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"content": "\u003cp>\"I forced a bot to watch over 1,000 hours of \u003cem>Queer Eye\u003c/em> and then asked it to write an episode of \u003cem>Queer Eye\u003c/em> of its own,\" the tweet read. Despite the fact that it is almost certainly a false claim—there are only 33 episodes and a handful of extras, after all—\u003ca href=\"https://twitter.com/KeatonPatti\">Keaton Patti'\u003c/a>s subsequent \u003cem>Queer Eye\u003c/em> bot-script has been liked on Twitter almost 100,000 times and even prompted a response from Netflix. Why?\u003c/p>\n\u003cp>Because it's sublime, that's why.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-113087\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.26-AM-800x447.png\" alt=\"\" width=\"800\" height=\"447\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.26-AM-800x447.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.26-AM-160x89.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.26-AM-768x429.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.26-AM.png 833w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-113088\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.46-AM-800x453.png\" alt=\"\" width=\"800\" height=\"453\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.46-AM-800x453.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.46-AM-160x91.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.46-AM-768x435.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.46-AM.png 819w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The joy prompted by this surreal but incredibly accurate nonsense might be even greater than that of Ms. Dooley's students after Jonathan Van Ness cut off her mullet in the first episode of Season 4. Some of these phrases are so magnificent, one can only hope that they one day make it into the permanent \u003cem>Queer Eye\u003c/em> lexicon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/suzewrites/status/1156054085801402368\u003c/p>\n\u003cp>https://twitter.com/redshoe9/status/1155851454068006912?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1155851454068006912&ref_url=https%3A%2F%2Fwww.pettymayonnaise.com%2Fa-bot-watched-queer-eye-then-wrote-its-own-script-for-the-show%2F\u003c/p>\n\u003cp>https://twitter.com/Amester222/status/1155863156708659200\u003c/p>\n\u003cp>https://twitter.com/CougarWilliams/status/1155849251999686656\u003c/p>\n\u003cp>https://twitter.com/siggiarabi/status/1155849255552245761\u003c/p>\n\u003cp>https://twitter.com/gregindeed/status/1155862048892260353\u003c/p>\n\u003cp>https://twitter.com/NetflixANZ/status/1156156712329478145\u003c/p>\n\u003cp>Keaton Patti's bot also wrote a script last year for a remarkable and thoroughly \u003ca href=\"https://twitter.com/KeatonPatti/status/1006961202998726665\">existential Olive Garden commercial\u003c/a>. That, too, went viral thanks to phrases like: “We see the pasta nachos. They’re warm and defeated,” “Friend 4 smiles wide. Her mouth is full of secret soup,” and “We see the unlimited stick. It is infinite. It is all.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Patti has written for \u003cem>The New Yorker\u003c/em>, Marvel, Comedy Central and \u003cem>The Onion\u003c/em>. Someone at Adult Swim should probably give him a full-time job immediately.\u003c/p>\n\n",
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"content": "\u003cp>It's a genre known for screaming matches, hot-tub hookups and contestants who are there \u003cem>to win,\u003c/em> \u003cem>not\u003c/em> \u003cem>to make friends\u003c/em>. But as of late, reality television has taken a kinder, gentler turn.\u003c/p>\n\u003cp>Fire up Netflix and you'll see sweet-natured shows such as \u003cem>Queer Eye\u003c/em>, which kicked off its fourth season with a public school teacher getting an enthusiastic makeover, and a slew of food programs where people are lovely to each other. Think \u003cem>The Great British Baking Show\u003c/em>, \u003cem>Sugar Rush\u003c/em>, \u003cem>Street Food\u003c/em> and \u003cem>Nailed It!\u003c/em>, where contestants giggle with the hosts about their haplessness in decorating cakes.\u003c/p>\n\u003cp>Netflix's dating show, \u003cem>Dating Around\u003c/em>, is practically humiliation-free. And in the hit series \u003cem>Tidying Up with Marie Kondo\u003c/em>, \u003ca href=\"https://www.npr.org/2016/01/07/462230434/japanese-organizing-consultant-marie-kondo-takes-america-by-storm\">the Japanese organizing guru\u003c/a> gently guides Americans into discarding stuff that doesn't \"spark joy.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WvyeapVBLWY\u003c/p>\n\u003cp>\"We say 'spark joy' now for everything,\" says Brandon Riegg, the Netflix vice president in charge of unscripted series.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Riegg says Netflix has made heartwarming reality shows central to its brand, though that wasn't always the plan. The success of \u003cem>Queer Eye\u003c/em> and \u003cem>Nailed It! \u003c/em>convinced Netflix to double down on reality shows featuring people being kind to each other, he says. (Of course, because Netflix does not release audience numbers, we don't precisely know how successful those shows are.)\u003c/p>\n\u003cp>\"In the beginning, it wasn't an intentional strategy,\" Riegg says. \"When we decided to get into original unscripted programming, it was really a blank slate.\"\u003c/p>\n\u003cp>It should be noted that not all of Netflix's reality programming can be described as sweet. Its game show \u003cem>Flinch\u003c/em> doesn't disguise its nasty streak, and Netflix recently took heat over its upcoming \u003cem>Prank\u003c/em> \u003cem>Encounters\u003c/em>, where people working in short-term jobs are subject to hidden-camera pranks. (Netflix says the show, hosted by a teenage star of the sci-fi hit series \u003cem>Stranger Things\u003c/em>, is \"spooky, supernatural and over-the-top, and everyone had a great time.\")\u003c/p>\n\u003cp>Still, the burgeoning trend of positive reality programming has spread across the industry, according to Riegg.\u003c/p>\n\u003cp>\"Everyone's noticing that viewers are more drawn to that, that there's an appetite for that,\" he says, pointing to Fox's \u003cem>The Masked Singer\u003c/em> and NBC's \u003cem>Songland\u003c/em>. NBC is also the home of the notoriously nice crafting show \u003cem>Making It\u003c/em>, and the network may have helped to start this trend years ago, with weight-loss program \u003cem>The Biggest Loser\u003c/em>, along with ABC's \u003cem>Extreme Makeover: Home Edition \u003c/em>(which Riegg helped to develop).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pOi9OmdoxQs\u003c/p>\n\u003cp>\"As a critic and fan of reality TV, I love it,\" says Andy Dehnart, creator of the website \u003ca href=\"https://www.realityblurred.com/realitytv/\">Reality Blurred\u003c/a>. \"It makes it a lot easier to watch, to write about and just enjoy.\"\u003c/p>\n\u003cp>Dehnart points out these shows appeal to advertisers and to families looking for shows to watch together. Sunny reality shows may provide something of a counterbalance to the deeply dark scripted shows dominating TV of late: \u003cem>The Walking Dead\u003c/em>, \u003cem>Game of Thrones\u003c/em>, \u003cem>Chernobyl\u003c/em>, \u003cem>The Handmaid's Tale\u003c/em>, \u003cem>Killing Eve\u003c/em>, \u003cem>Ozark\u003c/em>, \u003cem>Better Call Saul\u003c/em>, \u003cem>Succession\u003c/em> and so on.\u003c/p>\n\u003cp>Of late, reality shows are providing a much-needed break from people being rotten to each other, says Tara Long, president of unscripted TV for Entertainment One, which produces such reality shows as \u003cem>Growing Up Hip Hop\u003c/em>, \u003cem>LadyGang\u003c/em> and \u003cem>Siesta Key\u003c/em>.\u003c/p>\n\u003cp>\"We actually have production meetings where we say we don't want fighting,\" she says. It's a profound shift from the days when the genre relied on people flipping tables for drama. \"Ten years ago, you'd need that in every episode to build up to your final act.\"\u003c/p>\n\u003cp>I asked Long if people who make reality television might be trying to change the cultural conversation after 20 years of toxic reality shows that helped—in part—elect \u003ca href=\"https://www.npr.org/2017/02/03/513194862/with-conflict-and-drama-trump-hooks-you-like-a-reality-tv-show\">a former reality show star\u003c/a> to the U.S. presidency.\u003c/p>\n\u003cp>\"A hundred percent,\" she says, without hesitation. \"I think we want to create this content and tell these stories to kind of course-correct for some of the type of shows that have been done in the past.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a moment when the tone of public discourse feels so lowered, Long says, maybe now is the time for reality television—yes, reality television—to push for civility and respect.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Kinder%2C+Gentler+Wave+Of+Reality+TV+Tries+A+Little+Tenderness%2C+For+A+Change&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It's a genre known for screaming matches, hot-tub hookups and contestants who are there \u003cem>to win,\u003c/em> \u003cem>not\u003c/em> \u003cem>to make friends\u003c/em>. But as of late, reality television has taken a kinder, gentler turn.\u003c/p>\n\u003cp>Fire up Netflix and you'll see sweet-natured shows such as \u003cem>Queer Eye\u003c/em>, which kicked off its fourth season with a public school teacher getting an enthusiastic makeover, and a slew of food programs where people are lovely to each other. Think \u003cem>The Great British Baking Show\u003c/em>, \u003cem>Sugar Rush\u003c/em>, \u003cem>Street Food\u003c/em> and \u003cem>Nailed It!\u003c/em>, where contestants giggle with the hosts about their haplessness in decorating cakes.\u003c/p>\n\u003cp>Netflix's dating show, \u003cem>Dating Around\u003c/em>, is practically humiliation-free. And in the hit series \u003cem>Tidying Up with Marie Kondo\u003c/em>, \u003ca href=\"https://www.npr.org/2016/01/07/462230434/japanese-organizing-consultant-marie-kondo-takes-america-by-storm\">the Japanese organizing guru\u003c/a> gently guides Americans into discarding stuff that doesn't \"spark joy.\"\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/WvyeapVBLWY'\n title='//www.youtube.com/embed/WvyeapVBLWY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"We say 'spark joy' now for everything,\" says Brandon Riegg, the Netflix vice president in charge of unscripted series.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Riegg says Netflix has made heartwarming reality shows central to its brand, though that wasn't always the plan. The success of \u003cem>Queer Eye\u003c/em> and \u003cem>Nailed It! \u003c/em>convinced Netflix to double down on reality shows featuring people being kind to each other, he says. (Of course, because Netflix does not release audience numbers, we don't precisely know how successful those shows are.)\u003c/p>\n\u003cp>\"In the beginning, it wasn't an intentional strategy,\" Riegg says. \"When we decided to get into original unscripted programming, it was really a blank slate.\"\u003c/p>\n\u003cp>It should be noted that not all of Netflix's reality programming can be described as sweet. Its game show \u003cem>Flinch\u003c/em> doesn't disguise its nasty streak, and Netflix recently took heat over its upcoming \u003cem>Prank\u003c/em> \u003cem>Encounters\u003c/em>, where people working in short-term jobs are subject to hidden-camera pranks. (Netflix says the show, hosted by a teenage star of the sci-fi hit series \u003cem>Stranger Things\u003c/em>, is \"spooky, supernatural and over-the-top, and everyone had a great time.\")\u003c/p>\n\u003cp>Still, the burgeoning trend of positive reality programming has spread across the industry, according to Riegg.\u003c/p>\n\u003cp>\"Everyone's noticing that viewers are more drawn to that, that there's an appetite for that,\" he says, pointing to Fox's \u003cem>The Masked Singer\u003c/em> and NBC's \u003cem>Songland\u003c/em>. NBC is also the home of the notoriously nice crafting show \u003cem>Making It\u003c/em>, and the network may have helped to start this trend years ago, with weight-loss program \u003cem>The Biggest Loser\u003c/em>, along with ABC's \u003cem>Extreme Makeover: Home Edition \u003c/em>(which Riegg helped to develop).\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/pOi9OmdoxQs'\n title='//www.youtube.com/embed/pOi9OmdoxQs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"As a critic and fan of reality TV, I love it,\" says Andy Dehnart, creator of the website \u003ca href=\"https://www.realityblurred.com/realitytv/\">Reality Blurred\u003c/a>. \"It makes it a lot easier to watch, to write about and just enjoy.\"\u003c/p>\n\u003cp>Dehnart points out these shows appeal to advertisers and to families looking for shows to watch together. Sunny reality shows may provide something of a counterbalance to the deeply dark scripted shows dominating TV of late: \u003cem>The Walking Dead\u003c/em>, \u003cem>Game of Thrones\u003c/em>, \u003cem>Chernobyl\u003c/em>, \u003cem>The Handmaid's Tale\u003c/em>, \u003cem>Killing Eve\u003c/em>, \u003cem>Ozark\u003c/em>, \u003cem>Better Call Saul\u003c/em>, \u003cem>Succession\u003c/em> and so on.\u003c/p>\n\u003cp>Of late, reality shows are providing a much-needed break from people being rotten to each other, says Tara Long, president of unscripted TV for Entertainment One, which produces such reality shows as \u003cem>Growing Up Hip Hop\u003c/em>, \u003cem>LadyGang\u003c/em> and \u003cem>Siesta Key\u003c/em>.\u003c/p>\n\u003cp>\"We actually have production meetings where we say we don't want fighting,\" she says. It's a profound shift from the days when the genre relied on people flipping tables for drama. \"Ten years ago, you'd need that in every episode to build up to your final act.\"\u003c/p>\n\u003cp>I asked Long if people who make reality television might be trying to change the cultural conversation after 20 years of toxic reality shows that helped—in part—elect \u003ca href=\"https://www.npr.org/2017/02/03/513194862/with-conflict-and-drama-trump-hooks-you-like-a-reality-tv-show\">a former reality show star\u003c/a> to the U.S. presidency.\u003c/p>\n\u003cp>\"A hundred percent,\" she says, without hesitation. \"I think we want to create this content and tell these stories to kind of course-correct for some of the type of shows that have been done in the past.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a moment when the tone of public discourse feels so lowered, Long says, maybe now is the time for reality television—yes, reality television—to push for civility and respect.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Kinder%2C+Gentler+Wave+Of+Reality+TV+Tries+A+Little+Tenderness%2C+For+A+Change&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Inside the All-Black Writers Room of Netflix's 'Family Reunion'",
