of 2017\u003c/a>, respectively.\u003c/p>\n\u003cp>And when it came to racial diversity, Disney, the parent company of Marvel Films, took the hint from the success of its superhero movies. According to Ramón, \u003cem>\"\u003c/em>the comic book franchise [had] been established already, so [Disney could] slowly bring in diversity with secondary characters throughout these stories... [They introduced] Falcon, [an African-American character] played by Anthony Mackie — he's the sidekick to Captain America. So they introduced a little diversity, but they [didn't] make it the main plotline.\"\u003c/p>\n\u003cp>Ramón says there is still work to be done before girl-heroes of color who aren't black become the norm. That's because Hollywood executives still tend to think of diversity in black and white. \"When they think about Asian and Latino audiences, they tend to think of immigrant audiences, or they're not what they consider mainstream,\" she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But Ramón says that the success of movies like Marvel's \u003cem>Black Panther\u003c/em> and \u003cem>A Wrinkle in Time\u003c/em> underscores what the research from the Hollywood Diversity Report has proved time and again: people – regardless of their race — want to see more racial diversity on the screen.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. 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In 2016's \u003ca href=\"http://www.imdb.com/title/tt3521164/?ref_=fn_al_tt_1\">\u003cem>Moana\u003c/em>\u003c/a>, the titular character's love for her people and her culture is the key to saving her island. And (though its protagonist wasn't a girl,) 2017's \u003ca href=\"http://www.imdb.com/title/tt2380307/?ref_=fn_al_tt_1\">\u003cem>Coco \u003c/em>\u003c/a>was widely lauded for portraying Mexican culture in a thoughtful, beautiful way.\u003c/p>\n\u003cp>Which brings us to today's Disney heroines: Meg Murray and Shuri. They're compelling young women of color whose stories don't need to be bolstered by romantic love or sanitized history.\u003c/p>\n\u003cp>But what made Disney take such the leap to, once again, re-imagine its girl-hero?\u003c/p>\n\u003cp>UCLA professor and co-author of the annual \u003ca href=\"http://documents.latimes.com/ucla-hollywood-diversity-report-2018/\">Hollywood Diversity Report,\u003c/a> Dr. Ana-Christina Ramón says the business conditions were right. 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"disqusTitle": "'Black Panther' is Unlike Any Superhero Story You've Seen Before",
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"content": "\u003cp>In 1938, \u003ca href=\"http://www.thecomicbooks.com/old/super.html\">Jerry Siegel and Joe Shuster\u003c/a> — two Jewish kids from Cleveland who were reading the alarming news coming out of Europe — created precisely the hero necessary to put things right: an impossibly strong and nigh-invulnerable paragon of virtue and butt-kicking they called \u003ca href=\"https://en.wikipedia.org/wiki/Superman\">Superman\u003c/a>. He could have ended Hitler's advance with a snap of his fingers — and he definitely would have, if only he weren't a creature of pure fantasy. Three years later, as the Nazi threat escalated, \u003ca href=\"https://www.amazon.com/Best-Simon-Kirby-Joe/dp/1845769317\">Joe Simon and Jack Kirby\u003c/a> went a step further, summoning into being a hero who was essentially an American flag come to dynamic, Hitler-punching life. They called him \u003ca href=\"https://en.wikipedia.org/wiki/Captain_America\">Captain America\u003c/a>, because subtlety is not what superhero comics are about.\u003c/p>\n\u003cp>There's a poignancy in the fact that these two heroes were products of grim necessity — a global menace threatened our way of life, and a nation gripped by fear and anxiety found in Superman and Captain America twin release valves. By indulging in the belief that someone big and strong and primary-colored could rescue them and beat the bad guy, Americans managed to steal a few moments of vicarious satisfaction.\u003c/p>\n\u003cp>There was a hole in the world, so they created heroes to fix it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xjDjIWPwcPU\u003c/p>\n\u003cp>That same poignancy permeates \u003ca href=\"http://www.imdb.com/title/tt1825683/?ref_=fn_al_tt_1\">\u003cem>Black Panther\u003c/em>\u003c/a>, which is Marvel Studio's 18th superhero movie, though it certainly doesn't feel like it. Ryan Coogler's third film is, happily, no by-the-numbers, big-budget hero narrative of the sort to which we've grown inured — it's by turns as intimate and immediate as 2013's \u003ca href=\"http://www.imdb.com/title/tt2334649/?ref_=fn_al_tt_1\">\u003cem>Fruitvale Station\u003c/em>\u003c/a> and as stirring as 2015's \u003cem>\u003ca href=\"http://www.imdb.com/title/tt3076658/?ref_=fn_al_tt_1\">Creed\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.imdb.com/name/nm1569276/?ref_=fn_al_nm_1\">Chadwick Boseman\u003c/a> is T'Challa, king of Wakanda, an unimaginably advanced, ruthlessly isolationist African nation that hides its riches and its tech from the world at large. Wakanda, as vividly and gorgeously realized here, is a soaring Afro-futurist utopia powered by the world's rarest, hardest and blue-glowiest metal, vibranium. (Fair warning: If one were to sneak a flask into a screening of \u003cem>Black Panther\u003c/em> and drink every time any character says the word \"vibranium,\" one would spend the film's final hour in the lobby having one's stomach pumped by a team of professionals.)\u003c/p>\n\u003cp>It's a credit to the production team that, even after 18 times at-bat, we're still finding innovative way to visualize superhero tech (this time out, it's a kind of \u003cem>Matrix\u003c/em>-meets-Magic-Sand sort of deal), and still turning out fight choreography and stunts capable of quickening even the most jaded pulse (a nighttime car chase through the streets of Seoul, South Korea, includes a moment engineered to elicit cheers, because Coogler knows what these films are about).\u003c/p>\n\u003cp>Plus there are war rhinos, so. I mean.\u003c/p>\n\u003cp>As for the story, it is a truth universally acknowledged that wherever there is a palace, there must be palace intrigue: T'Challa's claim to the throne is challenged by \u003ca href=\"http://www.imdb.com/name/nm0430107/?ref_=fn_al_nm_1\">Michael B. Jordan'\u003c/a>s fabulously monikered Killmonger, who manages to mong quite a few kills before facing off against his rival. Like all of the best villains, Killmonger's motivations are grounded in his zeal to correct a great injustice — one may quibble with his master plan's methodology (i.e, the wholesale slaughter of billions), but you gotta admit: Dude has a point.\u003c/p>\n\u003cfigure id=\"attachment_101861\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-101861\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/02/landscape-1508161031-black-panther-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/02/landscape-1508161031-black-panther-800x400.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/landscape-1508161031-black-panther-160x80.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/landscape-1508161031-black-panther-768x384.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/landscape-1508161031-black-panther-960x480.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/landscape-1508161031-black-panther-240x120.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/landscape-1508161031-black-panther-375x188.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/landscape-1508161031-black-panther-520x260.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/landscape-1508161031-black-panther.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\"Black Panther'\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Walking Dead\u003c/em>'s \u003ca href=\"http://www.imdb.com/name/nm1775091/?ref_=fn_al_nm_1\">Danai Gurira\u003c/a>, as Okoye, leads Wakanda's elite corps of female warriors, the sight of which in combat provides many of the film's most thrilling moments. Shuri (\u003ca href=\"http://www.imdb.com/name/nm4004793/?ref_=fn_al_nm_1\">Letitia Wright\u003c/a>), T'Challa's wry and brilliant younger sister, supplies the kingdom with its tech, and the film with its laugh lines. \u003ca href=\"http://www.imdb.com/name/nm2143282/?ref_=fn_al_nm_1\">Lupita Nyong'o\u003c/a> plays a love interest who's actually interesting — a young woman who chafes against Wakanda's age-old policy of hoarding its wealth and tech from the world. \u003ca href=\"http://www.imdb.com/name/nm0000291/?ref_=fn_al_nm_1\">Angela Bassett\u003c/a> is on hand, along with her cheekbones, to look regal and fierce in costume designer Ruth E. Carter's royal couture.\u003c/p>\n\u003cp>There's also a couple of middle-aged white dudes (\u003ca href=\"http://www.imdb.com/name/nm0293509/?ref_=fn_al_nm_1\">Martin Freeman\u003c/a> and \u003ca href=\"http://www.imdb.com/name/nm0785227/?ref_=fn_al_nm_1\">Andy Serkis\u003c/a>) doing stuff somewhere in the background, but never mind, the film isn't about them.\u003c/p>\n\u003cp>Which, of course, is \u003cem>truly \u003c/em>what's new here.\u003c/p>\n\u003cp>The genre of superhero cinema is wider and deeper than many give it credit for, because the stories we've seen thus far have followed similar arcs, starring similar actors, in similar settings. In \u003cem>Black Panther\u003c/em>, Coogler, too, rounds the familiar bases: Yes, those T'Challa versus Killmonger scenes \u003cem>do \u003c/em>duly check the \"Hero Fights Evil Version of Himself\" box; yes, you've seen elements of that car chase before; and yes, the sudden but inevitable death of a supporting character \u003cem>does \u003c/em>inspire T'Challa to scream \"NOOOOOOO!\" because that's the law.\u003c/p>\n\u003cp>But in a much more crucial way, \u003cem>Black Panther\u003c/em> is a story we haven't seen told before in popular cinema — a story about black people completely untouched by colonialism, who exist entirely outside the global systems of institutionalized racism.\u003c/p>\n\u003cp>It's a fantasy, in other words — but then, that's exactly what superhero stories are for. It's difficult to explain the simple, inspiring and empowering joy of seeing a version of oneself onscreen, to those who've spent their lives unthinkingly soaking in it. A key reason for \u003ca href=\"http://www.imdb.com/title/tt0451279/?ref_=fn_al_tt_1\">\u003cem>Wonder Woman's\u003c/em>\u003c/a> runaway success last summer was that moment she climbed out of that trench, revealed herself to the world, withstood an onslaught of machine-gun fire and proceeded to get Amazonian on some enemy soldiers. Male heroes have been doing something similar for decades, in and out of spandex, but now, women in the audience got the chance to \u003cem>feel \u003c/em>the raw and blissfully uncomplicated power of representation and understand what the nerds in their life saw in this silly stuff. \u003cem>Black Panther\u003c/em> is filled with similar moments: a pan-African cast getting hero moment after hero moment in a gorgeous Afro-futurist setting where the light is always golden, and the tech is always glowy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There \u003cem>is\u003c/em> a hole in the world, a big one. And although one movie, one fictional hero, can't fix it, it \u003cem>can \u003c/em>tell a story — a \u003cem>new \u003c/em>story — that millions have hungered for.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Black+Panther%27+Is+A+Superhero+Story+You+Haven%27t+Seen+Before+%E2%80%94+And+It%27s+Thrilling&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1938, \u003ca href=\"http://www.thecomicbooks.com/old/super.html\">Jerry Siegel and Joe Shuster\u003c/a> — two Jewish kids from Cleveland who were reading the alarming news coming out of Europe — created precisely the hero necessary to put things right: an impossibly strong and nigh-invulnerable paragon of virtue and butt-kicking they called \u003ca href=\"https://en.wikipedia.org/wiki/Superman\">Superman\u003c/a>. He could have ended Hitler's advance with a snap of his fingers — and he definitely would have, if only he weren't a creature of pure fantasy. Three years later, as the Nazi threat escalated, \u003ca href=\"https://www.amazon.com/Best-Simon-Kirby-Joe/dp/1845769317\">Joe Simon and Jack Kirby\u003c/a> went a step further, summoning into being a hero who was essentially an American flag come to dynamic, Hitler-punching life. They called him \u003ca href=\"https://en.wikipedia.org/wiki/Captain_America\">Captain America\u003c/a>, because subtlety is not what superhero comics are about.\u003c/p>\n\u003cp>There's a poignancy in the fact that these two heroes were products of grim necessity — a global menace threatened our way of life, and a nation gripped by fear and anxiety found in Superman and Captain America twin release valves. By indulging in the belief that someone big and strong and primary-colored could rescue them and beat the bad guy, Americans managed to steal a few moments of vicarious satisfaction.\u003c/p>\n\u003cp>There was a hole in the world, so they created heroes to fix 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/xjDjIWPwcPU'\n title='//www.youtube.com/embed/xjDjIWPwcPU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That same poignancy permeates \u003ca href=\"http://www.imdb.com/title/tt1825683/?ref_=fn_al_tt_1\">\u003cem>Black Panther\u003c/em>\u003c/a>, which is Marvel Studio's 18th superhero movie, though it certainly doesn't feel like it. Ryan Coogler's third film is, happily, no by-the-numbers, big-budget hero narrative of the sort to which we've grown inured — it's by turns as intimate and immediate as 2013's \u003ca href=\"http://www.imdb.com/title/tt2334649/?ref_=fn_al_tt_1\">\u003cem>Fruitvale Station\u003c/em>\u003c/a> and as stirring as 2015's \u003cem>\u003ca href=\"http://www.imdb.com/title/tt3076658/?ref_=fn_al_tt_1\">Creed\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.imdb.com/name/nm1569276/?ref_=fn_al_nm_1\">Chadwick Boseman\u003c/a> is T'Challa, king of Wakanda, an unimaginably advanced, ruthlessly isolationist African nation that hides its riches and its tech from the world at large. Wakanda, as vividly and gorgeously realized here, is a soaring Afro-futurist utopia powered by the world's rarest, hardest and blue-glowiest metal, vibranium. (Fair warning: If one were to sneak a flask into a screening of \u003cem>Black Panther\u003c/em> and drink every time any character says the word \"vibranium,\" one would spend the film's final hour in the lobby having one's stomach pumped by a team of professionals.)