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"content": "\u003cp>In \u003cem>Family Reunion\u003c/em>, the new Netflix series, Tia Mowry-Hardrict plays Cocoa McKellan, a free-spirited mother of four and wife of a retired football player, Moz (Anthony Alabi, himself a former NFL player). The McKellans packed their bags in Seattle, Wash., and have moved to Columbus, Ga. to live with Moz's parents—including his old-fashioned mother M'Dear (Loretta Devine).\u003c/p>\n\u003cp>The family sitcom is penned entirely by black writers, and draws from the personal stories of its writers, including creator and executive producer Meg DeLoatch, who got the idea when she went to a family reunion in Georgia three years ago.\u003c/p>\n\u003cp>\"It's such a warm, lovely feeling to be surrounded by family, and—you know, it's summertime, the food is great,\" she says in an interview. \"And I remember wondering how different my life might have been if I had been able to grow up and live and work and raise my son within arm's reach of family. And so that had been marinating in the back of my mind for a while. So when Netflix came to me and asked me to do a family sitcom, I immediately thought back to: Wow, that time in my life.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J4eHcqKh-X8\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how the all-black writers room came about\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At Netflix, and their encouragement. I actually didn't set out—that wasn't what I was thinking, and I'll be honest with you: because it's never really been something I've been allowed to do, at least not with the major networks. And then when one of the execs said, \"Meg, you're going to hire an all-black room, right?\" I was like, \"I am. Yeah, I am!\"\u003c/p>\n\u003cp>And it was really, really cool to do because I wanted to genuinely share the African American experience. And there's no one experience, of course, in this country. And so to assemble a group of people that, in some ways, what we all only had in common was being black, and then we came from different walks of life, different parts of the country—it was a great way to talk and percolate and weave together the experience of one black family. ... I mean it was important to me that we have younger writers, writers that were from affluent and less affluent backgrounds, because all of that is reflected in the show.\u003c/p>\n\u003cp>\u003cstrong>On what is different about an all-black writing staff\u003c/strong>\u003c/p>\n\u003cp>Well, first of all, there's a shorthand that happens when culturally ... we've been raised a similar way. And what I think is interesting is that a lot of African American people in this country: We're only a generation or two away from the South. So that means that even if you do come up in Seattle, you're probably being raised by someone whose grandmother was somewhere in the South. And so that means that culturally, food and conversation and other touchstones, there are some common threads.\u003c/p>\n\u003cp>So that being said, nobody had to stop and explain certain things. It was sort of already understood. Whereas if I were in other rooms that weren't all-black, I might stop and say, \"OK, just so you know, a lot of black people, when they go to church, they'll wear dress hats,\" or ... whatever the topic might be. I might feel the need to stop and explain to someone what we're talking about.\u003c/p>\n\u003cp>\u003cstrong>On the family's immersion in the Southern black cultural experience\u003c/strong>\u003c/p>\n\u003cp>I think it's so important that kids be raised with an understanding of who they are culturally, and if for no other reason, for self-esteem, right. It's not to be like, \"Oh, I'm like this, so I'm different from you, or better than you, or less than you.\" It's: \"I'm like this, and this means something.\" And that there's a cultural relevance in that people have something to fall back on.\u003c/p>\n\u003cp>I was raised in a very integrated environment. And what that meant was that I felt good about being a young African American girl and having friends who weren't African American. And if you're not in touch with your culture, sometimes there are small things that might make you feel less-than, whether it's the way your hair curls or the fact that you're just different from your friends. So I wanted to get into that and say: It's cool to integrate, even to assimilate—but it's only cool if you know who you are and where you come from.\u003c/p>\n\u003cp>\u003cstrong>On the issues of identity around the light-skinned teenage character Jade\u003c/strong>\u003c/p>\n\u003cp>You know, that's the reality for a lot of people. And it can come from both sides of the spectrum depending on where you fall, color-wise. And it's one of the things in our community that we contend with. And there's nothing wrong with it. It's just—let's talk about it. Let's get to the root of it. And then at the end of the day, let's acknowledge while we may sometimes look different, we are not different and we're all beautiful.\u003c/p>\n\u003cp>\u003cstrong>On the scene where Jade is confronted by a group of girls because she doesn't know who the Black Panthers are\u003c/strong>\u003c/p>\n\u003cp>It was really important to me. ... I call them my \"woke mean girl\" crew ... because you know, high school is high school, and often girls are not very nice to each other. But I thought it would be really interesting if they were coming at her and weren't being kind to her because they felt like she was not \"awake\" and \"woke.\" And so that there was more to their cattiness than just \"we're teenage girls and we don't like each other.\" Their constant prodding with Jade is encouraging her to know her history, to appreciate where she comes from, and therefore to own all that she is. And ultimately they get her there. It's just not the nicest way possible.\u003c/p>\n\u003cfigure id=\"attachment_112891\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-112891\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-800x600.jpg\" alt=\"'Family Reunion' Executive Producer Meg DeLoatch is a veteran of family sitcoms like 'Family Matters,' 'One on One' and 'Fuller House.'\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">'Family Reunion' Executive Producer Meg DeLoatch is a veteran of family sitcoms like 'Family Matters,' 'One on One' and 'Fuller House.' \u003ccite>(Rachel Murray/Getty Images for Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On if she thinks Hollywood is having a moment for diverse cultural experiences in storytelling\u003c/strong>\u003c/p>\n\u003cp>I do. And let me say first: I hope it lasts. Because it happens every now and then where culturally, everybody will get into diversity, and then it kind of goes away. But it does feel different this time. And I am optimistic that it lasts. It is an awesome time to be a woman of color and a storyteller in Hollywood, because people want to hear our stories. And it hasn't always been that way. ...\u003c/p>\n\u003cp>And you know, everybody's experience is different. Maybe someone would argue with me about that. But I really—from just the sheer number of shows and movies and things out there that are telling different parts of the black experience, the Latin experience, etc., I feel that the industry is more open than it's ever been since I started working in it 20 years ago.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Jordan Tobias, Sophia Alvarez Boyd and Barrie Hardymon produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Inside+%27Family+Reunion%2C%27+A+Sitcom+With+An+All-Black+Writers+Room&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003cem>Family Reunion\u003c/em>, the new Netflix series, Tia Mowry-Hardrict plays Cocoa McKellan, a free-spirited mother of four and wife of a retired football player, Moz (Anthony Alabi, himself a former NFL player). The McKellans packed their bags in Seattle, Wash., and have moved to Columbus, Ga. to live with Moz's parents—including his old-fashioned mother M'Dear (Loretta Devine).\u003c/p>\n\u003cp>The family sitcom is penned entirely by black writers, and draws from the personal stories of its writers, including creator and executive producer Meg DeLoatch, who got the idea when she went to a family reunion in Georgia three years ago.\u003c/p>\n\u003cp>\"It's such a warm, lovely feeling to be surrounded by family, and—you know, it's summertime, the food is great,\" she says in an interview. \"And I remember wondering how different my life might have been if I had been able to grow up and live and work and raise my son within arm's reach of family. And so that had been marinating in the back of my mind for a while. So when Netflix came to me and asked me to do a family sitcom, I immediately thought back to: Wow, that time in my life.\"\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/J4eHcqKh-X8'\n title='//www.youtube.com/embed/J4eHcqKh-X8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how the all-black writers room came about\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At Netflix, and their encouragement. I actually didn't set out—that wasn't what I was thinking, and I'll be honest with you: because it's never really been something I've been allowed to do, at least not with the major networks. And then when one of the execs said, \"Meg, you're going to hire an all-black room, right?\" I was like, \"I am. Yeah, I am!\"\u003c/p>\n\u003cp>And it was really, really cool to do because I wanted to genuinely share the African American experience. And there's no one experience, of course, in this country. And so to assemble a group of people that, in some ways, what we all only had in common was being black, and then we came from different walks of life, different parts of the country—it was a great way to talk and percolate and weave together the experience of one black family. ... I mean it was important to me that we have younger writers, writers that were from affluent and less affluent backgrounds, because all of that is reflected in the show.\u003c/p>\n\u003cp>\u003cstrong>On what is different about an all-black writing staff\u003c/strong>\u003c/p>\n\u003cp>Well, first of all, there's a shorthand that happens when culturally ... we've been raised a similar way. And what I think is interesting is that a lot of African American people in this country: We're only a generation or two away from the South. So that means that even if you do come up in Seattle, you're probably being raised by someone whose grandmother was somewhere in the South. And so that means that culturally, food and conversation and other touchstones, there are some common threads.\u003c/p>\n\u003cp>So that being said, nobody had to stop and explain certain things. It was sort of already understood. Whereas if I were in other rooms that weren't all-black, I might stop and say, \"OK, just so you know, a lot of black people, when they go to church, they'll wear dress hats,\" or ... whatever the topic might be. I might feel the need to stop and explain to someone what we're talking about.\u003c/p>\n\u003cp>\u003cstrong>On the family's immersion in the Southern black cultural experience\u003c/strong>\u003c/p>\n\u003cp>I think it's so important that kids be raised with an understanding of who they are culturally, and if for no other reason, for self-esteem, right. It's not to be like, \"Oh, I'm like this, so I'm different from you, or better than you, or less than you.\" It's: \"I'm like this, and this means something.\" And that there's a cultural relevance in that people have something to fall back on.\u003c/p>\n\u003cp>I was raised in a very integrated environment. And what that meant was that I felt good about being a young African American girl and having friends who weren't African American. And if you're not in touch with your culture, sometimes there are small things that might make you feel less-than, whether it's the way your hair curls or the fact that you're just different from your friends. So I wanted to get into that and say: It's cool to integrate, even to assimilate—but it's only cool if you know who you are and where you come from.\u003c/p>\n\u003cp>\u003cstrong>On the issues of identity around the light-skinned teenage character Jade\u003c/strong>\u003c/p>\n\u003cp>You know, that's the reality for a lot of people. And it can come from both sides of the spectrum depending on where you fall, color-wise. And it's one of the things in our community that we contend with. And there's nothing wrong with it. It's just—let's talk about it. Let's get to the root of it. And then at the end of the day, let's acknowledge while we may sometimes look different, we are not different and we're all beautiful.\u003c/p>\n\u003cp>\u003cstrong>On the scene where Jade is confronted by a group of girls because she doesn't know who the Black Panthers are\u003c/strong>\u003c/p>\n\u003cp>It was really important to me. ... I call them my \"woke mean girl\" crew ... because you know, high school is high school, and often girls are not very nice to each other. But I thought it would be really interesting if they were coming at her and weren't being kind to her because they felt like she was not \"awake\" and \"woke.\" And so that there was more to their cattiness than just \"we're teenage girls and we don't like each other.\" Their constant prodding with Jade is encouraging her to know her history, to appreciate where she comes from, and therefore to own all that she is. And ultimately they get her there. It's just not the nicest way possible.\u003c/p>\n\u003cfigure id=\"attachment_112891\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-112891\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-800x600.jpg\" alt=\"'Family Reunion' Executive Producer Meg DeLoatch is a veteran of family sitcoms like 'Family Matters,' 'One on One' and 'Fuller House.'\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">'Family Reunion' Executive Producer Meg DeLoatch is a veteran of family sitcoms like 'Family Matters,' 'One on One' and 'Fuller House.' \u003ccite>(Rachel Murray/Getty Images for Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On if she thinks Hollywood is having a moment for diverse cultural experiences in storytelling\u003c/strong>\u003c/p>\n\u003cp>I do. And let me say first: I hope it lasts. Because it happens every now and then where culturally, everybody will get into diversity, and then it kind of goes away. But it does feel different this time. And I am optimistic that it lasts. It is an awesome time to be a woman of color and a storyteller in Hollywood, because people want to hear our stories. And it hasn't always been that way. ...\u003c/p>\n\u003cp>And you know, everybody's experience is different. Maybe someone would argue with me about that. But I really—from just the sheer number of shows and movies and things out there that are telling different parts of the black experience, the Latin experience, etc., I feel that the industry is more open than it's ever been since I started working in it 20 years ago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Jordan Tobias, Sophia Alvarez Boyd and Barrie Hardymon produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Inside+%27Family+Reunion%2C%27+A+Sitcom+With+An+All-Black+Writers+Room&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Now Starring in Children's Cartoons: Authentic Indigenous Characters",