\u003c/p>\n\u003cp>It's a credit to the production team that, even after 18 times at-bat, we're still finding innovative way to visualize superhero tech (this time out, it's a kind of \u003cem>Matrix\u003c/em>-meets-Magic-Sand sort of deal), and still turning out fight choreography and stunts capable of quickening even the most jaded pulse (a nighttime car chase through the streets of Seoul, South Korea, includes a moment engineered to elicit cheers, because Coogler knows what these films are about).\u003c/p>\n\u003cp>Plus there are war rhinos, so. I mean.\u003c/p>\n\u003cp>As for the story, it is a truth universally acknowledged that wherever there is a palace, there must be palace intrigue: T'Challa's claim to the throne is challenged by \u003ca href=\"http://www.imdb.com/name/nm0430107/?ref_=fn_al_nm_1\">Michael B. Jordan'\u003c/a>s fabulously monikered Killmonger, who manages to mong quite a few kills before facing off against his rival. Like all of the best villains, Killmonger's motivations are grounded in his zeal to correct a great injustice — one may quibble with his master plan's methodology (i.e, the wholesale slaughter of billions), but you gotta admit: Dude has a point.\u003c/p>\n\u003cfigure id=\"attachment_101861\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-101861\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/02/landscape-1508161031-black-panther-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/02/landscape-1508161031-black-panther-800x400.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/landscape-1508161031-black-panther-160x80.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/landscape-1508161031-black-panther-768x384.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/landscape-1508161031-black-panther-960x480.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/landscape-1508161031-black-panther-240x120.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/landscape-1508161031-black-panther-375x188.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/landscape-1508161031-black-panther-520x260.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/landscape-1508161031-black-panther.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\"Black Panther'\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Walking Dead\u003c/em>'s \u003ca href=\"http://www.imdb.com/name/nm1775091/?ref_=fn_al_nm_1\">Danai Gurira\u003c/a>, as Okoye, leads Wakanda's elite corps of female warriors, the sight of which in combat provides many of the film's most thrilling moments. Shuri (\u003ca href=\"http://www.imdb.com/name/nm4004793/?ref_=fn_al_nm_1\">Letitia Wright\u003c/a>), T'Challa's wry and brilliant younger sister, supplies the kingdom with its tech, and the film with its laugh lines. \u003ca href=\"http://www.imdb.com/name/nm2143282/?ref_=fn_al_nm_1\">Lupita Nyong'o\u003c/a> plays a love interest who's actually interesting — a young woman who chafes against Wakanda's age-old policy of hoarding its wealth and tech from the world. \u003ca href=\"http://www.imdb.com/name/nm0000291/?ref_=fn_al_nm_1\">Angela Bassett\u003c/a> is on hand, along with her cheekbones, to look regal and fierce in costume designer Ruth E. Carter's royal couture.\u003c/p>\n\u003cp>There's also a couple of middle-aged white dudes (\u003ca href=\"http://www.imdb.com/name/nm0293509/?ref_=fn_al_nm_1\">Martin Freeman\u003c/a> and \u003ca href=\"http://www.imdb.com/name/nm0785227/?ref_=fn_al_nm_1\">Andy Serkis\u003c/a>) doing stuff somewhere in the background, but never mind, the film isn't about them.\u003c/p>\n\u003cp>Which, of course, is \u003cem>truly \u003c/em>what's new here.\u003c/p>\n\u003cp>The genre of superhero cinema is wider and deeper than many give it credit for, because the stories we've seen thus far have followed similar arcs, starring similar actors, in similar settings. In \u003cem>Black Panther\u003c/em>, Coogler, too, rounds the familiar bases: Yes, those T'Challa versus Killmonger scenes \u003cem>do \u003c/em>duly check the \"Hero Fights Evil Version of Himself\" box; yes, you've seen elements of that car chase before; and yes, the sudden but inevitable death of a supporting character \u003cem>does \u003c/em>inspire T'Challa to scream \"NOOOOOOO!\" because that's the law.\u003c/p>\n\u003cp>But in a much more crucial way, \u003cem>Black Panther\u003c/em> is a story we haven't seen told before in popular cinema — a story about black people completely untouched by colonialism, who exist entirely outside the global systems of institutionalized racism.\u003c/p>\n\u003cp>It's a fantasy, in other words — but then, that's exactly what superhero stories are for. It's difficult to explain the simple, inspiring and empowering joy of seeing a version of oneself onscreen, to those who've spent their lives unthinkingly soaking in it. A key reason for \u003ca href=\"http://www.imdb.com/title/tt0451279/?ref_=fn_al_tt_1\">\u003cem>Wonder Woman's\u003c/em>\u003c/a> runaway success last summer was that moment she climbed out of that trench, revealed herself to the world, withstood an onslaught of machine-gun fire and proceeded to get Amazonian on some enemy soldiers. Male heroes have been doing something similar for decades, in and out of spandex, but now, women in the audience got the chance to \u003cem>feel \u003c/em>the raw and blissfully uncomplicated power of representation and understand what the nerds in their life saw in this silly stuff. \u003cem>Black Panther\u003c/em> is filled with similar moments: a pan-African cast getting hero moment after hero moment in a gorgeous Afro-futurist setting where the light is always golden, and the tech is always glowy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There \u003cem>is\u003c/em> a hole in the world, a big one. And although one movie, one fictional hero, can't fix it, it \u003cem>can \u003c/em>tell a story — a \u003cem>new \u003c/em>story — that millions have hungered for.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Black+Panther%27+Is+A+Superhero+Story+You+Haven%27t+Seen+Before+%E2%80%94+And+It%27s+Thrilling&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last month, Kendrick Lamar snuck a blink-and-you'll-miss-it \u003ca href=\"https://www.youtube.com/watch?v=ox7RsX1Ee34\">breadcrumb\u003c/a> in the \u003ca href=\"https://www.npr.org/event/music/572825547/kendrick-lamars-video-for-love-brings-us-all-down-to-earth\">music video for the song \"LOVE.\"\u003c/a> In it, a clapperboard held in front of the camera reads: \"B. Panther soundtrack coming soon.\"\u003c/p>\n\u003cp>Today, Lamar's label Top Dawg Entertainment announced its \"\u003ca href=\"https://twitter.com/dangerookipawaa/status/948937049352146944\">first move\u003c/a>\" of the year — that Lamar and Top Dawg Entertainment president Anthony \"Top Dawg\" Tiffith would be overseeing the soundtrack for the upcoming Marvel film \u003ca href=\"http://www.imdb.com/title/tt1825683/?ref_=fn_al_tt_1\">\u003cem>Black Panther\u003c/em>\u003c/a>. The pair, in collaboration with \u003cem>Black Panther \u003c/em>director Ryan Coogler — best known for the award-winning 2015 film \u003ca href=\"http://www.imdb.com/title/tt3076658/?ref_=nv_sr_2\">\u003cem>Creed\u003c/em>\u003c/a> — would be both selecting songs for the film as well as creating them specifically for it. (Early \u003ca href=\"https://www.youtube.com/watch?v=dxWvtMOGAhw\">trailers\u003c/a> feature an apocalyptic-sounding version of \u003ca href=\"https://www.npr.org/artists/418529525/vince-staples\">Vince Staples\u003c/a>' 2016 track \"War Ready.\")\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dxWvtMOGAhw\u003c/p>\n\u003cp>\"I'm truly honored to contribute my knowledge of producing sound and writing music alongside Ryan [Coogler] and Marvel's vision,\" says Lamar in a press release.\u003c/p>\n\u003cp>Top Dawg has dropped the first official song from the project, \"\u003ca href=\"https://www.youtube.com/watch?v=GfCqMv--ncA\">All The Stars\u003c/a>,\" which features Lamar and his TDE labelmate SZA, a Sounwave-produced track that's an airy and triumphant ode to love and perseverance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=236&v=GfCqMv--ncA\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kendrick+Lamar+And+SZA+Release+%27All+The+Stars%27+Single+From+%27Black+Panther%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last month, Kendrick Lamar snuck a blink-and-you'll-miss-it \u003ca href=\"https://www.youtube.com/watch?v=ox7RsX1Ee34\">breadcrumb\u003c/a> in the \u003ca href=\"https://www.npr.org/event/music/572825547/kendrick-lamars-video-for-love-brings-us-all-down-to-earth\">music video for the song \"LOVE.\"\u003c/a> In it, a clapperboard held in front of the camera reads: \"B. Panther soundtrack coming soon.\"\u003c/p>\n\u003cp>Today, Lamar's label Top Dawg Entertainment announced its \"\u003ca href=\"https://twitter.com/dangerookipawaa/status/948937049352146944\">first move\u003c/a>\" of the year — that Lamar and Top Dawg Entertainment president Anthony \"Top Dawg\" Tiffith would be overseeing the soundtrack for the upcoming Marvel film \u003ca href=\"http://www.imdb.com/title/tt1825683/?ref_=fn_al_tt_1\">\u003cem>Black Panther\u003c/em>\u003c/a>. The pair, in collaboration with \u003cem>Black Panther \u003c/em>director Ryan Coogler — best known for the award-winning 2015 film \u003ca href=\"http://www.imdb.com/title/tt3076658/?ref_=nv_sr_2\">\u003cem>Creed\u003c/em>\u003c/a> — would be both selecting songs for the film as well as creating them specifically for it. (Early \u003ca href=\"https://www.youtube.com/watch?v=dxWvtMOGAhw\">trailers\u003c/a> feature an apocalyptic-sounding version of \u003ca href=\"https://www.npr.org/artists/418529525/vince-staples\">Vince Staples\u003c/a>' 2016 track \"War Ready.\")\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/dxWvtMOGAhw'\n title='//www.youtube.com/embed/dxWvtMOGAhw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"I'm truly honored to contribute my knowledge of producing sound and writing music alongside Ryan [Coogler] and Marvel's vision,\" says Lamar in a press release.\u003c/p>\n\u003cp>Top Dawg has dropped the first official song from the project, \"\u003ca href=\"https://www.youtube.com/watch?v=GfCqMv--ncA\">All The Stars\u003c/a>,\" which features Lamar and his TDE labelmate SZA, a Sounwave-produced track that's an airy and triumphant ode to love and perseverance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GfCqMv--ncA'\n title='//www.youtube.com/embed/GfCqMv--ncA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kendrick+Lamar+And+SZA+Release+%27All+The+Stars%27+Single+From+%27Black+Panther%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The idea is so good, so simple, that it seems inevitable.\u003c/p>\n\u003cp>After all, superhero comics love teams of angsty teens. They love juicy villains. So when, in 2003, writer Brian K. Vaughan and artist Adrian Alphona created the comic \u003cem>Runaways\u003c/em>, starring a group of angsty teens who discover, to their horror, that their parents are secretly super-villains, you could practically hear the sound of thousands of comics readers slapping their heads. (\"Why didn't \u003cem>I\u003c/em> think of that?\")\u003c/p>\n\u003cp>The fact that the comic was deliberately set in sunny Los Angeles, a continent away from the Marvel Universe's Manhattan, with its overbred population of costumed types, meant \u003cem>Runaways \u003c/em>was given room to breathe, and develop its own identity. Oh, crossovers happened, because that's the law, but they tended to happen at angles more oblique than the default beat-em-ups readers have come to expect — Spider-Man would show up to take the kids out for sushi, say, and offer some advice.\u003c/p>\n\u003cp>The L.A. setting also meant that the tone could get notably brighter than most of what was on the stands at the time — violent anti-heroes given to brooding on rooftops. Vaughan and Alphona never forgot that the kids at the book's center were, more than anything else, \u003cem>kids \u003c/em>-- they could sulk and seethe, sure, but they could also goof around and crush on one another, often in the span of a panel or two. What's more, these kids didn't wear costumes, they didn't come up with superhero codenames, or secret identities, or a rallying cry. \u003cem>Runaways \u003c/em>was too cool for that kind of stuff — even if it did feature a character who enjoyed a telepathic bond with a genetically engineered dinosaur.\u003c/p>\n\u003cp>Earlier this year, when the first casting photos from Hulu's live-action \u003cem>Runaways \u003c/em>adaptation were released, fans of the series reacted with guarded optimism — they just \u003cem>looked \u003c/em>right. Granted, that's only step one — but one need only consider \u003cem>Marvel's Inhumans — \u003c/em>\u003ca href=\"https://www.npr.org/sections/monkeysee/2017/09/29/553704965/introducing-the-inept-inert-inhumans\">or better yet, don't \u003c/a>\u003cem>-- \u003c/em>to see how vitally important that is.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The changes made to the comic to turn it into an ongoing television show make sense, from a storytelling perspective. \u003cem>Runaways \u003c/em>the comic — particularly in its first story-arc — told a tight, spring-loaded tale: The kids discover their parents performing some kind of evil — and deadly — ritual, they confiscate some of their parents supervillain paraphernalia, and... they run away.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=plyJQG-nRN0\u003c/p>\n\u003cp>The Hulu series, on the other hand, spends much more time than the comic ever did on the parents' stories — their varying backgrounds, motivations, personalities, rivalries and hook-ups — in a dogged attempt to present them as something more than mustache-twirlers. It's admirable, though the surfeit of subplots does tend to gum up the main plot — some viewers will reach the end of the first episode only to realize they still don't have a handle on what this show is \u003cem>about\u003c/em>. (Slight spoiler here: By the end of the fourth episode, the kids still haven't fulfilled the promise of the show's title; it's possible they never will.)\u003c/p>\n\u003cp>The showrunners have decided to goose the show's tension by introducing several mysteries the comic never bothered with — a dead sister here, a wizened, bedridden figure set up in an overlit suite from the end of \u003cem>2001: A Space Odyssey\u003c/em> there — and, as yet, it's tough to see what they're adding to the mix. They're clearly there to ensure there's enough fodder to keep everything moving along, given that one of the factors that made the comic so fun — those out-of-nowhere Marvel hero cameos — are not likely to figure in the show.