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"content": "\u003cp>For decades, animated children's stories included negative stereotypes of Indigenous people.\u003c/p>\n\u003cp>There was Disney's \u003ca href=\"https://www.youtube.com/watch?v=hpVNsegX94g\" target=\"_blank\" rel=\"noopener\">\u003cem>Pocahontas\u003c/em>\u003c/a>, which presented the daughter of a Powhatan chief in a romantic love story with Captain John Smith. Crystal Echo Hawk, CEO of the media watchdog group IllumiNative, says it was a false narrative about a girl who in reality was \"taken by force and sexually assaulted.\"\u003c/p>\n\u003cp>There was \u003ca href=\"https://www.youtube.com/watch?v=f7yE8TKUB_M\" target=\"_blank\" rel=\"noopener\">Tiger Lily\u003c/a> in the classic film \u003cem>Peter Pan\u003c/em>, the princess of the \"Piccaninny\" tribe who smoked a peace pipe and spoke in one-syllable gibberish. The same went for the various \"injuns\" in old Bugs Bunny cartoons.\u003c/p>\n\u003cp>More recently, Disney and Pixar got kudos for more authentic representations of Native people in the films \u003ca href=\"https://www.npr.org/2016/11/23/503066811/moana-actress-grew-up-with-the-polynesian-myth-that-inspired-the-movie\" target=\"_blank\" rel=\"noopener\">\u003cem>Moana\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2017/11/20/564385036/mexico-music-and-family-take-center-stage-in-coco\" target=\"_blank\" rel=\"noopener\">\u003cem>Coco\u003c/em>\u003c/a>. Now, TV networks and streaming services are reaching children with realistic portrayals on the small screen—where they consume most of their media.\u003c/p>\n\u003cp>The new PBS show \u003cem>Molly of Denali\u003c/em> is the first nationally distributed children's series to feature an Alaska Native lead character. She's 10 years old; her heritage is Gwich'in, Koyukon and Dena'ina Athabascan. She lives in the fictional village of Qyah, population 94. She goes fishing and hunting, and also looks up information on the Internet and on her smartphone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=L_FiNuKnTW8\u003c/p>\n\u003cp>\"Molly is computer-savvy,\" says the show's creative producer, Princess Daazhraii Johnson. \"I think it's really important for us to show that, because we are modern, living people that are not relegated to the past. That stereotype, that romanticized notion of who we are as Native people, is rampant.\"\u003c/p>\n\u003cp>Johnson says when she travels, she still meets people who assume all Alaskans live in igloos and are Eskimos—\"which isn't a term that people really even use anymore up here,\" she says. \"We have 229 federally recognized tribes in Alaska; we have 20 officially recognized Alaska Native languages here. We are so diverse and dynamic. And that's something else that we're going to be able to share out to the world.\"\u003c/p>\n\u003cp>In one episode, Molly learns that her grandfather stopped drumming and singing as a child when he was taken away to a Bureau of Indian Affairs boarding school. \"At the school we weren't allowed to sing the songs from our people,\" an elder tells her. \"We were made to feel bad about who we were.\"\u003c/p>\n\u003cp>Johnson says this storyline really happened to one of the elders on the show's advisory board. It's a kid's show, so it has a happy ending: Molly and her grandfather sing together.\u003c/p>\n\u003cp>\"We're just over the moon about \u003cem>Molly of Denali\u003c/em>, because this is exactly the type of thing that can really began to shift perceptions in this country,\" Echo Hawk says.\u003c/p>\n\u003cp>Echo Hawk says that for years, Hollywood didn't produce stories about or by Native people because it didn't think a market existed for them. But that, she says, was shortsighted. Her organization polled more than 13,000 Americans, and found that nearly 80% of them said they want to learn more about Native peoples.\u003c/p>\n\u003cp>\"Media makers have always used the excuse 'the Native population in the United States is statistically insignificant ... there's not a demand because you guys are so small,'\" she says. \"But what this new research shows is that there is demand well beyond the Native population in this country.\"\u003c/p>\n\u003cp>For several decades, the Australian and Canadian Broadcasting Corporations have spotlighted shows by and about their indigenous populations. Now, Netflix is \u003ca href=\"https://globalnews.ca/news/5379809/netflix-partners-indigenous-groups/\" target=\"_blank\" rel=\"noopener\">partnering with three Indigenous cultural organizations\u003c/a> to develop the next generation of First Nation creators across Canada.\u003c/p>\n\u003cp>And in the U.S. and in Latin America, Netflix is running the animated film \u003cem>Pachamama\u003c/em>. The story centers on a 10-year-old boy in an Andean village who dreams of becoming a shaman. His people suffer under both the Spanish conquest and the Incan Empire.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QrOwxPPfzy8\u003c/p>\n\u003cp>\"It's told from the point of view of the Indigenous people,\" says Juan Antin, who wrote and directed the film. He says he wanted to give a realistic view of domination in the region.\u003c/p>\n\u003cp>Antin, who is from Argentina, says he was inspired by his travels with his anthropologist wife in Bolivia and Peru. \"There, I fell in love with the culture of Pachamama, which is how the indigenous people call Mother Earth, having respect, love to the Earth,\" he says.\u003c/p>\n\u003cp>The Cartoon Network series \u003cem>Victor and Valentino\u003c/em> features two half-brothers in a fictitious Mesoamerican village, exploring myths that come to life. For example, they follow the dog Achi into the land of the dead, where they encounter a \u003cem>chupacabra \u003c/em>and other legends.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bWPMMV4Z5ew\u003c/p>\n\u003cp>Animator Diego Molano, whose heritage is Mexican, Colombian and Cuban, began drawing his characters in college before writing for cartoons like \u003cem>The Powerpuff Girls\u003c/em>. He says with his new series, he wanted to share the folk tales his grandfather used to tell him.\u003c/p>\n\u003cp>\"I love the myths, but sometimes the myths are not kid-friendly,\" Molano says. \"So I kind of use what I like about them and kind of make a story that is relatable.\"\u003c/p>\n\u003cp>Molano says it's about time networks began showing cartoons with Indigenous characters and themes. He just hopes it's not just a fad.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ted Robbins edited this story for broadcast.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Now+Starring+In+Children%27s+Cartoons%3A+Authentic+Indigenous+Characters&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For decades, animated children's stories included negative stereotypes of Indigenous people.\u003c/p>\n\u003cp>There was Disney's \u003ca href=\"https://www.youtube.com/watch?v=hpVNsegX94g\" target=\"_blank\" rel=\"noopener\">\u003cem>Pocahontas\u003c/em>\u003c/a>, which presented the daughter of a Powhatan chief in a romantic love story with Captain John Smith. Crystal Echo Hawk, CEO of the media watchdog group IllumiNative, says it was a false narrative about a girl who in reality was \"taken by force and sexually assaulted.\"\u003c/p>\n\u003cp>There was \u003ca href=\"https://www.youtube.com/watch?v=f7yE8TKUB_M\" target=\"_blank\" rel=\"noopener\">Tiger Lily\u003c/a> in the classic film \u003cem>Peter Pan\u003c/em>, the princess of the \"Piccaninny\" tribe who smoked a peace pipe and spoke in one-syllable gibberish. The same went for the various \"injuns\" in old Bugs Bunny cartoons.\u003c/p>\n\u003cp>More recently, Disney and Pixar got kudos for more authentic representations of Native people in the films \u003ca href=\"https://www.npr.org/2016/11/23/503066811/moana-actress-grew-up-with-the-polynesian-myth-that-inspired-the-movie\" target=\"_blank\" rel=\"noopener\">\u003cem>Moana\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2017/11/20/564385036/mexico-music-and-family-take-center-stage-in-coco\" target=\"_blank\" rel=\"noopener\">\u003cem>Coco\u003c/em>\u003c/a>. Now, TV networks and streaming services are reaching children with realistic portrayals on the small screen—where they consume most of their media.\u003c/p>\n\u003cp>The new PBS show \u003cem>Molly of Denali\u003c/em> is the first nationally distributed children's series to feature an Alaska Native lead character. She's 10 years old; her heritage is Gwich'in, Koyukon and Dena'ina Athabascan. She lives in the fictional village of Qyah, population 94. She goes fishing and hunting, and also looks up information on the Internet and on her smartphone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/L_FiNuKnTW8'\n title='//www.youtube.com/embed/L_FiNuKnTW8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"Molly is computer-savvy,\" says the show's creative producer, Princess Daazhraii Johnson. \"I think it's really important for us to show that, because we are modern, living people that are not relegated to the past. That stereotype, that romanticized notion of who we are as Native people, is rampant.\"\u003c/p>\n\u003cp>Johnson says when she travels, she still meets people who assume all Alaskans live in igloos and are Eskimos—\"which isn't a term that people really even use anymore up here,\" she says. \"We have 229 federally recognized tribes in Alaska; we have 20 officially recognized Alaska Native languages here. We are so diverse and dynamic. And that's something else that we're going to be able to share out to the world.\"\u003c/p>\n\u003cp>In one episode, Molly learns that her grandfather stopped drumming and singing as a child when he was taken away to a Bureau of Indian Affairs boarding school. \"At the school we weren't allowed to sing the songs from our people,\" an elder tells her. \"We were made to feel bad about who we were.\"\u003c/p>\n\u003cp>Johnson says this storyline really happened to one of the elders on the show's advisory board. It's a kid's show, so it has a happy ending: Molly and her grandfather sing together.\u003c/p>\n\u003cp>\"We're just over the moon about \u003cem>Molly of Denali\u003c/em>, because this is exactly the type of thing that can really began to shift perceptions in this country,\" Echo Hawk says.\u003c/p>\n\u003cp>Echo Hawk says that for years, Hollywood didn't produce stories about or by Native people because it didn't think a market existed for them. But that, she says, was shortsighted. Her organization polled more than 13,000 Americans, and found that nearly 80% of them said they want to learn more about Native peoples.\u003c/p>\n\u003cp>\"Media makers have always used the excuse 'the Native population in the United States is statistically insignificant ... there's not a demand because you guys are so small,'\" she says. \"But what this new research shows is that there is demand well beyond the Native population in this country.\"\u003c/p>\n\u003cp>For several decades, the Australian and Canadian Broadcasting Corporations have spotlighted shows by and about their indigenous populations. Now, Netflix is \u003ca href=\"https://globalnews.ca/news/5379809/netflix-partners-indigenous-groups/\" target=\"_blank\" rel=\"noopener\">partnering with three Indigenous cultural organizations\u003c/a> to develop the next generation of First Nation creators across Canada.\u003c/p>\n\u003cp>And in the U.S. and in Latin America, Netflix is running the animated film \u003cem>Pachamama\u003c/em>. The story centers on a 10-year-old boy in an Andean village who dreams of becoming a shaman. His people suffer under both the Spanish conquest and the Incan Empire.\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/QrOwxPPfzy8'\n title='//www.youtube.com/embed/QrOwxPPfzy8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"It's told from the point of view of the Indigenous people,\" says Juan Antin, who wrote and directed the film. He says he wanted to give a realistic view of domination in the region.\u003c/p>\n\u003cp>Antin, who is from Argentina, says he was inspired by his travels with his anthropologist wife in Bolivia and Peru. \"There, I fell in love with the culture of Pachamama, which is how the indigenous people call Mother Earth, having respect, love to the Earth,\" he says.\u003c/p>\n\u003cp>The Cartoon Network series \u003cem>Victor and Valentino\u003c/em> features two half-brothers in a fictitious Mesoamerican village, exploring myths that come to life. For example, they follow the dog Achi into the land of the dead, where they encounter a \u003cem>chupacabra \u003c/em>and other legends.\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/bWPMMV4Z5ew'\n title='//www.youtube.com/embed/bWPMMV4Z5ew'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Animator Diego Molano, whose heritage is Mexican, Colombian and Cuban, began drawing his characters in college before writing for cartoons like \u003cem>The Powerpuff Girls\u003c/em>. He says with his new series, he wanted to share the folk tales his grandfather used to tell him.\u003c/p>\n\u003cp>\"I love the myths, but sometimes the myths are not kid-friendly,\" Molano says. \"So I kind of use what I like about them and kind of make a story that is relatable.\"\u003c/p>\n\u003cp>Molano says it's about time networks began showing cartoons with Indigenous characters and themes. He just hopes it's not just a fad.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ted Robbins edited this story for broadcast.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Now+Starring+In+Children%27s+Cartoons%3A+Authentic+Indigenous+Characters&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Two years after it released the first season of the show \u003cem>13 Reasons Why \u003c/em>with a graphic suicide scene, Netflix has announced that it has edited it out.\u003c/p>\n\u003cp>The show is centered on the suicide of fictional teen Hannah Baker, and the first season's finale shows her taking her own life. Several organizations, including the National Association of School Psychologists, \u003ca href=\"https://www.nasponline.org/resources-and-publications/resources-and-podcasts/school-climate-safety-and-crisis/mental-health-resources/preventing-youth-suicide/13-reasons-why-netflix-series/13-reasons-why-netflix-series-considerations-for-educators\">raised concerns\u003c/a> that it could romanticize suicide for vulnerable teens.\u003c/p>\n\u003cp>\"Our creative intent in portraying the ugly, painful reality of suicide in such graphic detail in Season 1 was to tell the truth about the horror of such an act, and make sure no one would ever wish to emulate it,\" show creator Brian Yorkey \u003ca href=\"https://twitter.com/13ReasonsWhy/status/1150987786243018752\">said in a statement\u003c/a>. \"But as we ready to launch Season 3, we have heard concerns about the scene from Dr. Christine Moutier at the American Foundation for Suicide Prevention and others, and have agreed with Netflix to re-edit it.\"\u003c/p>\n\u003cp>\"No one scene is more important than the life of the show, and its message that we must take better care of each other,\" he added. \"We believe this edit will help the show do the most good for the most people while mitigating any risk for especially vulnerable young viewers.\"\u003c/p>\n\u003cp>After some initial criticism, Netflix added a warning card to the beginning of the episode, alerting viewers that the episode contained \"graphic depictions of suicide and violence.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=toj3CyMhBOs\u003c/p>\n\u003cp>The show also has a website, \u003ca href=\"https://13reasonswhy.info/\">13reasonswhy.info\u003c/a>, containing resources about suicide prevention. It contains videos of cast members discussing topics such as bullying, consent, depression and how to talk with a teen about the series. The site also warns: \"If you are struggling, this series may not be right for you or you may want to watch it with a trusted adult.\"\u003c/p>\n\u003cp>The edited version, now on Netflix, shows Hannah looking at herself in the mirror, full of emotion. It then cuts to her parents finding her body in the bathroom and reacting to her death. The previous version was nearly three minutes long, \u003ca href=\"https://www.hollywoodreporter.com/live-feed/netflix-alters-graphic-13-reasons-why-suicide-scene-controversy-1224489?utm_medium=social&utm_source=twitter&utm_source=t.co&utm_medium=referral\">according to The Hollywood Reporter\u003c/a>, and showed her cutting her wrists with a razor blade.\u003c/p>\n\u003cp>Netflix's decision has drawn praise from a number of suicide prevention advocates, such as American Association of Suicidology, American Foundation for Suicide Prevention, American School Counselor Association, Dr. Helen Hsu from Stanford, advocacy group Mental Health America, the Trevor Project and Dr. Rebecca Hedrick from Cedars-Sinai, according to THR.\u003c/p>\n\u003cp>\"We support the decision to edit the scene in which Hannah takes her own life from \u003cem>13 Reasons Why\u003c/em>. There has been much debate about the series in the medical community,\" they said in a joint statement, as THR reported. \"But this positive change will ensure that \u003cem>13 Reasons Why\u003c/em> continues to encourage open conversation about mental health and suicide prevention—while also mitigating the risk for the most vulnerable teenage viewers.\"\u003c/p>\n\u003cp>Ron Avi Astor at the University of Southern California, who studies adolescent bullying and mental health, discussed with \u003ca href=\"https://www.npr.org/sections/ed/2017/05/05/526871398/facts-about-teens-suicide-and-13-reasons-why\">NPR's Anya Kamenetz\u003c/a> how the images of self-harm on the show could affect teens.\u003c/p>\n\u003cp>Avi Astor told Kamenetz that the depiction could be contagious—but just for certain teens. \"It's not just that any random kid would see it and do it,\" he said, but for a kid who was already thinking about suicide, it had the potential to influence their behavior.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you or someone you know may be considering suicide, contact the National Suicide Prevention Lifeline at 1-800-273-8255 (En Español: 1-888-628-9454; Deaf and Hard of Hearing: 1-800-799-4889) or the Crisis Text Line by texting HOME to 741741.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Netflix+Cuts+Controversial+Suicide+Scene+From+%2713+Reasons+Why%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two years after it released the first season of the show \u003cem>13 Reasons Why \u003c/em>with a graphic suicide scene, Netflix has announced that it has edited it out.\u003c/p>\n\u003cp>The show is centered on the suicide of fictional teen Hannah Baker, and the first season's finale shows her taking her own life. Several organizations, including the National Association of School Psychologists, \u003ca href=\"https://www.nasponline.org/resources-and-publications/resources-and-podcasts/school-climate-safety-and-crisis/mental-health-resources/preventing-youth-suicide/13-reasons-why-netflix-series/13-reasons-why-netflix-series-considerations-for-educators\">raised concerns\u003c/a> that it could romanticize suicide for vulnerable teens.\u003c/p>\n\u003cp>\"Our creative intent in portraying the ugly, painful reality of suicide in such graphic detail in Season 1 was to tell the truth about the horror of such an act, and make sure no one would ever wish to emulate it,\" show creator Brian Yorkey \u003ca href=\"https://twitter.com/13ReasonsWhy/status/1150987786243018752\">said in a statement\u003c/a>. \"But as we ready to launch Season 3, we have heard concerns about the scene from Dr. Christine Moutier at the American Foundation for Suicide Prevention and others, and have agreed with Netflix to re-edit it.\"\u003c/p>\n\u003cp>\"No one scene is more important than the life of the show, and its message that we must take better care of each other,\" he added. \"We believe this edit will help the show do the most good for the most people while mitigating any risk for especially vulnerable young viewers.\"\u003c/p>\n\u003cp>After some initial criticism, Netflix added a warning card to the beginning of the episode, alerting viewers that the episode contained \"graphic depictions of suicide and violence.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/toj3CyMhBOs'\n title='//www.youtube.com/embed/toj3CyMhBOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The show also has a website, \u003ca href=\"https://13reasonswhy.info/\">13reasonswhy.info\u003c/a>, containing resources about suicide prevention. It contains videos of cast members discussing topics such as bullying, consent, depression and how to talk with a teen about the series. The site also warns: \"If you are struggling, this series may not be right for you or you may want to watch it with a trusted adult.\"\u003c/p>\n\u003cp>The edited version, now on Netflix, shows Hannah looking at herself in the mirror, full of emotion. It then cuts to her parents finding her body in the bathroom and reacting to her death. The previous version was nearly three minutes long, \u003ca href=\"https://www.hollywoodreporter.com/live-feed/netflix-alters-graphic-13-reasons-why-suicide-scene-controversy-1224489?utm_medium=social&utm_source=twitter&utm_source=t.co&utm_medium=referral\">according to The Hollywood Reporter\u003c/a>, and showed her cutting her wrists with a razor blade.\u003c/p>\n\u003cp>Netflix's decision has drawn praise from a number of suicide prevention advocates, such as American Association of Suicidology, American Foundation for Suicide Prevention, American School Counselor Association, Dr. Helen Hsu from Stanford, advocacy group Mental Health America, the Trevor Project and Dr. Rebecca Hedrick from Cedars-Sinai, according to THR.\u003c/p>\n\u003cp>\"We support the decision to edit the scene in which Hannah takes her own life from \u003cem>13 Reasons Why\u003c/em>. There has been much debate about the series in the medical community,\" they said in a joint statement, as THR reported. \"But this positive change will ensure that \u003cem>13 Reasons Why\u003c/em> continues to encourage open conversation about mental health and suicide prevention—while also mitigating the risk for the most vulnerable teenage viewers.\"\u003c/p>\n\u003cp>Ron Avi Astor at the University of Southern California, who studies adolescent bullying and mental health, discussed with \u003ca href=\"https://www.npr.org/sections/ed/2017/05/05/526871398/facts-about-teens-suicide-and-13-reasons-why\">NPR's Anya Kamenetz\u003c/a> how the images of self-harm on the show could affect teens.\u003c/p>\n\u003cp>Avi Astor told Kamenetz that the depiction could be contagious—but just for certain teens. \"It's not just that any random kid would see it and do it,\" he said, but for a kid who was already thinking about suicide, it had the potential to influence their behavior.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you or someone you know may be considering suicide, contact the National Suicide Prevention Lifeline at 1-800-273-8255 (En Español: 1-888-628-9454; Deaf and Hard of Hearing: 1-800-799-4889) or the Crisis Text Line by texting HOME to 741741.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Netflix+Cuts+Controversial+Suicide+Scene+From+%2713+Reasons+Why%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "David Harbour on the 'Stranger Things' Kids, Being Jim Hopper and Missing Barb",
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"content": "\u003cp>In \u003cem>Stranger Things 3\u003c/em>, the citizens of the fictitious town of Hawkins, Ind., have a turbulent Fourth of July ahead of them. But the unconventional teenage protagonists of the show, led by grumpy police chief Jim Hopper, are ready for the challenge.\u003c/p>\n\u003cp>Hopper is played by David Harbour, a veteran actor who began his career more than 20 years ago. He found success on stage, TV and film, but Harbour didn't land a breakout role until the '80s nostalgia-fueled, sci-fi adventure came along.\u003c/p>\n\u003cp>Thanks to the show's cult following, Hopper has become a character so beloved that he's \u003ca href=\"https://www.huffpost.com/entry/david-harbour-senior-high-school-photos-viral_n_5a59f0cce4b03c418965ece0\">appeared in one fan's senior photos\u003c/a> and \u003ca href=\"https://news.avclub.com/david-harbour-honors-retweets-officiates-wedding-in-ch-1829105885\">officiated a real wedding.\u003c/a>\u003c/p>\n\u003cp>The first two seasons of the Netflix hit saw Hopper as an unlikely hero: a curmudgeon coping with immense personal loss and perpetually disgruntled by the kids in town.\u003c/p>\n\u003cp>This season, Hopper is the adoptive father of Eleven (Millie Bobby Brown), a teenage girl with other-worldly capabilities and her first boyfriend, Mike (played by Finn Wolfhard). But, before anyone can stress about the throes of young love, the teens and Hopper are tasked with saving Hawkins (and the world) from the dangerous paranormal forces of an alternate universe known as the Upside Down.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While Harbour understands the allure of the dashing, leading man roles, he also believes that imperfect characters, like Hopper, offer actors the chance to shine a light on the weirdos of the world.\u003c/p>\n\u003cp>Balancing the chief's rougher edges with his growing tendency toward tenderness is one of Harbour's favorite parts of this season. He hopes his fallible and complicated characters speak to real human experiences and ultimately help his audiences learn deeper empathy for others. It's a theme he touched on \u003ca href=\"https://www.elle.com/culture/movies-tv/news/a42519/david-harbour-stranger-things-sag-award-speech/\">in an acceptance speech\u003c/a> he gave at the SAG awards in 2017.\u003c/p>\n\u003cp>\"We are united in that we are all human beings and we are all together on this horrible, painful, joyous, exciting, and mysterious ride that is being alive,\" he said. \"Now, as we act in the continuing narrative of \u003cem>Stranger Things,\u003c/em> we 1983 Midwesterners will repel bullies. We will shelter freaks and outcasts, those who have no homes. We will get past the lies. We will hunt monsters.\u003cem>\"\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XcnHOQ-cHa0\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the types of characters he's drawn to\u003c/strong>\u003c/p>\n\u003cp>There's a temptation to be larger than life, to be more beautiful and more capable and I've always been drawn to characters that are less-than capable, that make me feel not alone in my weirdness, in the fact that I don't always fit in, in the fact that I don't always do the right thing. ...\u003c/p>\n\u003cp>That sort of mess I want to bring to the screen so that people can maybe feel deeper empathy for others. We're all a bit of a mess. I mean, we're all kind of chaotically struggling to get through this life in various forms and there's a lot of joy in that, and a lot of sadness, and a lot of all kinds of different emotions. So, I've always wanted to portray that much more than to be someone who people looked at as perfect.\u003c/p>\n\u003cp>\u003cstrong>On watching his young co-stars grow up\u003c/strong>\u003c/p>\n\u003cp>[In this season,] you watch the kids grow up in real time. And you feel the passage of time, more strongly than anything you could write or act....\u003c/p>\n\u003cp>I mean, it's very strange. And like, I sort of mirror Hopper in a sense where I started off with them trying to be very separate, you know, even with my work, I just wanted to be apart from them. And then as the show grows and they grow and they become more of who they are, we've gotten closer and closer.\u003c/p>\n\u003cfigure id=\"attachment_112686\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-112686\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/07/2dcaabd0-812e-11e9-a01d-9b31871e8d95-800x450.jpg\" alt=\"Jim Hopper on the case, Season 3, 'Stranger Things'.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/07/2dcaabd0-812e-11e9-a01d-9b31871e8d95-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/2dcaabd0-812e-11e9-a01d-9b31871e8d95-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/2dcaabd0-812e-11e9-a01d-9b31871e8d95-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/2dcaabd0-812e-11e9-a01d-9b31871e8d95-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/2dcaabd0-812e-11e9-a01d-9b31871e8d95.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Hopper on the case, Season 3, 'Stranger Things'. \u003ccite>(Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On the advice he gives to the teen actors on \u003c/strong>\u003cem>\u003cstrong>Stranger Things\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>I think that as young artists, they're getting so much success and ... I want Millie [Bobby Brown] to be the next Meryl Streep and I want Finn [Wolfhard] to be the next Daniel Day-Lewis....\u003c/p>\n\u003cp>I mean, I have these desires for them to be the great actors of the next generation and I feel like that takes work. And it takes development. And it takes acting classes, even when you're paid a lot and well-respected for your acting. Even when it's good at a certain level, it still takes development of that tool.\u003c/p>\n\u003cp>\u003cstrong> On how his career aspirations have changed over time\u003c/strong>\u003c/p>\n\u003cp>Of course, in the back of my mind, there was a draw to fame. I looked at the celebrities I grew up with—you know, Harrison Ford or Gene Hackman and these guys—and I looked at them as a sort of American royalty. And I remember feeling like I wanted to be a part of that.\u003c/p>\n\u003cp>And then, as I've progressed along that line, it's become more and more apparent that my goal is to get messier. You know, I want to be the messy artist that I always dreamed of being when I was a kid.\u003c/p>\n\u003cp>\u003cstrong>On the audience's love and continued pursuit of justice for Barb, a character slain during Season 1\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It's funny, I was just thinking about that the other day. She was such a great character. And it's so rare. 'Cuz I watch the season and ... I think each season gets better, especially this season, I think is so beautiful and epic and profound. And I was like, \"Oh, we can't get any better than this!\" And the only thing I thought was, \"I kind wish Barb was around...\" She makes everything a little better!\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR.\u003c/a>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Stranger+Things%27+Star+David+Harbour+Will+Take+Messy+Over+Perfect+Any+Day&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003cem>Stranger Things 3\u003c/em>, the citizens of the fictitious town of Hawkins, Ind., have a turbulent Fourth of July ahead of them. But the unconventional teenage protagonists of the show, led by grumpy police chief Jim Hopper, are ready for the challenge.\u003c/p>\n\u003cp>Hopper is played by David Harbour, a veteran actor who began his career more than 20 years ago. He found success on stage, TV and film, but Harbour didn't land a breakout role until the '80s nostalgia-fueled, sci-fi adventure came along.