\u003c/p>\n\u003cp>But the performances are interesting — as a charismatic but cold Marianne Williamson-type church leader, Annie Wersching can pop the hell out of skeptical eyebrow, and James Marsters lets us see the desperation behind his character's mask of contempt. The kids are strong, too — as de facto team leader Alex, Rhenzy Feliz is nerdy but not cartoonishly so, and nails the character's all-important propensity for critical self-appraisal.\u003c/p>\n\u003cp>The special effects are unshowy, in an attempt to keep things grounded — or at least as grounded as things can get, when a telepathic dinosaur figures in the festivities. And the dialogue, mercifully, doesn't suffer from Superhero Television's damnable tendency to speak in Abstract Nouns like \"Power\" \"Evil\" and (sigh) \"This City.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Runaways,\u003c/em> the comic and the television series, are both built on the same, solid premise: What if your parents were actually as evil as you convinced yourself they were, when you were a teenager? The show's decision to flesh out the parents — to depict them as filled with doubt, and even compassion — risks robbing the story of some of its simple power. But it also provides a means for laying track for a second season, and a third. Given the potential glimpsed in this first handful of episodes, that seems like a worthy bet.\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=%27Runaways%27+Finds+A+Sunny+Corner+Of+The+Marvel+Universe+%E2%80%94+And+Stays+There+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The changes made to the comic to turn it into an ongoing television show make sense, from a storytelling perspective. \u003cem>Runaways \u003c/em>the comic — particularly in its first story-arc — told a tight, spring-loaded tale: The kids discover their parents performing some kind of evil — and deadly — ritual, they confiscate some of their parents supervillain paraphernalia, and... they run away.\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/plyJQG-nRN0'\n title='//www.youtube.com/embed/plyJQG-nRN0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Hulu series, on the other hand, spends much more time than the comic ever did on the parents' stories — their varying backgrounds, motivations, personalities, rivalries and hook-ups — in a dogged attempt to present them as something more than mustache-twirlers. It's admirable, though the surfeit of subplots does tend to gum up the main plot — some viewers will reach the end of the first episode only to realize they still don't have a handle on what this show is \u003cem>about\u003c/em>. (Slight spoiler here: By the end of the fourth episode, the kids still haven't fulfilled the promise of the show's title; it's possible they never will.)\u003c/p>\n\u003cp>The showrunners have decided to goose the show's tension by introducing several mysteries the comic never bothered with — a dead sister here, a wizened, bedridden figure set up in an overlit suite from the end of \u003cem>2001: A Space Odyssey\u003c/em> there — and, as yet, it's tough to see what they're adding to the mix. They're clearly there to ensure there's enough fodder to keep everything moving along, given that one of the factors that made the comic so fun — those out-of-nowhere Marvel hero cameos — are not likely to figure in the show.\u003c/p>\n\u003cp>But the performances are interesting — as a charismatic but cold Marianne Williamson-type church leader, Annie Wersching can pop the hell out of skeptical eyebrow, and James Marsters lets us see the desperation behind his character's mask of contempt. The kids are strong, too — as de facto team leader Alex, Rhenzy Feliz is nerdy but not cartoonishly so, and nails the character's all-important propensity for critical self-appraisal.\u003c/p>\n\u003cp>The special effects are unshowy, in an attempt to keep things grounded — or at least as grounded as things can get, when a telepathic dinosaur figures in the festivities. And the dialogue, mercifully, doesn't suffer from Superhero Television's damnable tendency to speak in Abstract Nouns like \"Power\" \"Evil\" and (sigh) \"This City.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Runaways,\u003c/em> the comic and the television series, are both built on the same, solid premise: What if your parents were actually as evil as you convinced yourself they were, when you were a teenager? The show's decision to flesh out the parents — to depict them as filled with doubt, and even compassion — risks robbing the story of some of its simple power. But it also provides a means for laying track for a second season, and a third. Given the potential glimpsed in this first handful of episodes, that seems like a worthy bet.\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=%27Runaways%27+Finds+A+Sunny+Corner+Of+The+Marvel+Universe+%E2%80%94+And+Stays+There+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Can 'Wonder Woman' Offer A Superhero Soundtrack That Sticks?",
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"content": "\u003cp>\"I guess every superhero need his theme music,\" \u003ca href=\"https://www.youtube.com/watch?v=L53gjP-TtGE\" target=\"_blank\" rel=\"noopener noreferrer\">sang Kanye West\u003c/a> seven years ago. The sentiment is right, the pronoun is ... questionable. That Wonder Woman's triumphant big-screen debut this weekend comes 39 years after Superman's and 28 years after Batman's is a travesty — her comic-book debut followed those of her fellow DC Comics heroes by three years and two, respectively. But at least she can claim to have at least one thing that Iron Man still doesn't, never mind Black Widow: a memorable cue.\u003c/p>\n\u003cp>By way of example, take the teaser trailer for next year's \u003cem>Deadpool\u003c/em> sequel. It's built around one major gag: The mutant mercenary witnesses a mugging and ducks into a phone booth to prepare for battle. But Lycra is clingy, and by the time Ryan Reynolds has shimmed into uniform, the victim is dead and his killer has escaped.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wLeGWcVeIZ4\u003c/p>\n\u003cp>Mocking Deadpool's ineptitude under all this is \u003ca href=\"http://www.npr.org/artists/15003640/john-williams-composer\" target=\"_blank\" rel=\"noopener noreferrer\">John Williams\u003c/a>' stirring march from \u003cem>Superman: The Movie\u003c/em> — the first big-budget, big-screen comic-book adaption, from 1978. Its ad campaign promised disillusioned post-Vietnam, post-Watergate audiences, \u003cem>You'll believe a man can fly. \u003c/em>Williams' \u003cem>Superman: The Soundtrack\u003c/em> was one big reason they did.\u003c/p>\n\u003cp>\u003cem>Superman\u003c/em> was a huge hit that spawned fast-declining sequels, but it did not produce a wave of films derived from comic books. The next big one took a little over a decade to arrive, but Tim Burton's \u003cem>Batman\u003c/em> became the biggest domestic hit of 1989. Although the movie's first trailer, strikingly, featured no music at all, Danny Elfman's brooding, Wagnerian score bat-signaled to audiences that this take on the character would be more gothic and less campy than the Bat-tusi-ing '60s TV Batman that was — at least to people who didn't read comics, where Batman was having a huge resurgence in the late '80s — the version that had stuck.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>(There was also, you know, a whole separate soundtrack album comprising \"Batdance\" and other original tunes by Warner Brothers recording artist \u003ca href=\"http://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener noreferrer\">Prince\u003c/a>. Dig if you will the picture / You and I engaged in a mercantile act of corporate synergy.)\u003c/p>\n\u003cp>DC's forever rival Marvel Comics tried mightily to get their heroes turned into hit movies, but for the longest time all they got were TV movies or unintentionally hilarious, low-budget versions that often didn't even get released at all. That changed in 2000, when Bryan Singer's \u003cem>X-Men \u003c/em>x-ceeded Fox's expectations for its gross. Then came Sam Raimi's \u003cem>Spider-Man,\u003c/em> in 2002. I saw them both in theaters, more than once. I bought the DVDs. I eagerly awaited their sequels, which did not disappoint.\u003c/p>\n\u003cp>I could not hum a bar of music from either one to save my life.\u003c/p>\n\u003cp>Marvel stopped outsourcing its filmmaking and got into the game itself with 2008's \u003cem>Iron Man,\u003c/em> the start of a four-year campaign of solo adventures building up to 2012's Marvel team-up \u003cem>The Avengers.\u003c/em> The movie was written and directed by Joss Whedon, a man who likes musicals so much that he actually wrote the web series \u003cem>Dr. Horrible's Sing-Along Blog\u003c/em> (with his brothers Zack, a TV writer, and Jed, a composer) just to keep himself busy during the 2007-8 writer's strike.\u003c/p>\n\u003cp>But even his superhero epic — scored by Alan Silvestri, whose credits included \u003cem>Back to the Future \u003c/em>— sounded bland. Instead of all those post-credits scenes, \u003cem>The Avengers \u003c/em>should've ended with a song with lyrics describing each hero's special powers. There's an excellent model for this: Paul Francis Webster and Robert Harris' \u003ca href=\"https://www.youtube.com/watch?v=SUtziaZlDeE\" target=\"_blank\" rel=\"noopener noreferrer\">theme song\u003c/a> to the mid-'60s Spider-Man cartoon. You know a tune has staying power when it's been covered by \u003ca href=\"http://www.npr.org/artists/15180457/the-ramones\" target=\"_blank\" rel=\"noopener noreferrer\">The Ramones\u003c/a> \u003cem>and\u003c/em> Michael Bublé. (Composer Michael Giacchino has hinted that the song will be paid homage in his music for \u003cem>Spider-Man: Homecoming \u003c/em>later this summer.)\u003c/p>\n\u003cp>The two \u003cem>Guardians of the Galaxy\u003c/em> films are each helped along by an \"Awesome Mix\" of '70s FM. \u003ca href=\"http://www.npr.org/2017/03/02/517009491/logan-is-the-best-at-what-it-does-and-what-it-does-is-gritty\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Logan\u003c/em>\u003c/a> ended with \"The Man Comes Around,\" one of the last songs \u003ca href=\"http://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Cash\u003c/a> wrote before he died. (It was perfect.) But these are exceptions. Clearly, a crisis is upon us. Superhero movies are everywhere. Superhero music is in decline. Who will help us? Who?\u003c/p>\n\u003cp>This guy.\u003c/p>\n\u003cfigure id=\"attachment_84805\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg class=\"size-full wp-image-84805\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125.jpg 200w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-150x150.jpg 150w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Rupert Gregson-Williams composed the score for Wonder Woman.\u003cbr>Photo: Courtesy of the composer\u003c/figcaption>\u003c/figure>\n\u003cp>His name is Rupert Gregson-Williams, mild-mannered composer of scores for prestige television (\u003cem>Veep\u003c/em>, \u003cem>The Crown\u003c/em>) and film (\u003cem>Hacksaw Ridge\u003c/em>). Last summer's \u003cem>The Legend of Tarzan\u003c/em> was the closest thing on his resume to a superhero film until \u003cem>Wonder Woman\u003c/em> director Patty Jenkins tapped him to write the music.\u003c/p>\n\u003cp>Well, most of it. Gal Gadot's Wonder Woman had already been introduced in last year's \u003ca href=\"http://www.npr.org/2016/03/24/471035756/batman-v-superman-superheroes-adrift-in-a-grim-sea-of-studio-money\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Batman v Superman: Dawn of Justice\u003c/em>\u003c/a>\u003cem>.\u003c/em> When she shows up in uniform near the film's climax, composers \u003ca href=\"http://www.npr.org/artists/15399647/hans-zimmer\" target=\"_blank\" rel=\"noopener noreferrer\">Hans Zimmer\u003c/a> and Junkie XL give her a distinctive riff. (It sounds like an electric guitar, but it's actually performed on the electric cello by \u003ca href=\"https://twitter.com/Tinaguo\" target=\"_blank\" rel=\"noopener noreferrer\">Tina Guo\u003c/a>.) Gregson-Williams understood that his score would have to include that instantly memorable theme.\u003c/p>\n\u003cp>\"That was a Wonder Woman that had arrived at the peak of her powers,\" he says. \"She knows her strengths, and the theme really reflected that. It's rocking.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=261&v=S176AKQhcCk\u003c/p>\n\u003cp>I asked Gregson-Williams flat-out why so little of the music of our current era of superhero saturation has distinguished itself.\u003c/p>\n\u003cp>\u003cem>\"\u003c/em>There's a generic language, musically, that's grown up,\" he says. \"In the same way, there are other types of film — Westerns or sci-fi — where there's a generic language which is difficult to shake off. And I guess it's down to the depth of character that you're writing for. If they have some depth, or if there's something different about their powers or about their character or their emotions, I guess it would make it easier to shake that that language off.\"\u003c/p>\n\u003cp>That's fair. Superheroes, like characters in any genre, are defined by their conventions. And this is the first Wonder Woman movie, not the inflated sequel or the back-to-basics reboot.\u003c/p>\n\u003cp>My theory is that music is especially critical to superhero films — and I'll include literary creations like Sherlock Holmes and James Bond, and cinematic homages like Indiana Jones in this category — because the character is larger than any one story. They're fixed in perpetuity. A great score can help give them that immortality.\u003c/p>\n\u003cp>Superman had been around for 40 years when Williams sat down to compose; he's been around another 40 since. In his music, Williams reflected perfectly that film's balance of innocence and sophistication.\u003cem> Wonder Woman, \u003c/em>happily, has that same cocktail of attributes; the same unabashed romanticism and the same understated romance. (Gadot and Chris Pine, who's as fine a foil to her as Margot Kidder was to Christopher Reeve in \u003cem>Superman,\u003c/em> have a chemistry that fairly bubbles.)\u003c/p>\n\u003cp>\"Patty made a film that is much more on the classic side,\" Gregson-Williams says. \u003cem>\"\u003c/em>And so we could get get involved with more lyricism and melody in parts for the score. With some movies, you back off melody because these days it feels like we're trying too hard.\"\u003c/p>\n\u003cp>The movie begins and ends in the present, but most of the story is set about a century ago, during the first World War. In fact, it's in a trench warfare sequence that Princess Diana — Wonder Woman's Amazonian name — first reveals her powers to the world. The title of this composition is \"No-Man's Land.\" Gregson-Williams says it was important to nail that scene exactly, and that Jenkins sent him back to the composing board several times.\u003c/p>\n\u003cfigure id=\"attachment_84806\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-84806 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f.jpg 1198w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wonder Woman director Patty Jenkins consults with composer Rupert Gregson-Williams.\u003cbr>Photo: James Gillham / Sting Media\u003c/figcaption>\u003c/figure>\n\u003cp>\"That was an exciting moment to write,\" the composer says. \"It was quite painful to write because I didn't get it right first time, or the second, third or fourth time.\"\u003c/p>\n\u003cp>Getting it right came down to Jenkins directing the composer as she would an actor. \"Patty would act out what Diana was thinking for every single move. That really instructed me, rhythmically and tempo-wise, how she wanted it.\"\u003c/p>\n\u003cp>And of course, there's a fine line between honoring convention and being a hack.\u003c/p>\n\u003cp>\"There are certain moves, musically, that you can't help but muster for a certain emotion,\" Gregson-Williams admits. \"And you can tear yourself apart by trying to find a new answer to that musical harmony that says to you: This is a beautiful and proud moment.\"\u003c/p>\n\u003cp>Those moments are what we turn to this genre for, however. It's the part when Superman takes flight for the first time. It's the scene in \u003cem>Captain America: The First Avenger \u003c/em>— my favorite Marvel movie, and the one that \u003cem>Wonder Woman\u003c/em> most resembles — when skinny Steve Rogers throws himself on top of the grenade.\u003c/p>\n\u003cp>Not that camp or irony is all bad. I do miss the lyrics from the 1970s \u003cem>Wonder Woman\u003c/em> TV theme by Charles Fox and Norman Gimbel — the funky encomium to the Amazonian who's \"fighting for her rights in her satin tights / And the old red, white and blue.\" Does Gregson-Williams think lyrics might make a return to the super-music game?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\"I don't see too much future in it,\" he laughs. \"Certainly not from my pen.\"\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=Can+%27Wonder+Woman%27+Offer+A+Superhero+Soundtrack+That+Sticks%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\"I guess every superhero need his theme music,\" \u003ca href=\"https://www.youtube.com/watch?v=L53gjP-TtGE\" target=\"_blank\" rel=\"noopener noreferrer\">sang Kanye West\u003c/a> seven years ago. The sentiment is right, the pronoun is ... questionable. That Wonder Woman's triumphant big-screen debut this weekend comes 39 years after Superman's and 28 years after Batman's is a travesty — her comic-book debut followed those of her fellow DC Comics heroes by three years and two, respectively. But at least she can claim to have at least one thing that Iron Man still doesn't, never mind Black Widow: a memorable cue.\u003c/p>\n\u003cp>By way of example, take the teaser trailer for next year's \u003cem>Deadpool\u003c/em> sequel. It's built around one major gag: The mutant mercenary witnesses a mugging and ducks into a phone booth to prepare for battle. But Lycra is clingy, and by the time Ryan Reynolds has shimmed into uniform, the victim is dead and his killer has escaped.\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/wLeGWcVeIZ4'\n title='//www.youtube.com/embed/wLeGWcVeIZ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mocking Deadpool's ineptitude under all this is \u003ca href=\"http://www.npr.org/artists/15003640/john-williams-composer\" target=\"_blank\" rel=\"noopener noreferrer\">John Williams\u003c/a>' stirring march from \u003cem>Superman: The Movie\u003c/em> — the first big-budget, big-screen comic-book adaption, from 1978. Its ad campaign promised disillusioned post-Vietnam, post-Watergate audiences, \u003cem>You'll believe a man can fly. \u003c/em>Williams' \u003cem>Superman: The Soundtrack\u003c/em> was one big reason they did.\u003c/p>\n\u003cp>\u003cem>Superman\u003c/em> was a huge hit that spawned fast-declining sequels, but it did not produce a wave of films derived from comic books. The next big one took a little over a decade to arrive, but Tim Burton's \u003cem>Batman\u003c/em> became the biggest domestic hit of 1989. Although the movie's first trailer, strikingly, featured no music at all, Danny Elfman's brooding, Wagnerian score bat-signaled to audiences that this take on the character would be more gothic and less campy than the Bat-tusi-ing '60s TV Batman that was — at least to people who didn't read comics, where Batman was having a huge resurgence in the late '80s — the version that had stuck.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(There was also, you know, a whole separate soundtrack album comprising \"Batdance\" and other original tunes by Warner Brothers recording artist \u003ca href=\"http://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener noreferrer\">Prince\u003c/a>. Dig if you will the picture / You and I engaged in a mercantile act of corporate synergy.)\u003c/p>\n\u003cp>DC's forever rival Marvel Comics tried mightily to get their heroes turned into hit movies, but for the longest time all they got were TV movies or unintentionally hilarious, low-budget versions that often didn't even get released at all. That changed in 2000, when Bryan Singer's \u003cem>X-Men \u003c/em>x-ceeded Fox's expectations for its gross. Then came Sam Raimi's \u003cem>Spider-Man,\u003c/em> in 2002. I saw them both in theaters, more than once. I bought the DVDs. I eagerly awaited their sequels, which did not disappoint.\u003c/p>\n\u003cp>I could not hum a bar of music from either one to save my life.\u003c/p>\n\u003cp>Marvel stopped outsourcing its filmmaking and got into the game itself with 2008's \u003cem>Iron Man,\u003c/em> the start of a four-year campaign of solo adventures building up to 2012's Marvel team-up \u003cem>The Avengers.\u003c/em> The movie was written and directed by Joss Whedon, a man who likes musicals so much that he actually wrote the web series \u003cem>Dr. Horrible's Sing-Along Blog\u003c/em> (with his brothers Zack, a TV writer, and Jed, a composer) just to keep himself busy during the 2007-8 writer's strike.\u003c/p>\n\u003cp>But even his superhero epic — scored by Alan Silvestri, whose credits included \u003cem>Back to the Future \u003c/em>— sounded bland. Instead of all those post-credits scenes, \u003cem>The Avengers \u003c/em>should've ended with a song with lyrics describing each hero's special powers. There's an excellent model for this: Paul Francis Webster and Robert Harris' \u003ca href=\"https://www.youtube.com/watch?v=SUtziaZlDeE\" target=\"_blank\" rel=\"noopener noreferrer\">theme song\u003c/a> to the mid-'60s Spider-Man cartoon. You know a tune has staying power when it's been covered by \u003ca href=\"http://www.npr.org/artists/15180457/the-ramones\" target=\"_blank\" rel=\"noopener noreferrer\">The Ramones\u003c/a> \u003cem>and\u003c/em> Michael Bublé. (Composer Michael Giacchino has hinted that the song will be paid homage in his music for \u003cem>Spider-Man: Homecoming \u003c/em>later this summer.)\u003c/p>\n\u003cp>The two \u003cem>Guardians of the Galaxy\u003c/em> films are each helped along by an \"Awesome Mix\" of '70s FM. \u003ca href=\"http://www.npr.org/2017/03/02/517009491/logan-is-the-best-at-what-it-does-and-what-it-does-is-gritty\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Logan\u003c/em>\u003c/a> ended with \"The Man Comes Around,\" one of the last songs \u003ca href=\"http://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Cash\u003c/a> wrote before he died. (It was perfect.) But these are exceptions. Clearly, a crisis is upon us. Superhero movies are everywhere. Superhero music is in decline. Who will help us? Who?\u003c/p>\n\u003cp>This guy.\u003c/p>\n\u003cfigure id=\"attachment_84805\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg class=\"size-full wp-image-84805\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125.jpg 200w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-150x150.jpg 150w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Rupert Gregson-Williams composed the score for Wonder Woman.\u003cbr>Photo: Courtesy of the composer\u003c/figcaption>\u003c/figure>\n\u003cp>His name is Rupert Gregson-Williams, mild-mannered composer of scores for prestige television (\u003cem>Veep\u003c/em>, \u003cem>The Crown\u003c/em>) and film (\u003cem>Hacksaw Ridge\u003c/em>). Last summer's \u003cem>The Legend of Tarzan\u003c/em> was the closest thing on his resume to a superhero film until \u003cem>Wonder Woman\u003c/em> director Patty Jenkins tapped him to write the music.\u003c/p>\n\u003cp>Well, most of it. Gal Gadot's Wonder Woman had already been introduced in last year's \u003ca href=\"http://www.npr.org/2016/03/24/471035756/batman-v-superman-superheroes-adrift-in-a-grim-sea-of-studio-money\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Batman v Superman: Dawn of Justice\u003c/em>\u003c/a>\u003cem>.\u003c/em> When she shows up in uniform near the film's climax, composers \u003ca href=\"http://www.npr.org/artists/15399647/hans-zimmer\" target=\"_blank\" rel=\"noopener noreferrer\">Hans Zimmer\u003c/a> and Junkie XL give her a distinctive riff. (It sounds like an electric guitar, but it's actually performed on the electric cello by \u003ca href=\"https://twitter.com/Tinaguo\" target=\"_blank\" rel=\"noopener noreferrer\">Tina Guo\u003c/a>.) Gregson-Williams understood that his score would have to include that instantly memorable theme.\u003c/p>\n\u003cp>\"That was a Wonder Woman that had arrived at the peak of her powers,\" he says. \"She knows her strengths, and the theme really reflected that. It's rocking.\"\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/S176AKQhcCk'\n title='//www.youtube.com/embed/S176AKQhcCk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I asked Gregson-Williams flat-out why so little of the music of our current era of superhero saturation has distinguished itself.\u003c/p>\n\u003cp>\u003cem>\"\u003c/em>There's a generic language, musically, that's grown up,\" he says. \"In the same way, there are other types of film — Westerns or sci-fi — where there's a generic language which is difficult to shake off. And I guess it's down to the depth of character that you're writing for. If they have some depth, or if there's something different about their powers or about their character or their emotions, I guess it would make it easier to shake that that language off.\"\u003c/p>\n\u003cp>That's fair. Superheroes, like characters in any genre, are defined by their conventions. And this is the first Wonder Woman movie, not the inflated sequel or the back-to-basics reboot.\u003c/p>\n\u003cp>My theory is that music is especially critical to superhero films — and I'll include literary creations like Sherlock Holmes and James Bond, and cinematic homages like Indiana Jones in this category — because the character is larger than any one story. They're fixed in perpetuity. A great score can help give them that immortality.\u003c/p>\n\u003cp>Superman had been around for 40 years when Williams sat down to compose; he's been around another 40 since. In his music, Williams reflected perfectly that film's balance of innocence and sophistication.\u003cem> Wonder Woman, \u003c/em>happily, has that same cocktail of attributes; the same unabashed romanticism and the same understated romance. (Gadot and Chris Pine, who's as fine a foil to her as Margot Kidder was to Christopher Reeve in \u003cem>Superman,\u003c/em> have a chemistry that fairly bubbles.)\u003c/p>\n\u003cp>\"Patty made a film that is much more on the classic side,\" Gregson-Williams says. \u003cem>\"\u003c/em>And so we could get get involved with more lyricism and melody in parts for the score. With some movies, you back off melody because these days it feels like we're trying too hard.\"\u003c/p>\n\u003cp>The movie begins and ends in the present, but most of the story is set about a century ago, during the first World War. In fact, it's in a trench warfare sequence that Princess Diana — Wonder Woman's Amazonian name — first reveals her powers to the world. The title of this composition is \"No-Man's Land.\" Gregson-Williams says it was important to nail that scene exactly, and that Jenkins sent him back to the composing board several times.\u003c/p>\n\u003cfigure id=\"attachment_84806\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-84806 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f.jpg 1198w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wonder Woman director Patty Jenkins consults with composer Rupert Gregson-Williams.\u003cbr>Photo: James Gillham / Sting Media\u003c/figcaption>\u003c/figure>\n\u003cp>\"That was an exciting moment to write,\" the composer says. \"It was quite painful to write because I didn't get it right first time, or the second, third or fourth time.\"\u003c/p>\n\u003cp>Getting it right came down to Jenkins directing the composer as she would an actor. \"Patty would act out what Diana was thinking for every single move. That really instructed me, rhythmically and tempo-wise, how she wanted it.\"\u003c/p>\n\u003cp>And of course, there's a fine line between honoring convention and being a hack.\u003c/p>\n\u003cp>\"There are certain moves, musically, that you can't help but muster for a certain emotion,\" Gregson-Williams admits. \"And you can tear yourself apart by trying to find a new answer to that musical harmony that says to you: This is a beautiful and proud moment.\"\u003c/p>\n\u003cp>Those moments are what we turn to this genre for, however. It's the part when Superman takes flight for the first time. It's the scene in \u003cem>Captain America: The First Avenger \u003c/em>— my favorite Marvel movie, and the one that \u003cem>Wonder Woman\u003c/em> most resembles — when skinny Steve Rogers throws himself on top of the grenade.\u003c/p>\n\u003cp>Not that camp or irony is all bad. I do miss the lyrics from the 1970s \u003cem>Wonder Woman\u003c/em> TV theme by Charles Fox and Norman Gimbel — the funky encomium to the Amazonian who's \"fighting for her rights in her satin tights / And the old red, white and blue.\" Does Gregson-Williams think lyrics might make a return to the super-music game?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"I don't see too much future in it,\" he laughs. \"Certainly not from my pen.\"\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=Can+%27Wonder+Woman%27+Offer+A+Superhero+Soundtrack+That+Sticks%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Captain Marvel: The Surprising History of How Female Superheroes Came to Be",