\u003c/p>\n\u003cp>Thanks to the show's cult following, Hopper has become a character so beloved that he's \u003ca href=\"https://www.huffpost.com/entry/david-harbour-senior-high-school-photos-viral_n_5a59f0cce4b03c418965ece0\">appeared in one fan's senior photos\u003c/a> and \u003ca href=\"https://news.avclub.com/david-harbour-honors-retweets-officiates-wedding-in-ch-1829105885\">officiated a real wedding.\u003c/a>\u003c/p>\n\u003cp>The first two seasons of the Netflix hit saw Hopper as an unlikely hero: a curmudgeon coping with immense personal loss and perpetually disgruntled by the kids in town.\u003c/p>\n\u003cp>This season, Hopper is the adoptive father of Eleven (Millie Bobby Brown), a teenage girl with other-worldly capabilities and her first boyfriend, Mike (played by Finn Wolfhard). But, before anyone can stress about the throes of young love, the teens and Hopper are tasked with saving Hawkins (and the world) from the dangerous paranormal forces of an alternate universe known as the Upside Down.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While Harbour understands the allure of the dashing, leading man roles, he also believes that imperfect characters, like Hopper, offer actors the chance to shine a light on the weirdos of the world.\u003c/p>\n\u003cp>Balancing the chief's rougher edges with his growing tendency toward tenderness is one of Harbour's favorite parts of this season. He hopes his fallible and complicated characters speak to real human experiences and ultimately help his audiences learn deeper empathy for others. It's a theme he touched on \u003ca href=\"https://www.elle.com/culture/movies-tv/news/a42519/david-harbour-stranger-things-sag-award-speech/\">in an acceptance speech\u003c/a> he gave at the SAG awards in 2017.\u003c/p>\n\u003cp>\"We are united in that we are all human beings and we are all together on this horrible, painful, joyous, exciting, and mysterious ride that is being alive,\" he said. \"Now, as we act in the continuing narrative of \u003cem>Stranger Things,\u003c/em> we 1983 Midwesterners will repel bullies. We will shelter freaks and outcasts, those who have no homes. We will get past the lies. We will hunt monsters.\u003cem>\"\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XcnHOQ-cHa0'\n title='//www.youtube.com/embed/XcnHOQ-cHa0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the types of characters he's drawn to\u003c/strong>\u003c/p>\n\u003cp>There's a temptation to be larger than life, to be more beautiful and more capable and I've always been drawn to characters that are less-than capable, that make me feel not alone in my weirdness, in the fact that I don't always fit in, in the fact that I don't always do the right thing. ...\u003c/p>\n\u003cp>That sort of mess I want to bring to the screen so that people can maybe feel deeper empathy for others. We're all a bit of a mess. I mean, we're all kind of chaotically struggling to get through this life in various forms and there's a lot of joy in that, and a lot of sadness, and a lot of all kinds of different emotions. So, I've always wanted to portray that much more than to be someone who people looked at as perfect.\u003c/p>\n\u003cp>\u003cstrong>On watching his young co-stars grow up\u003c/strong>\u003c/p>\n\u003cp>[In this season,] you watch the kids grow up in real time. And you feel the passage of time, more strongly than anything you could write or act....\u003c/p>\n\u003cp>I mean, it's very strange. And like, I sort of mirror Hopper in a sense where I started off with them trying to be very separate, you know, even with my work, I just wanted to be apart from them. And then as the show grows and they grow and they become more of who they are, we've gotten closer and closer.\u003c/p>\n\u003cfigure id=\"attachment_112686\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-112686\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/07/2dcaabd0-812e-11e9-a01d-9b31871e8d95-800x450.jpg\" alt=\"Jim Hopper on the case, Season 3, 'Stranger Things'.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/07/2dcaabd0-812e-11e9-a01d-9b31871e8d95-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/2dcaabd0-812e-11e9-a01d-9b31871e8d95-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/2dcaabd0-812e-11e9-a01d-9b31871e8d95-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/2dcaabd0-812e-11e9-a01d-9b31871e8d95-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/2dcaabd0-812e-11e9-a01d-9b31871e8d95.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Hopper on the case, Season 3, 'Stranger Things'. \u003ccite>(Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On the advice he gives to the teen actors on \u003c/strong>\u003cem>\u003cstrong>Stranger Things\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>I think that as young artists, they're getting so much success and ... I want Millie [Bobby Brown] to be the next Meryl Streep and I want Finn [Wolfhard] to be the next Daniel Day-Lewis....\u003c/p>\n\u003cp>I mean, I have these desires for them to be the great actors of the next generation and I feel like that takes work. And it takes development. And it takes acting classes, even when you're paid a lot and well-respected for your acting. Even when it's good at a certain level, it still takes development of that tool.\u003c/p>\n\u003cp>\u003cstrong> On how his career aspirations have changed over time\u003c/strong>\u003c/p>\n\u003cp>Of course, in the back of my mind, there was a draw to fame. I looked at the celebrities I grew up with—you know, Harrison Ford or Gene Hackman and these guys—and I looked at them as a sort of American royalty. And I remember feeling like I wanted to be a part of that.\u003c/p>\n\u003cp>And then, as I've progressed along that line, it's become more and more apparent that my goal is to get messier. You know, I want to be the messy artist that I always dreamed of being when I was a kid.\u003c/p>\n\u003cp>\u003cstrong>On the audience's love and continued pursuit of justice for Barb, a character slain during Season 1\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It's funny, I was just thinking about that the other day. She was such a great character. And it's so rare. 'Cuz I watch the season and ... I think each season gets better, especially this season, I think is so beautiful and epic and profound. And I was like, \"Oh, we can't get any better than this!\" And the only thing I thought was, \"I kind wish Barb was around...\" She makes everything a little better!\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR.\u003c/a>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Stranger+Things%27+Star+David+Harbour+Will+Take+Messy+Over+Perfect+Any+Day&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Shocking Surprises Still Reign in 'Black Mirror' Season 5",
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"content": "\u003cp>When CBS All Access unveiled its new version of \u003cem>The Twilight Zone\u003c/em> earlier this year, the general consensus was that the initial episodes in the new series had \u003ca href=\"https://www.npr.org/2019/03/29/707977719/new-twilight-zone-reboot-pales-in-comparison-to-the-original\">fallen short\u003c/a> of Rod Serling's original version. Not only were they unworthy of \u003cem>The Twilight Zone\u003c/em> of old, but they also weren't nearly as good, or as smart, as a show that had begun in England in 2011,\u003cem> Black Mirror.\u003c/em>\u003c/p>\n\u003cp>Watching \u003cem>Black Mirror\u003c/em>'s three brand-new installments on Netflix makes it clear that the series, in our current TV universe, claims and holds the fantasy anthology series crown. Charlie Brooker and Annabel Jones head the team behind this show, which uses the technology of today—and the possible technology of tomorrow—to frame, inform or drive its stories.\u003c/p>\n\u003cp>Brooker wrote all three of these new episodes, and their scope is as wide as their impact is deep. One story is about a pop star whose personality is marketed in an Alexa-style computer figurine. Another is about a driver for an Uber-type company who blames a social media company for his personal tragedy. And a third—the most haunting and daring of the three—is about two buddies who try out a new, virtual reality version of a favorite hand-to-hand combat video game they played some 10 years earlier.\u003c/p>\n\u003cp>The video game episode is titled \"Striking Vipers,\" after the new VR game, and it's my favorite of the three, because I haven't been able to stop thinking about it. I was pretty sure I knew where this episode was going once the two characters dove into their game, but I was so wrong—and the larger questions that began being posed were so challenging—that I ended up being as blown away by the ideas as by the truly dazzling special effects.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2bVik34nWws\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That's not to slight the other new episodes, by the way. Each of them creates a new world, introduces new characters and sets in motion a story that ultimately goes deep in very uncharted territory. The episode called \"Smithereens\" stars Andrew Scott—the sexy priest \u003ca href=\"https://www.npr.org/2019/05/16/723961358/fleabag-returns-for-a-raunchy-2nd-season-and-quits-while-it-s-ahead\">in the new season of\u003c/a> Amazon's \u003cem>Fleabag\u003c/em>—as a hired driver who kidnaps a passenger. That passenger is played by Damson Idris—who, oddly enough, also appears in the new \u003cem>Twilight Zone\u003c/em> series. In that show's time-loop episode, called \"Replay,\" he plays a student heading for college who is confronted by one dangerous situation after another.\u003c/p>\n\u003cp>The \u003cem>Black Mirror\u003c/em> episode titled \"Rachel, Jack and Ashley Too\" stars Miley Cyrus as a pink-wigged pop star whose manipulative manager has found a new way to exploit her using a tiny new high-tech toy called Ashley Too. The toy, which is part artificial intelligence, part talking-and-dancing action figure, is aimed at teenage fans. And it clearly hits the target when a young girl named Rachel (Angourie Rice) gets Ashley Too as a gift, and turns it on with a voice command.\u003c/p>\n\u003cp>Fans of the original \u003cem>Twilight Zone\u003c/em> may be flashing back to the spooky \"Living Doll\" episode, in which a talking doll named Talky Tina ended up terrorizing Telly Savalas—and jumpstarting a generation of \u003cem>Chucky \u003c/em>movies. But once again, \u003cem>Black Mirror \u003c/em>is interested in going somewhere new. By the end, not only do we get a strong performance from Cyrus—but we also get to consider some very intriguing questions about the nature of celebrity, and the limits and expectations of fandom.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Notice that I've said almost nothing about what actually happens in these new episodes. That's because originality and uncertainty and unpredictability aren't just ingredients in the \u003cem>Black Mirror\u003c/em> stew. They \u003cem>are \u003c/em>the stew. And to experience just how good, and how different, this anthology series is—and has been, from the very start—you just have to sample it for yourself.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Originality+And+Uncertainty+Still+Reign+As+%27Black+Mirror%27+Enters+Its+5th+Season&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When CBS All Access unveiled its new version of \u003cem>The Twilight Zone\u003c/em> earlier this year, the general consensus was that the initial episodes in the new series had \u003ca href=\"https://www.npr.org/2019/03/29/707977719/new-twilight-zone-reboot-pales-in-comparison-to-the-original\">fallen short\u003c/a> of Rod Serling's original version. Not only were they unworthy of \u003cem>The Twilight Zone\u003c/em> of old, but they also weren't nearly as good, or as smart, as a show that had begun in England in 2011,\u003cem> Black Mirror.\u003c/em>\u003c/p>\n\u003cp>Watching \u003cem>Black Mirror\u003c/em>'s three brand-new installments on Netflix makes it clear that the series, in our current TV universe, claims and holds the fantasy anthology series crown. Charlie Brooker and Annabel Jones head the team behind this show, which uses the technology of today—and the possible technology of tomorrow—to frame, inform or drive its stories.\u003c/p>\n\u003cp>Brooker wrote all three of these new episodes, and their scope is as wide as their impact is deep. One story is about a pop star whose personality is marketed in an Alexa-style computer figurine. Another is about a driver for an Uber-type company who blames a social media company for his personal tragedy. And a third—the most haunting and daring of the three—is about two buddies who try out a new, virtual reality version of a favorite hand-to-hand combat video game they played some 10 years earlier.\u003c/p>\n\u003cp>The video game episode is titled \"Striking Vipers,\" after the new VR game, and it's my favorite of the three, because I haven't been able to stop thinking about it. I was pretty sure I knew where this episode was going once the two characters dove into their game, but I was so wrong—and the larger questions that began being posed were so challenging—that I ended up being as blown away by the ideas as by the truly dazzling special effects.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2bVik34nWws'\n title='//www.youtube.com/embed/2bVik34nWws'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That's not to slight the other new episodes, by the way. Each of them creates a new world, introduces new characters and sets in motion a story that ultimately goes deep in very uncharted territory. The episode called \"Smithereens\" stars Andrew Scott—the sexy priest \u003ca href=\"https://www.npr.org/2019/05/16/723961358/fleabag-returns-for-a-raunchy-2nd-season-and-quits-while-it-s-ahead\">in the new season of\u003c/a> Amazon's \u003cem>Fleabag\u003c/em>—as a hired driver who kidnaps a passenger. That passenger is played by Damson Idris—who, oddly enough, also appears in the new \u003cem>Twilight Zone\u003c/em> series. In that show's time-loop episode, called \"Replay,\" he plays a student heading for college who is confronted by one dangerous situation after another.\u003c/p>\n\u003cp>The \u003cem>Black Mirror\u003c/em> episode titled \"Rachel, Jack and Ashley Too\" stars Miley Cyrus as a pink-wigged pop star whose manipulative manager has found a new way to exploit her using a tiny new high-tech toy called Ashley Too. The toy, which is part artificial intelligence, part talking-and-dancing action figure, is aimed at teenage fans. And it clearly hits the target when a young girl named Rachel (Angourie Rice) gets Ashley Too as a gift, and turns it on with a voice command.\u003c/p>\n\u003cp>Fans of the original \u003cem>Twilight Zone\u003c/em> may be flashing back to the spooky \"Living Doll\" episode, in which a talking doll named Talky Tina ended up terrorizing Telly Savalas—and jumpstarting a generation of \u003cem>Chucky \u003c/em>movies. But once again, \u003cem>Black Mirror \u003c/em>is interested in going somewhere new. By the end, not only do we get a strong performance from Cyrus—but we also get to consider some very intriguing questions about the nature of celebrity, and the limits and expectations of fandom.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Notice that I've said almost nothing about what actually happens in these new episodes. That's because originality and uncertainty and unpredictability aren't just ingredients in the \u003cem>Black Mirror\u003c/em> stew. They \u003cem>are \u003c/em>the stew. And to experience just how good, and how different, this anthology series is—and has been, from the very start—you just have to sample it for yourself.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Originality+And+Uncertainty+Still+Reign+As+%27Black+Mirror%27+Enters+Its+5th+Season&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Everything You Need To Know About 'Tales Of The City' Before The Netflix Update",
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"content": "\u003cp>In 2014, after Armistead Maupin released the final book in his \u003cem>Tales of the City\u003c/em> series, KQED Pop's \u003ca href=\"https://www.kqed.org/pop/10814/armistead-maupin-on-saying-goodbye-to-san-francisco-and-tales-of-the-city\">Tony Bravo wrote\u003c/a>, \"There's something melancholy yet appropriate about Maupin choosing to end his series at this particular point in the city's history; the San Francisco of the nearly 40 years of the series is changing rapidly and radically.\"\u003c/p>\n\u003cp>Tech domination and socio-economic inequality might dominate San Francisco's 2019 reality, but in the latest TV adaptation of Maupin's \u003cem>Tales\u003c/em>, the focus remains primarily on community, acceptance and the families we choose for ourselves. The trailer alone is a reminder of what a special haven the city has historically been—and still is in many ways. As Maupin himself once wrote: \"The worst of times in San Francisco was still better than the best of times somewhere else.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9IUSCVH61xw\u003c/p>\n\u003cp>Here then, is everything you need to know about \u003cem>Tales of the City\u003c/em> before the latest installment hits Netflix.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Birth Of The Books Was A Happy Accident\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The roots of Maupin's \u003cem>Tales\u003c/em> column started in the \u003cem>San Francisco Chronicle \u003c/em>after he attempted to write a 1976 article about the Marina Safeway. It was, at the time, a well-known pick-up joint every Wednesday night, but when Maupin failed to find any singles willing to talk honestly about what they were doing at the supermarket, he decided to transform the story into fiction. Maupin quickly made a deal with his editors that allowed him to write about gay characters too; they said as long as the gay characters only made up a third of the cast, it was okay. The community was impossible to keep out. As Maupin himself wrote: “In this town, the love that dare not speak its name never shuts up.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Maupin Loved San Francisco Before He Even Lived In It\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignright wp-image-112022\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/Screen-Shot-2019-05-21-at-4.22.09-PM.png\" alt=\"\" width=\"250\" height=\"315\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-21-at-4.22.09-PM.png 302w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-21-at-4.22.09-PM-160x201.png 160w\" sizes=\"(max-width: 250px) 100vw, 250px\">Originally hailing from Raleigh, North Carolina, the author's father was a Confederate flag-owning segregation supporter. Maupin did two tours of duty in the Navy, the bulk of which was spent working as a communications officer in Vietnam. (He returned there to build houses for disabled veterans after the war. ) The process of leaving the Navy in 1970 required Maupin to go to Treasure Island. “I stood there and looked at the city,\" he recalled. \"That extraordinary white vision rising above the blue water... [I] used to fantasize about living there… It wasn’t until several years later that I realized the dream could come true.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Tales\u003c/em> Helped People Come Out\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fbg6Ge0FqCI\u003c/p>\n\u003cp>The beautiful coming out letter that Michael wrote to his Anita Bryant-supporting parents in the original \u003cem>Tales of the City\u003c/em> book is based on Maupin’s own to his conservative parents. Others, including a caller to \u003ca href=\"https://www.kqed.org/forum/2010101870505/armistead-maupin-and-laura-linney-share-new-tales-of-the-city\">KQED's \u003cem>Forum\u003c/em>\u003c/a> last April, have since used it as a blueprint to come out to their own families. It reads in part:\u003c/p>\n\u003cblockquote>\u003cp>\"If you and Papa are responsible for the way I am, then I thank you with all my heart, for it's the light and the joy of my life... Being gay has taught me tolerance, compassion and humility. It has shown me the limitless possibilities of living. It has given me people whose passion and kindness and sensitivity have provided a constant source of strength. It has brought me into the family of man, Mama, and I like it here. I like it.\"\u003c/p>\u003c/blockquote>\n\u003cp style=\"text-align: center\">\u003cstrong>It Was A Major Step Forward For Trans Visibility\u003c/strong>\u003c/p>\n\u003cp>Though Maupin was permitted to introduce gay characters six weeks into writing his column, he was firmly prohibited from revealing Anna Madrigal's trans status for an entire year, \"or else we'd scare off the readers.\" That delay mattered little in the grand scheme of things. In a 1992\u003ca href=\"https://www.youtube.com/watch?v=v0kGn5xK6OY\"> BBC \u003cem>Arena\u003c/em> documentary\u003c/a>, Kate Bornstein, a transgender woman living in San Francisco, expressed how much \u003cem>Tales\u003c/em> meant to her growing up, saying, “I thought, if a city can accept a transexual character drawn with so much love, there is some hope.”\u003c/p>\n\u003cp>Maupin, executive producer of the new show, has said that a real trans woman would have been cast in the role of Anna Madrigal if it were being cast for the first time now. “When Olympia did [it] in 1992, no one else would touch it,\" Laura Linney confirmed on \u003cem>Forum\u003c/em>. \"And what she was able to do for the trans community then is something that had not been done before.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>28 Barbary Lane is Still in Russian Hill\u003c/strong>\u003c/p>\n\u003cp>Though 28 Barbary Lane is a fictitious address, it's based on the real-life Macondray Lane in Russian Hill, described in 1978's \u003cem>Tales Of The City\u003c/em> thusly:\u003c/p>\n\u003cblockquote>\u003cp>\"The house was on Barbary Lane, a narrow, wooded walk-way off Leavenworth between Union and Filbert. It was a well-weathered, three-story structure made of brown shingles. It made Mary Ann think of an old bear with bits of foliage caught in its fur. She liked it instantly.\"\u003c/p>\u003c/blockquote>\n\u003cp style=\"text-align: center\">\u003cstrong>The First \u003cem>Tales\u003c/em> TV Adaptation Is Now 26 Years Old\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">Just as SF residents are prone to revisiting Maupin's \u003cem>Tales\u003c/em> books, Laura Linney and Olivia Dukakis have been doing the same thing with their roles as Mary Ann Singleton and Anna Madrigal respectively, since 1993. At the time of that first adaptation—which also starred a gloriously freewheeling Parker Posey—the series had PBS's highest ever ratings for a drama. It also had the distinction of being one of the first positive portrayals of the LGBTQ community in TV history.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FOzpSSsJbV8\u003c/p>\n\u003cp>Linney and Dukakis reprised their roles on Showtime in 1998 and 2001. Back in April, Laura Linney told \u003ca href=\"https://www.kqed.org/forum/2010101870505/armistead-maupin-and-laura-linney-share-new-tales-of-the-city\">\u003cem>Forum\u003c/em>\u003c/a>: “There was something about walking back on that set again. Being able to step back into that world, into that house… It goes deep for me now… It means something to me, not just my character now.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The New Series Seems To Be Based On 2010's \u003cem>Mary Ann in Autumn\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The darkest of the \u003cem>Tales\u003c/em> books, 1989's \u003ca href=\"https://en.wikipedia.org/wiki/Sure_of_You\">\u003cem>Sure of You\u003c/em>\u003c/a> saw Mary Ann leaving San Francisco, her husband and her adopted daughter, Shawna, to pursue a prestigious TV job in New York. In 2010's \u003cem>Mary Ann In Autumn\u003c/em>, she returns to the city in ill-health, reconnecting with the loved ones of her past, including her estranged daughter, who is now a popular sex blogger. Though the Netflix adaptation isn't sticking with the plot exactly—in the book, Shawna was dating a professional clown named Otto; in the series, played by Ellen Page, she is involved with a woman named Claire (Zosia Mamet)—the bare bones probably remain similar. “We’ve hired queer writers to write the story,\" Maupin told \u003cem>Forum\u003c/em>, \"and they’ve shared their experiences.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Tales of the City \u003cem>premieres on Netflix, June 7.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2014, after Armistead Maupin released the final book in his \u003cem>Tales of the City\u003c/em> series, KQED Pop's \u003ca href=\"https://www.kqed.org/pop/10814/armistead-maupin-on-saying-goodbye-to-san-francisco-and-tales-of-the-city\">Tony Bravo wrote\u003c/a>, \"There's something melancholy yet appropriate about Maupin choosing to end his series at this particular point in the city's history; the San Francisco of the nearly 40 years of the series is changing rapidly and radically.\"\u003c/p>\n\u003cp>Tech domination and socio-economic inequality might dominate San Francisco's 2019 reality, but in the latest TV adaptation of Maupin's \u003cem>Tales\u003c/em>, the focus remains primarily on community, acceptance and the families we choose for ourselves. The trailer alone is a reminder of what a special haven the city has historically been—and still is in many ways. As Maupin himself once wrote: \"The worst of times in San Francisco was still better than the best of times somewhere else.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9IUSCVH61xw'\n title='//www.youtube.com/embed/9IUSCVH61xw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here then, is everything you need to know about \u003cem>Tales of the City\u003c/em> before the latest installment hits Netflix.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Birth Of The Books Was A Happy Accident\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The roots of Maupin's \u003cem>Tales\u003c/em> column started in the \u003cem>San Francisco Chronicle \u003c/em>after he attempted to write a 1976 article about the Marina Safeway. It was, at the time, a well-known pick-up joint every Wednesday night, but when Maupin failed to find any singles willing to talk honestly about what they were doing at the supermarket, he decided to transform the story into fiction. Maupin quickly made a deal with his editors that allowed him to write about gay characters too; they said as long as the gay characters only made up a third of the cast, it was okay. The community was impossible to keep out. As Maupin himself wrote: “In this town, the love that dare not speak its name never shuts up.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Maupin Loved San Francisco Before He Even Lived In It\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignright wp-image-112022\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/Screen-Shot-2019-05-21-at-4.22.09-PM.png\" alt=\"\" width=\"250\" height=\"315\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-21-at-4.22.09-PM.png 302w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-21-at-4.22.09-PM-160x201.png 160w\" sizes=\"(max-width: 250px) 100vw, 250px\">Originally hailing from Raleigh, North Carolina, the author's father was a Confederate flag-owning segregation supporter. Maupin did two tours of duty in the Navy, the bulk of which was spent working as a communications officer in Vietnam. (He returned there to build houses for disabled veterans after the war. ) The process of leaving the Navy in 1970 required Maupin to go to Treasure Island. “I stood there and looked at the city,\" he recalled. \"That extraordinary white vision rising above the blue water... [I] used to fantasize about living there… It wasn’t until several years later that I realized the dream could come true.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Tales\u003c/em> Helped People Come Out\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fbg6Ge0FqCI'\n title='//www.youtube.com/embed/fbg6Ge0FqCI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The beautiful coming out letter that Michael wrote to his Anita Bryant-supporting parents in the original \u003cem>Tales of the City\u003c/em> book is based on Maupin’s own to his conservative parents. Others, including a caller to \u003ca href=\"https://www.kqed.org/forum/2010101870505/armistead-maupin-and-laura-linney-share-new-tales-of-the-city\">KQED's \u003cem>Forum\u003c/em>\u003c/a> last April, have since used it as a blueprint to come out to their own families. It reads in part:\u003c/p>\n\u003cblockquote>\u003cp>\"If you and Papa are responsible for the way I am, then I thank you with all my heart, for it's the light and the joy of my life... Being gay has taught me tolerance, compassion and humility. It has shown me the limitless possibilities of living. It has given me people whose passion and kindness and sensitivity have provided a constant source of strength. It has brought me into the family of man, Mama, and I like it here. I like it.\"\u003c/p>\u003c/blockquote>\n\u003cp style=\"text-align: center\">\u003cstrong>It Was A Major Step Forward For Trans Visibility\u003c/strong>\u003c/p>\n\u003cp>Though Maupin was permitted to introduce gay characters six weeks into writing his column, he was firmly prohibited from revealing Anna Madrigal's trans status for an entire year, \"or else we'd scare off the readers.\" That delay mattered little in the grand scheme of things. In a 1992\u003ca href=\"https://www.youtube.com/watch?v=v0kGn5xK6OY\"> BBC \u003cem>Arena\u003c/em> documentary\u003c/a>, Kate Bornstein, a transgender woman living in San Francisco, expressed how much \u003cem>Tales\u003c/em> meant to her growing up, saying, “I thought, if a city can accept a transexual character drawn with so much love, there is some hope.”\u003c/p>\n\u003cp>Maupin, executive producer of the new show, has said that a real trans woman would have been cast in the role of Anna Madrigal if it were being cast for the first time now. “When Olympia did [it] in 1992, no one else would touch it,\" Laura Linney confirmed on \u003cem>Forum\u003c/em>. \"And what she was able to do for the trans community then is something that had not been done before.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>28 Barbary Lane is Still in Russian Hill\u003c/strong>\u003c/p>\n\u003cp>Though 28 Barbary Lane is a fictitious address, it's based on the real-life Macondray Lane in Russian Hill, described in 1978's \u003cem>Tales Of The City\u003c/em> thusly:\u003c/p>\n\u003cblockquote>\u003cp>\"The house was on Barbary Lane, a narrow, wooded walk-way off Leavenworth between Union and Filbert. It was a well-weathered, three-story structure made of brown shingles. It made Mary Ann think of an old bear with bits of foliage caught in its fur. She liked it instantly.