"title": "Captain Marvel: The Surprising History of How Female Superheroes Came to Be",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\u003cstrong>By Matthew Jent\u003c/strong>\u003c/p>\n\u003cp>Marvel Studios recently announced their \"phase three\" line of feature films. Phases are a thing the Marvel Studios folks like to break their movies down into, roughly broken up by new \u003cem>Avengers\u003c/em> movies. Phase two introduced \u003ca href=\"http://en.wikipedia.org/wiki/Guardians_of_the_Galaxy_%28film%29\">\u003cem>Guardians of the Galaxy\u003c/em>\u003c/a> this summer, \u003ca href=\"http://www.forbes.com/sites/markhughes/2014/10/07/guardians-of-the-galaxy-could-cross-800-million-at-box-office/\">which proceeded to make all of the money in the world\u003c/a>. Along with a few more \u003cem>Avengers\u003c/em> movies, a \u003cem>GotG \u003c/em>sequel, and a sorcerous franchise-starter called \u003cem>Doctor Strange\u003c/em>, Marvel \u003ca href=\"http://www.bleedingcool.com/2014/10/28/marvel-announces-phase-three-from-2016-including-black-panther-and-thor-ragnarok/\">also announced a 2018 movie called \u003cem>Captain Marvel\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Good name! But who \u003cem>is\u003c/em> Captain Marvel?\u003c/p>\n\u003cp>She (!!!) will be Marvel’s first female headliner of her own movie. After several franchise-spanning appearances by Scarlett Johnasson’s Black Widow, \u003ca href=\"http://www.comicbookresources.com/?page=article&id=54522\">Marvel Studios President Kevin Feige said, “It comes down to timing,”\u003c/a> with regard to a female-led superhero movie. Apparently that time is 2018, \u003ca href=\"http://deadline.com/2014/10/kevin-tsujihara-time-warner-investor-day-warner-bros-ceo-presentation-851823/\">just a year after Warner Bros. releases a \u003cem>Wonder Woman\u003c/em> film\u003c/a>.\u003c/p>\n\u003cp>Captain Marvel's secret identity is Carol Danvers and, in the comics, she was an Air Force officer who was friendly with “Mar-Vell,” an alien who was Marvel’s \u003cem>first \u003c/em>Captain Marvel. In 1977, she became Ms. Marvel (“This Female Fights Back!”), \u003cem>then\u003c/em> she became a half-alien called Binary, \u003cem>then\u003c/em> her consciousness was absorbed by Rogue (\u003ca href=\"http://img2.wikia.nocookie.net/__cb20120402025147/xmenmovies/images/4/4e/Anna-paquin-xmen-rogue.jpg\">Anna Paquin in the \u003cem>X-Men\u003c/em> movies\u003c/a>), \u003cem>then\u003c/em> she was an alcoholic member of the Avengers called \u003ca href=\"http://uncannyxmen.net/sites/default/files/images/crossover/livekree3.jpg\">Warbird\u003c/a>, and finally in 2012 she became, by name, Captain Marvel. Phew!\u003c/p>\n\u003cfigure id=\"attachment_14013\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/02MarvelCovers.jpg\">\u003cimg class=\"wp-image-14013 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/02MarvelCovers-400x300.jpg\" alt=\"Photo: Marvel\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/02MarvelCovers-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/02MarvelCovers-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/02MarvelCovers-1440x1080.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a more thorough history of \u003ca href=\"http://comicsalliance.com/captain-marvel-history-carol-danvers-mar-vell-shazam/\">Marvel’s Captain Marvel over on Comics Alliance\u003c/a>. Of note? For a few years in the 1980s, Captain Marvel was an African-American woman and leader of the Avengers. \u003ca href=\"http://www.comicbookresources.com/?page=article&id=55178\">There was also \u003cem>another\u003c/em> Captain Marvel, currently published by DC Comics, who most folks know as Shazam\u003c/a>. That character is getting his own movie in 2019. Marvel has the trademark for “Captain Marvel” through some legal juggling explained in the links above, but the short version is -- they snapped up the trademark for the character without actually having a character called Captain Marvel and, since the late 1960s, occasionally published a \u003cem>Captain Marvel\u003c/em> series in order to keep the trademark active.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Captain Marvel started out as a male, silver-blonde, albeit alien superhero. But Marvel has a storied history of creating female versions of their characters for trademark purposes. Aside from Wonder Woman (\u003ca href=\"http://www.thedailybeast.com/articles/2014/11/03/wonder-woman-s-creation-story-is-wilder-than-you-could-ever-imagine.html\">whose own story is covered in an excellent new book called \u003cem>The Secret History of Wonder Woman\u003c/em>, by Jill Lepore\u003c/a>), a lot of female superheroes are gender-swapped versions of existing male heroes.\u003c/p>\n\u003cp>In the late 1970s, \u003ca href=\"http://en.wikipedia.org/wiki/The_Incredible_Hulk_%281978_TV_series%29\">\u003cem>The Incredible Hulk\u003c/em>\u003c/a> was a hit TV show for Marvel and CBS. It was an action-adventure series for boys, not dissimilar to \u003ca href=\"http://en.wikipedia.org/wiki/The_Six_Million_Dollar_Man\">\u003cem>The Six Million Dollar Man\u003c/em>\u003c/a>, which was about a cyborg solving people’s problems. \u003cem>The Six Million Dollar Man\u003c/em> was spun off into \u003ca href=\"http://en.wikipedia.org/wiki/The_Bionic_Woman\">\u003cem>The Bionic Woman\u003c/em>\u003c/a>\u003cem>, \u003c/em>which had its parent program’s same premise except with, you know, a lady. Marvel’s contract with the \u003cem>Hulk’s\u003c/em> production company said that any new characters created for the TV show would be owned by the production company, and not Marvel. So before they could scoop Marvel with a Hulk Woman, Marvel created the \u003ca href=\"http://en.wikipedia.org/wiki/She-Hulk\">She-Hulk\u003c/a>.\u003c/p>\n\u003cp>As \u003ca href=\"https://twitter.com/the_moviebob\">Bob Chipman\u003c/a> breaks down more fully in \u003ca href=\"http://www.escapistmagazine.com/videos/view/the-big-picture/9260-She-Hulk-Shaming\">this Big Picture video\u003c/a> called “She-Hulk Shaming,” She-Hulk became one of Marvel’s “quietly subversive creations … sort of progressive, and after a fashion even feminist.” Though, at first, she was called the “Savage She-Hulk,” the character evolved into something much more interesting over the decades. While the, um, He-Hulk turns into a green monster who doesn’t know his own strength, She-Hulk retains her intelligence and memories when she turns green. In most of her appearances, she even retains her profession (when she’s not engaged in superheroics with the Avengers, she’s a practicing attorney).\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt.jpg\">\u003cimg class=\"alignleft wp-image-14014 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt-400x307.jpg\" alt=\"03 She-Hulk 2014 excerpt\" width=\"400\" height=\"307\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt-400x307.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt-800x615.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt-1440x1107.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt.jpg 1600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003cem> \u003c/em>\u003c/strong>While the name “She-Hulk” remains unfortunate, and while the character’s powers are a cut-and-paste job of her cousin the Hulk’s, the fact that she retains her agency and intelligence is progressive. As Chipman says, “A woman in comics who gets powers and doesn’t really suffer for them? That \u003cem>is\u003c/em> new, that \u003cem>is\u003c/em> interesting.”\u003c/p>\n\u003cp>Marvel’s \u003ca href=\"http://en.wikipedia.org/wiki/Spider-Woman_%28Jessica_Drew%29\">Spider-Woman\u003c/a> was introduced in 1978 for similar reasons. \u003ca href=\"http://en.wikipedia.org/wiki/The_Amazing_Spider-Man_%28TV_series%29\">\u003cem>The Amazing Spider-Man\u003c/em>\u003c/a> was a short-lived, live-action series that aired around the same time as \u003cem>The Incredible Hulk\u003c/em>, and then-publisher (\u003ca href=\"http://youtu.be/kLVBcCkVWb0\">and current cameo king\u003c/a>) Stan Lee explained, “I suddenly realized that some other company may quickly put out a book like that and claim they have the right to use the name, and I thought we’d better do it real fast to copyright the name. So we just batted one (out) quickly.”\u003c/p>\n\u003cfigure id=\"attachment_14015\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/04-SW01.jpg\">\u003cimg class=\"wp-image-14015\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/04-SW01-400x610.jpg\" alt=\"04 SW01\" width=\"200\" height=\"305\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/04-SW01-400x610.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/04-SW01.jpg 800w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike She-Hulk, Marvel didn’t try to connect Spider-Woman to her male counterpart. But the downside to that was a character who didn’t have a very solid foundation. In her first appearance, Spider-Woman is literally a spider who has turned into a woman\u003cem>.\u003c/em> This was \u003ca href=\"http://en.wikipedia.org/wiki/Retroactive_continuity\">retconned\u003c/a> to be a memory implant and she was recast as a spy (later a double-agent {later still, a triple-agent}). Her series didn’t last long, but, like most superheroes, she appears and reappears with new powers, new secret identities, and a new number-one-issue every few years. Most recently, \u003ca href=\"http://popwatch.ew.com/2014/08/20/spider-woman-derriere-posterior-rump/\">she was briefly controversial for being something of a contortionist\u003c/a>.\u003c/p>\n\u003cp>Copyrights and trademarks are hella complicated, but even though Marvel recently cancelled She-Hulk’s latest monthly series, it won’t be too long before it returns. They have to use the trademark to retain it, and using trademarks is not something they have trouble doing.\u003c/p>\n\u003cp>So after all of this, with so many female superheroes to choose from, why is Captain Marvel the first from Marvel Studios to headline her own feature? \u003ca href=\"http://carolcorps.tumblr.com/\">Enter the Carol Corps\u003c/a>.\u003c/p>\n\u003cp>Both Carol Danvers and Captain Marvel have been around since the late 1960s, but Carol \u003cem>as \u003c/em>Captain Marvel is a relatively new creation. The upside to having to regularly use a trademark like Captain Marvel, even though the character has never found much success, means Marvel is willing to try something new every few years. Carol graduated from Ms. Marvel to Captain Marvel in 2012 with a cool new costume and design. She left her one-piece swimsuit and thigh-boots behind and got a really cool haircut. Cosplayers, a growing and sizable audience at comics conventions, started showing off some equally impressive Captain Marvel outfits pretty much right away.\u003c/p>\n\u003cp>Earlier this year -- before the movie was announced -- \u003ca href=\"http://www.wired.com/2014/04/captain-marvel-carol-corps/\">Wired\u003c/a> talked to former \u003cem>Captain Marvel \u003c/em>writer \u003ca href=\"https://twitter.com/kellysue\">Kelly Sue DeConnick\u003c/a> about the Carol Corps and the new Captain Marvel.\u003c/p>\n\u003cp>“It is not a formal organization,” she said. “There are no rules. People write and ask me all the time, ‘How do I join the Carol Corps?’ You join Carol Corps by saying you are Carol Corps.”\u003c/p>\n\u003cfigure id=\"attachment_14016\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/05CapMarv_int.jpg\">\u003cimg class=\"wp-image-14016 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/05CapMarv_int-400x300.jpg\" alt=\"Photo: Marvel\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/05CapMarv_int-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/05CapMarv_int-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/05CapMarv_int-1440x1080.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s the key to the new Captain Marvel’s popularity: inclusivity. If the stereotype of a superhero fan is pointlessly academic arguments about who is stronger, the Hulk or the Thing, the Carol Corps is about being part of a group, and -- finally -- seeing a character who looks like you in the comic books you like to read.\u003c/p>\n\u003cp>A \u003cem>Captain Marvel\u003c/em> reader and Carol Corps member named Jennifer DePrey told Wired she, “always kind of avoided superhero comics. If I was looking for a superhero that I felt was like me, her costume was a bikini and thigh-high boots or had a boob window.”\u003c/p>\n\u003cp>But that changed with the Carol Danvers Captain Marvel.\u003c/p>\n\u003cp>“One issue in, I was like, ‘This is my superhero. This is the character I wish I’d had when I was 12.”\u003c/p>\n\u003cfigure id=\"attachment_14017\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/06MsMarv_Cover.jpg\">\u003cimg class=\"wp-image-14017\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/06MsMarv_Cover-400x615.jpg\" alt=\"Photo: Marvel\" width=\"200\" height=\"308\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/06MsMarv_Cover-400x615.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/06MsMarv_Cover-800x1230.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/06MsMarv_Cover.jpg 954w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>With Carol as Captain, and since no trademark must lay fallow in the field, there’s a new Ms. Marvel, too. Her secret identity is Kamala Khan, and she’s a sixteen-year-old Pakistani-American Muslim. Marvel, which does not release hard digital sales numbers, says \u003ca href=\"http://comicsbeat.com/ms-marvel-is-marvels-1-digital-seller/\">\u003cem>Ms. Marvel\u003c/em> is their #1 digital seller\u003c/a>. Maybe this version of Ms. Marvel only exists to retain the trademark, but no matter the reasoning, there is a teenage Muslim superhero being published by Marvel Comics. That’s not just “quietly subversive” -- that’s crazy cool.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It can feel a little weird wading into the business side of art, but Marvel is owned by Disney, and superheroes are big business. And if maintaining trademarks, growing brand awareness, and corporate synergy can lead to the representation -- on the comics page or the silver screen -- of folks who aren’t used to seeing themselves portrayed as fully realized characters with emotional depth and really rad superpowers? Well, that’s kind of hard to argue with, isn’t it?