\"\u003c/p>\u003c/blockquote>\n\u003cp style=\"text-align: center\">\u003cstrong>The First \u003cem>Tales\u003c/em> TV Adaptation Is Now 26 Years Old\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">Just as SF residents are prone to revisiting Maupin's \u003cem>Tales\u003c/em> books, Laura Linney and Olivia Dukakis have been doing the same thing with their roles as Mary Ann Singleton and Anna Madrigal respectively, since 1993. At the time of that first adaptation—which also starred a gloriously freewheeling Parker Posey—the series had PBS's highest ever ratings for a drama. It also had the distinction of being one of the first positive portrayals of the LGBTQ community in TV history.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FOzpSSsJbV8'\n title='//www.youtube.com/embed/FOzpSSsJbV8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Linney and Dukakis reprised their roles on Showtime in 1998 and 2001. Back in April, Laura Linney told \u003ca href=\"https://www.kqed.org/forum/2010101870505/armistead-maupin-and-laura-linney-share-new-tales-of-the-city\">\u003cem>Forum\u003c/em>\u003c/a>: “There was something about walking back on that set again. Being able to step back into that world, into that house… It goes deep for me now… It means something to me, not just my character now.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The New Series Seems To Be Based On 2010's \u003cem>Mary Ann in Autumn\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The darkest of the \u003cem>Tales\u003c/em> books, 1989's \u003ca href=\"https://en.wikipedia.org/wiki/Sure_of_You\">\u003cem>Sure of You\u003c/em>\u003c/a> saw Mary Ann leaving San Francisco, her husband and her adopted daughter, Shawna, to pursue a prestigious TV job in New York. In 2010's \u003cem>Mary Ann In Autumn\u003c/em>, she returns to the city in ill-health, reconnecting with the loved ones of her past, including her estranged daughter, who is now a popular sex blogger. Though the Netflix adaptation isn't sticking with the plot exactly—in the book, Shawna was dating a professional clown named Otto; in the series, played by Ellen Page, she is involved with a woman named Claire (Zosia Mamet)—the bare bones probably remain similar. “We’ve hired queer writers to write the story,\" Maupin told \u003cem>Forum\u003c/em>, \"and they’ve shared their experiences.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tales of the City \u003cem>premieres on Netflix, June 7.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Netflix's 'Tuca & Bertie' Puts The Lady Birds In Charge",
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"content": "\u003cp>\u003cem>Tuca & Bertie\u003c/em> is the latest adult animation to hit Netflix, and it centers on a brassy, colorful toucan (voiced by \u003ca href=\"https://www.npr.org/2017/12/14/569890709/tiffany-haddish-i-know-what-im-supposed-to-do-here-on-this-earth\">Tiffany Haddish\u003c/a>) and her neurotic best friend, a songbird (voiced by \u003ca href=\"https://www.npr.org/2016/08/02/484163577/marriage-and-motherhood-are-a-source-of-power-says-comic-ali-wong\">Ali Wong\u003c/a>). But the strongest voice on the show is behind the scenes—that of creator and executive producer Lisa Hanawalt.\u003c/p>\n\u003cp>Hanawalt, who \u003ca href=\"https://www.npr.org/2015/03/24/393853692/for-bojack-horseman-it-matters-if-a-cartoon-dog-is-a-man-or-a-woman\">helped shape the hit animation\u003c/a> \u003cem>BoJack Horseman\u003c/em> as its creative director, describes herself as someone vacillating between confident and anxious. So when her own show got a green light, she deliberately focused on a female perspective, and gave both sides of her personality a character.\u003c/p>\n\u003cp>Her brassy, bold self is woven into Tuca. \"Confident, yet relatable,\" Tuca describes herself in the premiere. \"Wearer of short shorts.\"\u003c/p>\n\u003cp>Her more uncertain, anxious side got life as Bertie. The birds are best friends in their 30s—a theme Hanawalt felt needed more exploration.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZybYIJtbcu0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"So they're getting older, and Bertie maybe wants to buy a house and start a family and get married, and Tuca feels a little left behind,\" Hanawalt says. \"I wanted to explore what happens to a friendship like that—when you've been best friends for 10 years, but things are changing and you're maybe moving in different directions.\"\u003c/p>\n\u003cp>That this is an animated show allows Hanawalt and her team to embrace her unique sensibility. It involves absurdist humor and ... boobs. Lots of boobs.\u003c/p>\n\u003cp>In this show, boobs are on animals, on buildings; one boob even gets personified, popping right out of Bertie's chest in protest of a sexual advance. \"I am finished. I'm finished!\" the talking boob says. \"I am done with today! I need a drink.\"\u003c/p>\n\u003cp>\"You can just slap boobs on anything,\" Hanawalt says. \"Boobs on a snake! That doesn't really make sense, but it doesn't need to. There's a surreality to the world.\"\u003c/p>\n\u003cp>This surreal world starring women of color and created by a woman showrunner marks a first. The existing adult animations out there — \u003cem>Family Guy\u003c/em>, \u003cem>Archer\u003c/em>, \u003cem>The Simpsons\u003c/em>—are driven by men behind the scenes and male protagonists on the screens. So \u003cem>Tuca & Bertie\u003c/em> breaks ground, as a comedy about finding your way in a male-dominated world—but also as proof that Hanawalt has found her way in a \u003ca href=\"https://www.npr.org/2019/04/17/709644139/pixars-sparkshorts-set-out-to-ignite-more-diversity-in-animation\">heavily male animation industry\u003c/a>.\u003c/p>\n\u003cp>\"I've had it pointed out to me when I'm the only woman in a room,\" Hanawalt says. \"Some people think that that's a relevant thing to just say out loud, and I'm like, 'Really! That's a comfortable way to start a meeting. Thank you for pointing out how different I am.'\u003c/p>\n\u003cp>\"There's a lot of people working in this industry who are just blissfully unaware of certain things and how they could be coded, or how they could come across to different types of people. So, yeah, I think it matters a lot who's in the room, and who's empowered to speak up about things.\"\u003c/p>\n\u003cp>When she became the boss, she was deliberate in her hiring.\u003c/p>\n\u003cp>\"If you make that a goal of yours, it is not difficult to find writers of all colors and shapes and genders,\" Hanawalt says. \"It's really not difficult.\"\u003c/p>\n\u003cfigure id=\"attachment_111530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111530\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-800x533.jpg\" alt=\"Lisa Hanawalt is the creator and executive producer of 'Tuca & Bertie.'\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Hanawalt is the creator and executive producer of 'Tuca & Bertie.' \u003ccite>(Eddy Chen/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amy Winfrey, who directs several \u003cem>Tuca \u003c/em>episodes, says she feels the benefits of a diverse room in how the show is made—the creators being \"open to suggestions from everybody just in trying to get the best show possible\"—and editor Molly Yahr says it shows up in the finished product.\u003c/p>\n\u003cp>\"There is just a genuine importance for shows just displaying different parts of culture, and this show is a good indication of a type of female culture,\" Yahr says.\u003c/p>\n\u003cp>For Hanawalt, showing that women are weird and gross and multifaceted, just as she is, helps normalize our weirdnesses and idiosyncrasies.\u003c/p>\n\u003cp>\"I just hope that the people who watch it connect with it, and that it makes them feel better about who they are, so they don't have to feel apologetic for being a certain way or not being the status quo or whatever,\" Hanawalt says.\u003c/p>\n\u003cp>To create that connection, Hanawalt is at the center of all the decisions on this show, from the overarching vision down to the sly jokes. On one afternoon, she and Yahr compare different voice takes of Wong and Haddish excitedly reacting to a Girl Thingz store (it's reminiscent of the accessory-store mall stalwart, Claire's).\u003c/p>\n\u003cp>\"Girl things\" is a cheeky reference on \u003cem>Tuca & Bertie\u003c/em>. It's also the show's big idea.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ted Robbins edited this story for broadcast.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Netflix%27s+%27Tuca+%26+Bertie%27+Puts+The+Lady+Birds+In+Charge&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Tuca & Bertie\u003c/em> is the latest adult animation to hit Netflix, and it centers on a brassy, colorful toucan (voiced by \u003ca href=\"https://www.npr.org/2017/12/14/569890709/tiffany-haddish-i-know-what-im-supposed-to-do-here-on-this-earth\">Tiffany Haddish\u003c/a>) and her neurotic best friend, a songbird (voiced by \u003ca href=\"https://www.npr.org/2016/08/02/484163577/marriage-and-motherhood-are-a-source-of-power-says-comic-ali-wong\">Ali Wong\u003c/a>). But the strongest voice on the show is behind the scenes—that of creator and executive producer Lisa Hanawalt.\u003c/p>\n\u003cp>Hanawalt, who \u003ca href=\"https://www.npr.org/2015/03/24/393853692/for-bojack-horseman-it-matters-if-a-cartoon-dog-is-a-man-or-a-woman\">helped shape the hit animation\u003c/a> \u003cem>BoJack Horseman\u003c/em> as its creative director, describes herself as someone vacillating between confident and anxious. So when her own show got a green light, she deliberately focused on a female perspective, and gave both sides of her personality a character.\u003c/p>\n\u003cp>Her brassy, bold self is woven into Tuca. \"Confident, yet relatable,\" Tuca describes herself in the premiere. \"Wearer of short shorts.\"\u003c/p>\n\u003cp>Her more uncertain, anxious side got life as Bertie. The birds are best friends in their 30s—a theme Hanawalt felt needed more exploration.\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/ZybYIJtbcu0'\n title='//www.youtube.com/embed/ZybYIJtbcu0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"So they're getting older, and Bertie maybe wants to buy a house and start a family and get married, and Tuca feels a little left behind,\" Hanawalt says. \"I wanted to explore what happens to a friendship like that—when you've been best friends for 10 years, but things are changing and you're maybe moving in different directions.\"\u003c/p>\n\u003cp>That this is an animated show allows Hanawalt and her team to embrace her unique sensibility. It involves absurdist humor and ... boobs. Lots of boobs.\u003c/p>\n\u003cp>In this show, boobs are on animals, on buildings; one boob even gets personified, popping right out of Bertie's chest in protest of a sexual advance. \"I am finished. I'm finished!\" the talking boob says. \"I am done with today! I need a drink.\"\u003c/p>\n\u003cp>\"You can just slap boobs on anything,\" Hanawalt says. \"Boobs on a snake! That doesn't really make sense, but it doesn't need to. There's a surreality to the world.\"\u003c/p>\n\u003cp>This surreal world starring women of color and created by a woman showrunner marks a first. The existing adult animations out there — \u003cem>Family Guy\u003c/em>, \u003cem>Archer\u003c/em>, \u003cem>The Simpsons\u003c/em>—are driven by men behind the scenes and male protagonists on the screens. So \u003cem>Tuca & Bertie\u003c/em> breaks ground, as a comedy about finding your way in a male-dominated world—but also as proof that Hanawalt has found her way in a \u003ca href=\"https://www.npr.org/2019/04/17/709644139/pixars-sparkshorts-set-out-to-ignite-more-diversity-in-animation\">heavily male animation industry\u003c/a>.\u003c/p>\n\u003cp>\"I've had it pointed out to me when I'm the only woman in a room,\" Hanawalt says. \"Some people think that that's a relevant thing to just say out loud, and I'm like, 'Really! That's a comfortable way to start a meeting. Thank you for pointing out how different I am.'\u003c/p>\n\u003cp>\"There's a lot of people working in this industry who are just blissfully unaware of certain things and how they could be coded, or how they could come across to different types of people. So, yeah, I think it matters a lot who's in the room, and who's empowered to speak up about things.\"\u003c/p>\n\u003cp>When she became the boss, she was deliberate in her hiring.\u003c/p>\n\u003cp>\"If you make that a goal of yours, it is not difficult to find writers of all colors and shapes and genders,\" Hanawalt says. \"It's really not difficult.\"\u003c/p>\n\u003cfigure id=\"attachment_111530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111530\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-800x533.jpg\" alt=\"Lisa Hanawalt is the creator and executive producer of 'Tuca & Bertie.'\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Hanawalt is the creator and executive producer of 'Tuca & Bertie.' \u003ccite>(Eddy Chen/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amy Winfrey, who directs several \u003cem>Tuca \u003c/em>episodes, says she feels the benefits of a diverse room in how the show is made—the creators being \"open to suggestions from everybody just in trying to get the best show possible\"—and editor Molly Yahr says it shows up in the finished product.\u003c/p>\n\u003cp>\"There is just a genuine importance for shows just displaying different parts of culture, and this show is a good indication of a type of female culture,\" Yahr says.\u003c/p>\n\u003cp>For Hanawalt, showing that women are weird and gross and multifaceted, just as she is, helps normalize our weirdnesses and idiosyncrasies.\u003c/p>\n\u003cp>\"I just hope that the people who watch it connect with it, and that it makes them feel better about who they are, so they don't have to feel apologetic for being a certain way or not being the status quo or whatever,\" Hanawalt says.\u003c/p>\n\u003cp>To create that connection, Hanawalt is at the center of all the decisions on this show, from the overarching vision down to the sly jokes. On one afternoon, she and Yahr compare different voice takes of Wong and Haddish excitedly reacting to a Girl Thingz store (it's reminiscent of the accessory-store mall stalwart, Claire's).\u003c/p>\n\u003cp>\"Girl things\" is a cheeky reference on \u003cem>Tuca & Bertie\u003c/em>. It's also the show's big idea.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ted Robbins edited this story for broadcast.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Netflix%27s+%27Tuca+%26+Bertie%27+Puts+The+Lady+Birds+In+Charge&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Netflix's \u003cem>13 Reasons Why\u003c/em> was released two years ago, depicting the life of a teenager who decided to take her own life, educators and psychologists \u003ca href=\"https://www.npr.org/sections/ed/2017/05/05/526871398/facts-about-teens-suicide-and-13-reasons-why\">warned \u003c/a>the program could lead to copycat suicides. Now, a study funded by the National Institutes of Health shows that those concerns may have been warranted.\u003c/p>\n\u003cp>The series is filmed in and around Sonoma County, including Analy High School in Sebastopol, which stands in for the show's Liberty High School. Other filming locations have included the Epicenter Sports and Entertainment Center in northwest Santa Rosa, Friedman's Home Improvement in Petaluma, the downtown mall Santa Rosa Plaza in Santa Rosa, and various storefronts and residences in San Rafael and Vallejo. Many teenagers from Sonoma County have worked as extras on the show.