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Matthew Jent\u003c/strong>\u003c/p>\n\u003cp>Marvel Studios recently announced their \"phase three\" line of feature films. Phases are a thing the Marvel Studios folks like to break their movies down into, roughly broken up by new \u003cem>Avengers\u003c/em> movies. Phase two introduced \u003ca href=\"http://en.wikipedia.org/wiki/Guardians_of_the_Galaxy_%28film%29\">\u003cem>Guardians of the Galaxy\u003c/em>\u003c/a> this summer, \u003ca href=\"http://www.forbes.com/sites/markhughes/2014/10/07/guardians-of-the-galaxy-could-cross-800-million-at-box-office/\">which proceeded to make all of the money in the world\u003c/a>. Along with a few more \u003cem>Avengers\u003c/em> movies, a \u003cem>GotG \u003c/em>sequel, and a sorcerous franchise-starter called \u003cem>Doctor Strange\u003c/em>, Marvel \u003ca href=\"http://www.bleedingcool.com/2014/10/28/marvel-announces-phase-three-from-2016-including-black-panther-and-thor-ragnarok/\">also announced a 2018 movie called \u003cem>Captain Marvel\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Good name! But who \u003cem>is\u003c/em> Captain Marvel?\u003c/p>\n\u003cp>She (!!!) will be Marvel’s first female headliner of her own movie. After several franchise-spanning appearances by Scarlett Johnasson’s Black Widow, \u003ca href=\"http://www.comicbookresources.com/?page=article&id=54522\">Marvel Studios President Kevin Feige said, “It comes down to timing,”\u003c/a> with regard to a female-led superhero movie. Apparently that time is 2018, \u003ca href=\"http://deadline.com/2014/10/kevin-tsujihara-time-warner-investor-day-warner-bros-ceo-presentation-851823/\">just a year after Warner Bros. releases a \u003cem>Wonder Woman\u003c/em> film\u003c/a>.\u003c/p>\n\u003cp>Captain Marvel's secret identity is Carol Danvers and, in the comics, she was an Air Force officer who was friendly with “Mar-Vell,” an alien who was Marvel’s \u003cem>first \u003c/em>Captain Marvel. In 1977, she became Ms. Marvel (“This Female Fights Back!”), \u003cem>then\u003c/em> she became a half-alien called Binary, \u003cem>then\u003c/em> her consciousness was absorbed by Rogue (\u003ca href=\"http://img2.wikia.nocookie.net/__cb20120402025147/xmenmovies/images/4/4e/Anna-paquin-xmen-rogue.jpg\">Anna Paquin in the \u003cem>X-Men\u003c/em> movies\u003c/a>), \u003cem>then\u003c/em> she was an alcoholic member of the Avengers called \u003ca href=\"http://uncannyxmen.net/sites/default/files/images/crossover/livekree3.jpg\">Warbird\u003c/a>, and finally in 2012 she became, by name, Captain Marvel. Phew!\u003c/p>\n\u003cfigure id=\"attachment_14013\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/02MarvelCovers.jpg\">\u003cimg class=\"wp-image-14013 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/02MarvelCovers-400x300.jpg\" alt=\"Photo: Marvel\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/02MarvelCovers-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/02MarvelCovers-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/02MarvelCovers-1440x1080.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a more thorough history of \u003ca href=\"http://comicsalliance.com/captain-marvel-history-carol-danvers-mar-vell-shazam/\">Marvel’s Captain Marvel over on Comics Alliance\u003c/a>. Of note? For a few years in the 1980s, Captain Marvel was an African-American woman and leader of the Avengers. \u003ca href=\"http://www.comicbookresources.com/?page=article&id=55178\">There was also \u003cem>another\u003c/em> Captain Marvel, currently published by DC Comics, who most folks know as Shazam\u003c/a>. That character is getting his own movie in 2019. Marvel has the trademark for “Captain Marvel” through some legal juggling explained in the links above, but the short version is -- they snapped up the trademark for the character without actually having a character called Captain Marvel and, since the late 1960s, occasionally published a \u003cem>Captain Marvel\u003c/em> series in order to keep the trademark active.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Captain Marvel started out as a male, silver-blonde, albeit alien superhero. But Marvel has a storied history of creating female versions of their characters for trademark purposes. Aside from Wonder Woman (\u003ca href=\"http://www.thedailybeast.com/articles/2014/11/03/wonder-woman-s-creation-story-is-wilder-than-you-could-ever-imagine.html\">whose own story is covered in an excellent new book called \u003cem>The Secret History of Wonder Woman\u003c/em>, by Jill Lepore\u003c/a>), a lot of female superheroes are gender-swapped versions of existing male heroes.\u003c/p>\n\u003cp>In the late 1970s, \u003ca href=\"http://en.wikipedia.org/wiki/The_Incredible_Hulk_%281978_TV_series%29\">\u003cem>The Incredible Hulk\u003c/em>\u003c/a> was a hit TV show for Marvel and CBS. It was an action-adventure series for boys, not dissimilar to \u003ca href=\"http://en.wikipedia.org/wiki/The_Six_Million_Dollar_Man\">\u003cem>The Six Million Dollar Man\u003c/em>\u003c/a>, which was about a cyborg solving people’s problems. \u003cem>The Six Million Dollar Man\u003c/em> was spun off into \u003ca href=\"http://en.wikipedia.org/wiki/The_Bionic_Woman\">\u003cem>The Bionic Woman\u003c/em>\u003c/a>\u003cem>, \u003c/em>which had its parent program’s same premise except with, you know, a lady. Marvel’s contract with the \u003cem>Hulk’s\u003c/em> production company said that any new characters created for the TV show would be owned by the production company, and not Marvel. So before they could scoop Marvel with a Hulk Woman, Marvel created the \u003ca href=\"http://en.wikipedia.org/wiki/She-Hulk\">She-Hulk\u003c/a>.\u003c/p>\n\u003cp>As \u003ca href=\"https://twitter.com/the_moviebob\">Bob Chipman\u003c/a> breaks down more fully in \u003ca href=\"http://www.escapistmagazine.com/videos/view/the-big-picture/9260-She-Hulk-Shaming\">this Big Picture video\u003c/a> called “She-Hulk Shaming,” She-Hulk became one of Marvel’s “quietly subversive creations … sort of progressive, and after a fashion even feminist.” Though, at first, she was called the “Savage She-Hulk,” the character evolved into something much more interesting over the decades. While the, um, He-Hulk turns into a green monster who doesn’t know his own strength, She-Hulk retains her intelligence and memories when she turns green. In most of her appearances, she even retains her profession (when she’s not engaged in superheroics with the Avengers, she’s a practicing attorney).\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt.jpg\">\u003cimg class=\"alignleft wp-image-14014 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt-400x307.jpg\" alt=\"03 She-Hulk 2014 excerpt\" width=\"400\" height=\"307\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt-400x307.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt-800x615.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt-1440x1107.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt.jpg 1600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003cem> \u003c/em>\u003c/strong>While the name “She-Hulk” remains unfortunate, and while the character’s powers are a cut-and-paste job of her cousin the Hulk’s, the fact that she retains her agency and intelligence is progressive. As Chipman says, “A woman in comics who gets powers and doesn’t really suffer for them? That \u003cem>is\u003c/em> new, that \u003cem>is\u003c/em> interesting.”\u003c/p>\n\u003cp>Marvel’s \u003ca href=\"http://en.wikipedia.org/wiki/Spider-Woman_%28Jessica_Drew%29\">Spider-Woman\u003c/a> was introduced in 1978 for similar reasons. \u003ca href=\"http://en.wikipedia.org/wiki/The_Amazing_Spider-Man_%28TV_series%29\">\u003cem>The Amazing Spider-Man\u003c/em>\u003c/a> was a short-lived, live-action series that aired around the same time as \u003cem>The Incredible Hulk\u003c/em>, and then-publisher (\u003ca href=\"http://youtu.be/kLVBcCkVWb0\">and current cameo king\u003c/a>) Stan Lee explained, “I suddenly realized that some other company may quickly put out a book like that and claim they have the right to use the name, and I thought we’d better do it real fast to copyright the name. So we just batted one (out) quickly.”\u003c/p>\n\u003cfigure id=\"attachment_14015\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/04-SW01.jpg\">\u003cimg class=\"wp-image-14015\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/04-SW01-400x610.jpg\" alt=\"04 SW01\" width=\"200\" height=\"305\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/04-SW01-400x610.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/04-SW01.jpg 800w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike She-Hulk, Marvel didn’t try to connect Spider-Woman to her male counterpart. But the downside to that was a character who didn’t have a very solid foundation. In her first appearance, Spider-Woman is literally a spider who has turned into a woman\u003cem>.\u003c/em> This was \u003ca href=\"http://en.wikipedia.org/wiki/Retroactive_continuity\">retconned\u003c/a> to be a memory implant and she was recast as a spy (later a double-agent {later still, a triple-agent}). Her series didn’t last long, but, like most superheroes, she appears and reappears with new powers, new secret identities, and a new number-one-issue every few years. Most recently, \u003ca href=\"http://popwatch.ew.com/2014/08/20/spider-woman-derriere-posterior-rump/\">she was briefly controversial for being something of a contortionist\u003c/a>.\u003c/p>\n\u003cp>Copyrights and trademarks are hella complicated, but even though Marvel recently cancelled She-Hulk’s latest monthly series, it won’t be too long before it returns. They have to use the trademark to retain it, and using trademarks is not something they have trouble doing.\u003c/p>\n\u003cp>So after all of this, with so many female superheroes to choose from, why is Captain Marvel the first from Marvel Studios to headline her own feature? \u003ca href=\"http://carolcorps.tumblr.com/\">Enter the Carol Corps\u003c/a>.\u003c/p>\n\u003cp>Both Carol Danvers and Captain Marvel have been around since the late 1960s, but Carol \u003cem>as \u003c/em>Captain Marvel is a relatively new creation. The upside to having to regularly use a trademark like Captain Marvel, even though the character has never found much success, means Marvel is willing to try something new every few years. Carol graduated from Ms. Marvel to Captain Marvel in 2012 with a cool new costume and design. She left her one-piece swimsuit and thigh-boots behind and got a really cool haircut. Cosplayers, a growing and sizable audience at comics conventions, started showing off some equally impressive Captain Marvel outfits pretty much right away.\u003c/p>\n\u003cp>Earlier this year -- before the movie was announced -- \u003ca href=\"http://www.wired.com/2014/04/captain-marvel-carol-corps/\">Wired\u003c/a> talked to former \u003cem>Captain Marvel \u003c/em>writer \u003ca href=\"https://twitter.com/kellysue\">Kelly Sue DeConnick\u003c/a> about the Carol Corps and the new Captain Marvel.\u003c/p>\n\u003cp>“It is not a formal organization,” she said. “There are no rules. People write and ask me all the time, ‘How do I join the Carol Corps?’ You join Carol Corps by saying you are Carol Corps.”\u003c/p>\n\u003cfigure id=\"attachment_14016\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/05CapMarv_int.jpg\">\u003cimg class=\"wp-image-14016 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/05CapMarv_int-400x300.jpg\" alt=\"Photo: Marvel\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/05CapMarv_int-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/05CapMarv_int-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/05CapMarv_int-1440x1080.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s the key to the new Captain Marvel’s popularity: inclusivity. If the stereotype of a superhero fan is pointlessly academic arguments about who is stronger, the Hulk or the Thing, the Carol Corps is about being part of a group, and -- finally -- seeing a character who looks like you in the comic books you like to read.\u003c/p>\n\u003cp>A \u003cem>Captain Marvel\u003c/em> reader and Carol Corps member named Jennifer DePrey told Wired she, “always kind of avoided superhero comics. If I was looking for a superhero that I felt was like me, her costume was a bikini and thigh-high boots or had a boob window.”\u003c/p>\n\u003cp>But that changed with the Carol Danvers Captain Marvel.\u003c/p>\n\u003cp>“One issue in, I was like, ‘This is my superhero. This is the character I wish I’d had when I was 12.”\u003c/p>\n\u003cfigure id=\"attachment_14017\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/06MsMarv_Cover.jpg\">\u003cimg class=\"wp-image-14017\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/06MsMarv_Cover-400x615.jpg\" alt=\"Photo: Marvel\" width=\"200\" height=\"308\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/06MsMarv_Cover-400x615.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/06MsMarv_Cover-800x1230.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/06MsMarv_Cover.jpg 954w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>With Carol as Captain, and since no trademark must lay fallow in the field, there’s a new Ms. Marvel, too. Her secret identity is Kamala Khan, and she’s a sixteen-year-old Pakistani-American Muslim. Marvel, which does not release hard digital sales numbers, says \u003ca href=\"http://comicsbeat.com/ms-marvel-is-marvels-1-digital-seller/\">\u003cem>Ms. Marvel\u003c/em> is their #1 digital seller\u003c/a>. Maybe this version of Ms. Marvel only exists to retain the trademark, but no matter the reasoning, there is a teenage Muslim superhero being published by Marvel Comics. That’s not just “quietly subversive” -- that’s crazy cool.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It can feel a little weird wading into the business side of art, but Marvel is owned by Disney, and superheroes are big business. And if maintaining trademarks, growing brand awareness, and corporate synergy can lead to the representation -- on the comics page or the silver screen -- of folks who aren’t used to seeing themselves portrayed as fully realized characters with emotional depth and really rad superpowers? Well, that’s kind of hard to argue with, isn’t it?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "4 Reasons Not to Give Up on Marvel's Agents of S.H.I.E.L.D.",
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"content": "\u003cp style=\"text-align: center\">\u003cstrong>\u003ca href=\"http://blogs.kqed.org/pop/2013/10/01/4-reasons-not-to-give-up-on-marvels-agents-of-shield-joss-whedon/shield/\" rel=\"attachment wp-att-8701\">\u003cimg class=\"size-full wp-image-8701 aligncenter\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/09/shield.jpg\" alt=\"marvel's agents of shield\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/09/shield.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/shield-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>Post by contributor Rachel Noelle Wood\u003c/strong>\u003c/p>\n\u003cp>Joss Whedon has grown from a figure of cult popularity to a mainstream hit-maker. Those of us following his career for two decades were joined last Tuesday by millions of new fans eager to see his follow up to \u003cem>The Avengers\u003c/em>. The pilot episode introduced us to an ensemble cast of agents working to protect humanity from super-villains and aliens. This marks a significant departure for Whedon as his work usually involves government agencies (human-feeding demon mayors!) and shadowy corporations (apocalypse-bringing pharmaceutical companies!) as the enemy. In this age of drone strikes and NSA spying, a secret, powerful, and seemingly unaccountable organization like S.H.E.I.L.D is a hard sell as “the good guys.”\u003c/p>\n\u003cp>So far, it seems we're just supposed to buy it based on the sweet smiles of a cast of models. With the exception of the older characters, most of the crew has looks and acting abilities better suited to a toothpaste commercial. There's Skye, a hacker girl whose one emotion is “sassy,” a team of fast talking “genuis scientists” who come off as chirpy, attractive nitwits incapable of coherent sentences, and a Ken-doll-esque super-spy who is so dull that he will be referred to in this article as “Bland Guy.” And the cringing doesn't stop there: the early action sequences were cheesy and gimmicky, and we were treated to not one but TWO moralistic good guy speeches.\u003c/p>\n\u003cp>If anyone else had made this show, I would have already turned the TV off and hidden the remote. But after more than a decade of following Joss Whedon, here's why I'm holding out hope.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/10/01/4-reasons-not-to-give-up-on-marvels-agents-of-shield-joss-whedon/avengers-joss-whedon/\" rel=\"attachment wp-att-8768\">\u003cimg class=\"alignleft wp-image-8768\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/10/avengers-joss-whedon.jpg\" alt=\"avengers-joss-whedon\" width=\"168\" height=\"225\">\u003c/a>\u003cstrong>1. The Humor\u003c/strong>\u003c/p>\n\u003cp>Joss Whedon's incredible sense of humor was the saving grace of the first episode. Whedon is the perfect antidote to tedium of the “dark superhero” trend. Instead of letting his characters brood endlessly over self-indulgent identity crises, Whedon knows how to gently tease his characters, making serious points without allowing anyone to take themselves too seriously. In Whedon's hands, “Bland Guy” is less likely to be a male empowerment fantasy, serving instead as the “straight-man” for sly jabs at traditional masculinity.\u003c/p>\n\u003cp>\u003cstrong>2. The Twists\u003c/strong>\u003c/p>\n\u003cp>Nobody does plot twists like Joss Whedon. I've never screamed “What!/1?!” at a TV screen as much as I did during \u003cem>Dollhouse\u003c/em>, but I had to earn it by sticking around. Which leads to point #3.\u003c/p>\n\u003cp>\u003cstrong>3. The Slow Build\u003c/strong>\u003c/p>\n\u003cp>Remember the frustration that came at the end of \u003cem>Lost\u003c/em>? These days, most TV shows are written on the fly with seemingly no long-term plot or goal in mind. Repeat viewers are treated to incoherent story lines and seemingly schizophrenic characters. Whedon's meticulously planned story arcs are his greatest asset and his biggest Achilles heel. The underlying storyline of \u003cem>Dollhouse\u003c/em> was revealed two seasons into the series, like a nesting doll of plots that got crazier and crazier at every level, but to get there, you had to make it through the somewhat cringe-worthy first episodes. That's why he's historically been more of a cult favorite, his ideas tragically cut short due to audience ADD. Now that he's starting off with mainstream America's attention, here's hoping he'll get the chance to develop the storyline to whatever insane endpoint he has in mind.\u003c/p>\n\u003cp>\u003cstrong>4. The Heroine\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/10/01/4-reasons-not-to-give-up-on-marvels-agents-of-shield-joss-whedon/melinda-may-marvels-agents-of-shield-pilot/\" rel=\"attachment wp-att-8762\">\u003cimg class=\"alignright wp-image-8762\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/10/melinda-may-marvels-agents-of-shield-pilot.jpg\" alt=\"melinda-may-marvels-agents-of-shield-pilot\" width=\"189\" height=\"252\">\u003c/a>Thank God for Joss Whedon's heroine addiction (see what I did there?). Nuanced female action characters are still few and far between, and often when males write them they end up two-dimensional and stereotypical (the bitch or the seductress). Whedon doesn't write good female characters, he writes the best, and in the process explores our society's conceptions of strength and heroism. Buffy turned the stereotype of the valley girl upside-down, and gave us a nuanced portrait of a normal girl coming to terms with tremendous strength and responsibility. \u003cem>Firefly/Serenity\u003c/em> turned out to be the most elaborate origin story of all time. \u003cem>Dollhouse\u003c/em> explored the meaning of self and identity as it followed a heroine stripped of all memories and personality. What will we find in \u003cem>S.H.E.I.L.D\u003c/em>?\u003c/p>\n\u003cp>No doubt there will be interesting plots for all of the characters, but I'm watching Agent May. In her, we find the perfect complement to his past work. Female action heroes are often the realm of the neophyte. But what happens to the legend? Does she stay 20 forever? When we first meet May (played by Ming-Na Wen a.k.a. the voice of Mulan, who is about to turn 50 and looks great), she's tucked behind a desk and reluctant to leave. But the show quickly drops hints that she's legendary in the spy community. And in a brief, but righteous, fight scene, we get a glimpse of what's to come. I can't wait.\u003c/p>\n\u003cp>\u003cstrong>My only fear:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Marvel's Agents of S.H.E.I.L.D\u003c/em> has not one but two corporate names attached to it, representing both Marvel and ABC. If you were to write an action story based on Joss Whedon's life, the networks would be the enemy, meddling with his plots and cast to fit their mold of “what sells,” which are usually the kind of icky tropes that Whedon tries to avoid. I think it's very likely that one or both of them dipped their fingers into his pilot episode. It would explain the attractive but wooden cast, the saccharine, moralistic tone, and the overdone good guy speeches. In an age where most quality TV is coming out of cable or Netflix, let's hope his alliance with an old-school network isn't a Faustian bargain. If these companies have any sense, they'll get out of the way and let him work his magic.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp style=\"text-align: center\">\u003cstrong>\u003ca href=\"http://blogs.kqed.org/pop/2013/10/01/4-reasons-not-to-give-up-on-marvels-agents-of-shield-joss-whedon/shield/\" rel=\"attachment wp-att-8701\">\u003cimg class=\"size-full wp-image-8701 aligncenter\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/09/shield.jpg\" alt=\"marvel's agents of shield\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/09/shield.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/shield-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>Post by contributor Rachel Noelle Wood\u003c/strong>\u003c/p>\n\u003cp>Joss Whedon has grown from a figure of cult popularity to a mainstream hit-maker. Those of us following his career for two decades were joined last Tuesday by millions of new fans eager to see his follow up to \u003cem>The Avengers\u003c/em>. The pilot episode introduced us to an ensemble cast of agents working to protect humanity from super-villains and aliens. This marks a significant departure for Whedon as his work usually involves government agencies (human-feeding demon mayors!) and shadowy corporations (apocalypse-bringing pharmaceutical companies!) as the enemy. In this age of drone strikes and NSA spying, a secret, powerful, and seemingly unaccountable organization like S.H.E.I.L.D is a hard sell as “the good guys.”\u003c/p>\n\u003cp>So far, it seems we're just supposed to buy it based on the sweet smiles of a cast of models. With the exception of the older characters, most of the crew has looks and acting abilities better suited to a toothpaste commercial. There's Skye, a hacker girl whose one emotion is “sassy,” a team of fast talking “genuis scientists” who come off as chirpy, attractive nitwits incapable of coherent sentences, and a Ken-doll-esque super-spy who is so dull that he will be referred to in this article as “Bland Guy.” And the cringing doesn't stop there: the early action sequences were cheesy and gimmicky, and we were treated to not one but TWO moralistic good guy speeches.\u003c/p>\n\u003cp>If anyone else had made this show, I would have already turned the TV off and hidden the remote. But after more than a decade of following Joss Whedon, here's why I'm holding out hope.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/10/01/4-reasons-not-to-give-up-on-marvels-agents-of-shield-joss-whedon/avengers-joss-whedon/\" rel=\"attachment wp-att-8768\">\u003cimg class=\"alignleft wp-image-8768\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/10/avengers-joss-whedon.jpg\" alt=\"avengers-joss-whedon\" width=\"168\" height=\"225\">\u003c/a>\u003cstrong>1. The Humor\u003c/strong>\u003c/p>\n\u003cp>Joss Whedon's incredible sense of humor was the saving grace of the first episode. Whedon is the perfect antidote to tedium of the “dark superhero” trend. Instead of letting his characters brood endlessly over self-indulgent identity crises, Whedon knows how to gently tease his characters, making serious points without allowing anyone to take themselves too seriously. In Whedon's hands, “Bland Guy” is less likely to be a male empowerment fantasy, serving instead as the “straight-man” for sly jabs at traditional masculinity.\u003c/p>\n\u003cp>\u003cstrong>2. The Twists\u003c/strong>\u003c/p>\n\u003cp>Nobody does plot twists like Joss Whedon. I've never screamed “What!/1?!” at a TV screen as much as I did during \u003cem>Dollhouse\u003c/em>, but I had to earn it by sticking around. Which leads to point #3.\u003c/p>\n\u003cp>\u003cstrong>3. The Slow Build\u003c/strong>\u003c/p>\n\u003cp>Remember the frustration that came at the end of \u003cem>Lost\u003c/em>? These days, most TV shows are written on the fly with seemingly no long-term plot or goal in mind. Repeat viewers are treated to incoherent story lines and seemingly schizophrenic characters. Whedon's meticulously planned story arcs are his greatest asset and his biggest Achilles heel. The underlying storyline of \u003cem>Dollhouse\u003c/em> was revealed two seasons into the series, like a nesting doll of plots that got crazier and crazier at every level, but to get there, you had to make it through the somewhat cringe-worthy first episodes. That's why he's historically been more of a cult favorite, his ideas tragically cut short due to audience ADD. Now that he's starting off with mainstream America's attention, here's hoping he'll get the chance to develop the storyline to whatever insane endpoint he has in mind.\u003c/p>\n\u003cp>\u003cstrong>4. The Heroine\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/10/01/4-reasons-not-to-give-up-on-marvels-agents-of-shield-joss-whedon/melinda-may-marvels-agents-of-shield-pilot/\" rel=\"attachment wp-att-8762\">\u003cimg class=\"alignright wp-image-8762\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/10/melinda-may-marvels-agents-of-shield-pilot.jpg\" alt=\"melinda-may-marvels-agents-of-shield-pilot\" width=\"189\" height=\"252\">\u003c/a>Thank God for Joss Whedon's heroine addiction (see what I did there?). Nuanced female action characters are still few and far between, and often when males write them they end up two-dimensional and stereotypical (the bitch or the seductress). Whedon doesn't write good female characters, he writes the best, and in the process explores our society's conceptions of strength and heroism. Buffy turned the stereotype of the valley girl upside-down, and gave us a nuanced portrait of a normal girl coming to terms with tremendous strength and responsibility. \u003cem>Firefly/Serenity\u003c/em> turned out to be the most elaborate origin story of all time. \u003cem>Dollhouse\u003c/em> explored the meaning of self and identity as it followed a heroine stripped of all memories and personality. What will we find in \u003cem>S.H.E.I.L.D\u003c/em>?\u003c/p>\n\u003cp>No doubt there will be interesting plots for all of the characters, but I'm watching Agent May. In her, we find the perfect complement to his past work. Female action heroes are often the realm of the neophyte. But what happens to the legend? Does she stay 20 forever? When we first meet May (played by Ming-Na Wen a.k.a. the voice of Mulan, who is about to turn 50 and looks great), she's tucked behind a desk and reluctant to leave. But the show quickly drops hints that she's legendary in the spy community. And in a brief, but righteous, fight scene, we get a glimpse of what's to come. I can't wait.\u003c/p>\n\u003cp>\u003cstrong>My only fear:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Marvel's Agents of S.H.E.I.L.D\u003c/em> has not one but two corporate names attached to it, representing both Marvel and ABC. If you were to write an action story based on Joss Whedon's life, the networks would be the enemy, meddling with his plots and cast to fit their mold of “what sells,” which are usually the kind of icky tropes that Whedon tries to avoid. I think it's very likely that one or both of them dipped their fingers into his pilot episode. It would explain the attractive but wooden cast, the saccharine, moralistic tone, and the overdone good guy speeches. In an age where most quality TV is coming out of cable or Netflix, let's hope his alliance with an old-school network isn't a Faustian bargain. If these companies have any sense, they'll get out of the way and let him work his magic.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Why Are We So Obsessed with Superheroes?",
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"content": "\u003cfigure id=\"attachment_4785\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://blogs.kqed.org/pop/2013/05/13/why-are-we-so-obsessed-with-superheroes/im2/\" rel=\"attachment wp-att-4785\">\u003cimg class=\"size-full wp-image-4785\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/05/im2.jpg\" alt=\"Paramount Pictures\" width=\"600\" height=\"375\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/05/im2.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2013/05/im2-400x250.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Paramount Pictures\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Post by contributor Gina Scialabba \u003c/strong>\u003c/p>\n\u003cp>I saw Iron Man 3 this weekend. I wasn’t disappointed. Despite my outward journalist appearance, I secretly wish I had a superhero cape. Yes, I love highbrow art house films like the rest of San Francisco. I’ve spent my share of Saturday nights at the Sundance Kabuki viewing foreign language movies and later contemplating the meaning behind Pedro Almodóvar films over a bottle of Napa Valley’s finest red. But I love superhero movies. I always have.\u003c/p>\n\u003cp>So, what is it about Clark Kent, Peter Parker and Tony Stark that lures armies of audiences to the movie house? Superheroes hold the pantheon of American cultural iconography. Social psychologists study it. Scholars write articles, critical analyses and books on the subject. I am no expert. I can only report what I observe\u003c/p>\n\u003ch3>\u003cstrong>1. \u003c/strong>\u003cstrong>Escapism\u003c/strong>\u003c/h3>\n\u003cp>Simply put, these films are fun. They’re exciting. It’s 120+ minutes of pure transcendental escapism -- a mini-vacation from your life. With so much going on in the world -- acts of terrorism home and abroad, immigration reform, wide-spread poverty and global climate change -- superhero movies provide a utopian script for life. You can sit back, kick your feet up, eat a $25 small bucket of popcorn and experience a feeling of security, knowing you are in good hands. You can’t control what is going on in the world. Few really can. But, rest assured, Batman can and will.\u003c/p>\n\u003ch3> \u003cstrong>2. \u003c/strong>\u003cstrong>Reflection of Ourselves \u003c/strong>\u003c/h3>\n\u003cp>I think deep down, in that little corner of our minds that only we have access to, we all want to be a superhero. The archetypical superhero is symbolic of near-perfection. They are a manifestation of what we wish we had, however unattainable -- a perfect body, perfect teeth, never a hair out of place. I believe it was Shakespeare’s Macbeth who said, “Clothes make the man.” Indeed, superheroes are always fashionable. Billionaire Bruce Wayne is a masked vigilante with serious style wearing perfectly tailored Armani suits. Wonder Woman’s outfit was never an ill-fitting Halloween getup. And caped crusaders also have incredible abilities -- invisibility, x-ray vision, healing power, memory manipulation. Ever had a day you wish you could simply vanish from your office cubicle? Maybe slip out after lunch to catch a 1:05pm ballgame and then simply erase your boss’s memory of your absence? We all have.\u003c/p>\n\u003ch3>\u003cstrong>3. \u003c/strong>\u003cstrong>Reflection of our Secret Desire to be Saved \u003c/strong>\u003c/h3>\n\u003cp>Perhaps Bonnie Tyler, 1980s semi-diva, was onto something. As she runs out of a burning building, she cries out, “I need a hero.” At first, we may not want to take ownership of our desire to be saved every once and a while. Me? Be in a subordinate position? Just hear me out. We play so many roles in real life -- parent, partner, worker, student, caretaker, bread-winner -- wouldn’t it be nice to let someone else steer the automobile called your life? Even for a day? What if Superman could swoop in and pull you out of rush hour traffic when you are late to work? Or, if Bruce Wayne could fight all your petty quarrels with your in-laws?\u003c/p>\n\u003ch3>\u003cstrong>4. \u003c/strong>\u003cstrong>Empowerment\u003c/strong>\u003c/h3>\n\u003cp>Anyone who feels disenfranchised can look to superheroes for inspiration and hope. Take bullying. It’s been reported that 6 out of 10 American youth witness bullying every day. Superheroes serve as defenders of the less fortunate, vulnerable, innocent, powerless, weak, and oppressed. They defend fair play, truth, justice, law, and order. In a nutshell, superheroes are defenders of right against wrong. We gravitate towards the superhero genre because it gives us hope that things could get better.\u003c/p>\n\u003ch3>\u003cstrong>5. \u003c/strong>\u003cstrong>Hero’s Journey\u003c/strong>\u003c/h3>\n\u003cp>The myth of the hero’s journey is familiar. It all started with the Greeks and their stories of heroes like Hercules and Achilles. In the Middle Ages, Germanic audiences cheered in the mead halls, pounding their bier steins on the table as Beowulf slayed Grendel. Frodo saved Middle-earth in \u003cem>The Lord of the Rings\u003c/em> trilogy and Luke Skywalker used the force to battle Darth Vader and the Emperor. These tales are pervasive in our culture. We all love a good hero’s story...over and over again. Watching the good guy win never gets repetitive. We are drawn to a hero who achieves great deeds on behalf of the group, tribe, or civilization.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The bottom line is that superhero movies serve a purpose. They have much more than mere video game depth. They help us cope with the external world. They provide hope to people of any age, race and gender. They are stories of empowerment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, this summer head out to the theater knowing you can reveal your hidden geek. Watch\u003cem> Iron Man\u003c/em> save the world. See Superman once again duck into a phone booth in \u003cem>Man of Steel\u003c/em>. Marvel at the teeny, tiny leaf people in the animated movie, \u003cem>Epic\u003c/em>. Just go and enjoy. You can watch Ingmar Bergman movies another night.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_4785\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://blogs.kqed.org/pop/2013/05/13/why-are-we-so-obsessed-with-superheroes/im2/\" rel=\"attachment wp-att-4785\">\u003cimg class=\"size-full wp-image-4785\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/05/im2.jpg\" alt=\"Paramount Pictures\" width=\"600\" height=\"375\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/05/im2.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2013/05/im2-400x250.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Paramount Pictures\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Post by contributor Gina Scialabba \u003c/strong>\u003c/p>\n\u003cp>I saw Iron Man 3 this weekend. I wasn’t disappointed. Despite my outward journalist appearance, I secretly wish I had a superhero cape. Yes, I love highbrow art house films like the rest of San Francisco. I’ve spent my share of Saturday nights at the Sundance Kabuki viewing foreign language movies and later contemplating the meaning behind Pedro Almodóvar films over a bottle of Napa Valley’s finest red. But I love superhero movies. I always have.\u003c/p>\n\u003cp>So, what is it about Clark Kent, Peter Parker and Tony Stark that lures armies of audiences to the movie house? Superheroes hold the pantheon of American cultural iconography. Social psychologists study it. Scholars write articles, critical analyses and books on the subject. I am no expert. I can only report what I observe\u003c/p>\n\u003ch3>\u003cstrong>1. \u003c/strong>\u003cstrong>Escapism\u003c/strong>\u003c/h3>\n\u003cp>Simply put, these films are fun. They’re exciting. It’s 120+ minutes of pure transcendental escapism -- a mini-vacation from your life. With so much going on in the world -- acts of terrorism home and abroad, immigration reform, wide-spread poverty and global climate change -- superhero movies provide a utopian script for life. You can sit back, kick your feet up, eat a $25 small bucket of popcorn and experience a feeling of security, knowing you are in good hands. You can’t control what is going on in the world. Few really can. But, rest assured, Batman can and will.\u003c/p>\n\u003ch3> \u003cstrong>2. \u003c/strong>\u003cstrong>Reflection of Ourselves \u003c/strong>\u003c/h3>\n\u003cp>I think deep down, in that little corner of our minds that only we have access to, we all want to be a superhero. The archetypical superhero is symbolic of near-perfection. They are a manifestation of what we wish we had, however unattainable -- a perfect body, perfect teeth, never a hair out of place. I believe it was Shakespeare’s Macbeth who said, “Clothes make the man.” Indeed, superheroes are always fashionable. Billionaire Bruce Wayne is a masked vigilante with serious style wearing perfectly tailored Armani suits. Wonder Woman’s outfit was never an ill-fitting Halloween getup. And caped crusaders also have incredible abilities -- invisibility, x-ray vision, healing power, memory manipulation. Ever had a day you wish you could simply vanish from your office cubicle? Maybe slip out after lunch to catch a 1:05pm ballgame and then simply erase your boss’s memory of your absence? We all have.\u003c/p>\n\u003ch3>\u003cstrong>3. \u003c/strong>\u003cstrong>Reflection of our Secret Desire to be Saved \u003c/strong>\u003c/h3>\n\u003cp>Perhaps Bonnie Tyler, 1980s semi-diva, was onto something. As she runs out of a burning building, she cries out, “I need a hero.” At first, we may not want to take ownership of our desire to be saved every once and a while. Me? Be in a subordinate position? Just hear me out. We play so many roles in real life -- parent, partner, worker, student, caretaker, bread-winner -- wouldn’t it be nice to let someone else steer the automobile called your life? Even for a day? What if Superman could swoop in and pull you out of rush hour traffic when you are late to work? Or, if Bruce Wayne could fight all your petty quarrels with your in-laws?\u003c/p>\n\u003ch3>\u003cstrong>4. \u003c/strong>\u003cstrong>Empowerment\u003c/strong>\u003c/h3>\n\u003cp>Anyone who feels disenfranchised can look to superheroes for inspiration and hope. Take bullying. It’s been reported that 6 out of 10 American youth witness bullying every day. Superheroes serve as defenders of the less fortunate, vulnerable, innocent, powerless, weak, and oppressed. They defend fair play, truth, justice, law, and order. In a nutshell, superheroes are defenders of right against wrong. We gravitate towards the superhero genre because it gives us hope that things could get better.\u003c/p>\n\u003ch3>\u003cstrong>5. \u003c/strong>\u003cstrong>Hero’s Journey\u003c/strong>\u003c/h3>\n\u003cp>The myth of the hero’s journey is familiar. It all started with the Greeks and their stories of heroes like Hercules and Achilles. In the Middle Ages, Germanic audiences cheered in the mead halls, pounding their bier steins on the table as Beowulf slayed Grendel. Frodo saved Middle-earth in \u003cem>The Lord of the Rings\u003c/em> trilogy and Luke Skywalker used the force to battle Darth Vader and the Emperor. These tales are pervasive in our culture. We all love a good hero’s story...over and over again. Watching the good guy win never gets repetitive. We are drawn to a hero who achieves great deeds on behalf of the group, tribe, or civilization.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The bottom line is that superhero movies serve a purpose. They have much more than mere video game depth. They help us cope with the external world. They provide hope to people of any age, race and gender. They are stories of empowerment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, this summer head out to the theater knowing you can reveal your hidden geek. Watch\u003cem> Iron Man\u003c/em> save the world. See Superman once again duck into a phone booth in \u003cem>Man of Steel\u003c/em>. Marvel at the teeny, tiny leaf people in the animated movie, \u003cem>Epic\u003c/em>. Just go and enjoy. You can watch Ingmar Bergman movies another night.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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"id": "californiareportmagazine",
"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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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"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",
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"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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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"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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"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": {
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"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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},
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"id": "forum",
"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",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/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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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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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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"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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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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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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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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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": {
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"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"
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},
"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)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"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",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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