\u003c/p>\n\u003cp>[aside postID='news_11741825' *ways-to-help-suicide_wide-82dd5198f71dc6f92a4adf84928322ed1a7b4ed0-1020x574.jpg'* target='_blank']\u003c/p>\n\u003cp>In the month following the show's debut in March 2017, there was a 28.9% increase in suicide among Americans ages 10-17, said the \u003ca href=\"https://www.jaacap.org/article/S0890-8567(19)30288-6/fulltext\">study\u003c/a>, published Monday in the \u003cem>Journal of the American Academy of Child and Adolescent Psychiatry\u003c/em>. The number of suicides was greater than that seen in any single month over the five-year period researchers examined. Over the rest of the year, there were 195 more youth suicides than expected given historical trends.\u003c/p>\n\u003cp>Researchers warn that their study could not prove causation. Some unknown third factor might have been responsible for the increase, they said. Still, citing the strong correlation, they cautioned against exposing children and adolescents to the series.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"The results of this study should raise awareness that young people are particularly vulnerable to the media,\" study co-author Lisa Horowitz, a staff scientist at the National Institute of Mental Health, said in a statement. \"All disciplines, including the media, need to take good care to be constructive and thoughtful about topics that intersect with public health crises.\"\u003c/p>\n\u003cp>Lead author Jeff Bridge, a suicide researcher at Nationwide Children's Hospital in Columbus, told The Associated Press that an additional analysis found the April suicide rate was higher than in the previous 19 years. \"The creators of the series intentionally portrayed the suicide of the main character. It was a very graphic depiction of the suicide death,\" he said, which can lead to suicidal behavior.\u003c/p>\n\u003cp>[aside postID='pop_104126' *bourdain-spade-1180x692.jpg'* target='_blank']\u003c/p>\n\u003cp>The study found that boys were far more likely than girls to kill themselves after the show debuted. Suicide rates for females did increase, but it was not statistically significant. Nor were there any \"significant trends\" in suicide rates for people 18-64, researchers said.\u003c/p>\n\u003cp>In a statement, a Netflix spokesperson said they had \"just seen this study and are looking into the research. \"This is a critically important topic and we have worked hard to ensure that we handle this sensitive issue responsibly,\" Netflix said, according to The Associated Press.\u003c/p>\n\u003cp>The spokesperson noted that the study conflicts with research published last week out of the University of Pennsylvania. \u003ca href=\"https://www.sciencedirect.com/science/article/abs/pii/S0277953619302072?via%3Dihub)\">That study \u003c/a>found that young adults, ages 18-29, who watched the entire second season of the show \"reported declines in suicide ideation and self-harm relative to those who did not watch the show at all.\"\u003c/p>\n\u003cp>However, that study found, viewers who stopped watching the second season before the end \"exhibited greater suicide risk and less optimism about the future than those who continued to the end.\" The results \"suggest that a fictional story with a focus on suicidal content can have both harmful and helpful effects,\" the authors wrote.\u003c/p>\n\u003cp>When the show debuted, the National Association of School Psychologists issued a \u003ca href=\"https://www.nasponline.org/resources-and-publications/resources/school-safety-and-crisis/preventing-youth-suicide/13-reasons-why-netflix-series/13-reasons-why-netflix-series-considerations-for-educators\">warning statement\u003c/a>: \"We do not recommend that vulnerable youth, especially those who have any degree of suicidal ideation, watch this series. Its powerful storytelling may lead impressionable viewers to romanticize the choices made by the characters and/or develop revenge fantasies,\" they said. \"Suicide is not a solution to problems.\"\u003c/p>\n\u003cp>After the criticism, Netflix added a \"viewer warning card\" before the first episode. Netflix also added language publicizing the website \u003ca href=\"https://13reasonswhy.info/\">13reasonswhy.info\u003c/a>, which offers resources for people contemplating suicide. Season 3 of the show is expected to be released this year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you or someone you know may be considering suicide, contact the National Suicide Prevention Lifeline at 1-800-273-8255 (En Español: 1-888-628-9454; Deaf and Hard of Hearing: 1-800-799-4889) or the Crisis Text Line by texting HOME to 741741.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org.\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Teen+Suicide+Spiked+After+Debut+Of+Netflix%27s+%2713+Reasons+Why%2C%27+Study+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>NEW YORK (AP) — Barack and Michelle Obama on Tuesday unveiled a slate of projects they are preparing for Netflix, a year after the former president and first lady signed a deal with the streaming platform.\u003c/p>\n\u003cp>The Obamas’ production company, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/22/613246456/obamas-sign-content-deal-with-netlfix-form-higher-ground-productions\" target=\"_blank\" rel=\"noopener\">Higher Ground Productions\u003c/a>, on Tuesday \u003ca href=\"https://media.netflix.com/en/press-releases/higher-ground-announces-upcoming-slate-of-projects-exclusive-to-netflix\">announced a total of seven films\u003c/a> and series that Barack Obama said will entertain but also “educate, connect and inspire us all.”\u003c/p>\n\u003cp>[aside postID='arts_13851806' hero='https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Obama.MAIN_-1920x1080.jpg' target='_blank']\u003c/p>\n\u003cp>Higher Ground is producing a feature film on Frederick Douglass, adapted from David W. Blight’s Pulitzer Prize-winning biography. Also in the works is a documentary series that adapts \u003ca href=\"https://www.kqed.org/forum/2010101869265/michael-lewis-on-the-government-shutdown-and-his-latest-book-the-fifth-risk\">Michael Lewis\u003c/a>’ \u003cem>Fifth Risk: Undoing Democracy\u003c/em>, the \u003cem>Moneyball\u003c/em> author’s 2018 best-seller about government servants working under the political appointees of Donald Trump’s administration.\u003c/p>\n\u003cp>The production company’s first release will be Steven Bognar and Julia Reichert’s Sundance Film Festival documentary \u003cem>American Factory\u003c/em>, about a Chinese-owned factory in post-industrial Ohio. Netflix and Higher Ground also acquired Jim LeBrecht and Nicole Newnham’s \u003cem>Crip Camp\u003c/em>, a documentary about a summer camp for disabled teenagers founded in upstate New York in the early 1970s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Obamas are also developing an upstairs-downstairs drama set in post-WWII New York titled \u003cem>Bloom\u003c/em>, and an adaptation of \u003cem>The New York Times\u003c/em> “Overlooked” obituary column, about deaths unreported by the paper. A half-hour show for preschoolers titled \u003cem>Listen to Your Vegetables & Eat Your Parents\u003c/em> will instruct kids about food.\u003c/p>\n\u003cp>“We love this slate because it spans so many different interests and experiences, yet it’s all woven together with stories that are relevant to our daily lives,” Michelle Obama said. “We think there’s something here for everyone—moms and dads, curious kids, and anyone simply looking for an engaging, uplifting watch at the end of a busy day.”\u003c/p>\n\u003cp>Here's a full list of the first slate of projects they're working on:\u003c/p>\n\u003col>\n\u003cli>\u003cem>American Factor\u003c/em>\u003c/li>\n\u003cli>\u003cem>Bloom\u003c/em>\u003c/li>\n\u003cli>Frederick Douglass biopic\u003c/li>\n\u003cli>\u003cem>\u003ca href=\"https://www.nytimes.com/interactive/2018/obituaries/overlooked-ida-b-wells.html\" target=\"_blank\" rel=\"noopener\">Overlooked\u003c/a>\u003c/em> series\u003c/li>\n\u003cli>\u003cem>Listen to Your Vegetables and Eat Your Parents\u003c/em>\u003c/li>\n\u003cli>\u003cem>\u003ca href=\"https://www.npr.org/2018/10/02/652563904/the-fifth-risk-paints-a-portrait-of-a-government-led-by-the-uninterested\" target=\"_blank\" rel=\"noopener\">Fifth Risk\u003c/a>\u003c/em>\u003c/li>\n\u003cli>\u003cem>Crip Camp\u003c/em>\u003c/li>\n\u003c/ol>\n\u003cp>\u003c/p>\n\u003cp>The projects are to be released over the next several years.\u003c/p>\n\n",
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"content": "\u003cp>\u003cem>Our Planet\u003c/em> is the kind of nature show where every image could be a screen saver: sweeping, dramatic landscapes full of colorful animals.\u003c/p>\n\u003cp>But among the high-definition scenes of lions on the hunt, there are some images you don't often see in these kinds of shows. Tropical reefs bleach into white bone-scapes; glaciers crumble into Arctic seas. In one particularly noteworthy sequence, \u003ca href=\"https://www.theatlantic.com/science/archive/2019/04/why-are-walruses-walking-off-cliffs/586510/\">confused walruses plummet off a cliff\u003c/a> to their deaths—a phenomenon that the show links to climate change and the decline of the walrus' preferred habitat of sea ice.\u003c/p>\n\u003cp>Series producer Alastair Fothergill was responsible for some of the most high-profile nature documentaries of the last decade: \u003cem>Planet Earth\u003c/em>, \u003cem>Blue Planet\u003c/em>, \u003cem>Frozen Planet\u003c/em>. In an interview, he says that it has previously been difficult to include environmental messaging in prime-time, mass-audience programming—and even so, that \u003cem>Our Planet\u003c/em> is careful to show where earth is still very healthy, or has bounced back.\u003c/p>\n\u003cp>But while other nature programs might make passing reference to the impact of humans, that narrative is at the center of \u003cem>Our Planet\u003c/em>.\u003c/p>\n\u003cp>\"We decided way back, actually in 2012, that the time had come to try and do a series which would be as entertaining and as accessible as series like \u003cem>Planet Earth\u003c/em>—but for the first time deal in depth with the challenges that our planet faces,\" Fothergill says. \"There's no doubt that it is seriously under threat. And we felt that it was a story that urgently needed telling now.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The eight-part series, \u003ca href=\"https://www.npr.org/tags/221779898/sir-david-attenborough\">narrated by David Attenborough\u003c/a>, is now streaming on Netflix.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aETNYyrqNYE\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On planning a project of this scale and rarity\u003c/strong>\u003c/p>\n\u003cp>We spent a whole year planning: talking to scientists, talking to conservationists, deciding on our stories. And then we filmed over three years, and we spent a record 3,500 days in the field. To give you an idea, that means every final minute of the show you watch, we spent 10 days in the field. ...\u003c/p>\n\u003cp>But we were very specific. Although the animals don't read the script, we have a very, very organized and planned script and we knew exactly the narrative that we wanted to tell. ... What is very important to us is that each individual episode tell a bigger story about each individual habitat. Because what's very interesting is the challenges to the habitats, the threats to the habitats and the solutions to those habitats differ, depending on whether it's the open ocean, the tropical forest or the coniferous forest.\u003c/p>\n\u003cp>\u003cstrong>On capturing the Siberian tiger in the wild\u003c/strong>\u003c/p>\n\u003cp>I think the Siberian tiger is a wonderful achievement. It's the first intimate images of these amazing cats in the wild. And to give you a sense of how difficult it was, over two winters, three cameramen were literally locked away inside wooden hides. They didn't come out for six weeks. Everything you need to do to survive, they did inside the small box. And they worked for two winters. They got one single shot of a wild Siberian tiger. At the same time, we had in about 40 motion-control cameras—remote cameras that are set off by the moving animal. And again, the first winter we got nothing really. We got lynx going past, other animals of the forest. But over that period we began to see the movements of the tigers, how they were moving in that area. And the second season we got 36 precious, precious images. For me, it's a wonderfully emblematic sequence of a wonderfully rare, wild, iconic species of the boreal forest.\u003c/p>\n\u003cfigure id=\"attachment_111079\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111079\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/ourplanettiger_custom-e267f4e51443a8f2a8a5b9d9814e5650b4353ab0-800x421.jpg\" alt=\"A Siberian tiger is caught on camera in the boreal forests of Russia's Pacific Coast.\" width=\"800\" height=\"421\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/04/ourplanettiger_custom-e267f4e51443a8f2a8a5b9d9814e5650b4353ab0-800x421.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/ourplanettiger_custom-e267f4e51443a8f2a8a5b9d9814e5650b4353ab0-160x84.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/ourplanettiger_custom-e267f4e51443a8f2a8a5b9d9814e5650b4353ab0-768x405.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/ourplanettiger_custom-e267f4e51443a8f2a8a5b9d9814e5650b4353ab0-1020x537.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/ourplanettiger_custom-e267f4e51443a8f2a8a5b9d9814e5650b4353ab0-1200x632.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/ourplanettiger_custom-e267f4e51443a8f2a8a5b9d9814e5650b4353ab0-1920x1012.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/ourplanettiger_custom-e267f4e51443a8f2a8a5b9d9814e5650b4353ab0.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Siberian tiger is caught on camera in the boreal forests of Russia's Pacific Coast. \u003ccite>(Kieran O'Donovan/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On the images the show missed\u003c/strong>\u003c/p>\n\u003cp>You know, failure is my job, and we failed a lot. Often to get the sequence, we'd go one season—as I described the Siberian tiger—back and back and back. And yes, there are things that we still have to do and still have to film—which is great, because I've still got the life in me.\u003c/p>\n\u003cp>\u003cstrong>On the forest sequence in Madagascar\u003c/strong>\u003c/p>\n\u003cp>The patch of forest where we were filming was destroyed by the end of our filming period, yes. It was desperately, desperately sad. I mean, you know, Madagascar is a poor country. There's a lot of pressure; people need land. But the traditional forest—there's only 3 percent left. It's got so many precious, precious animals there. We really need to help those people to preserve the lemurs and all the wonderful forests that they live in.\u003c/p>\n\u003cp>\u003cstrong>On the forest sequence in Chernobyl\u003c/strong>\u003c/p>\n\u003cp>Thirty-three years ago, of course, famously the [nuclear] reactor at Chernobyl exploded. It was probably the greatest environmental disaster in living memory. And 30 years later, we ... go back and amazingly, the forest, the resilient forest, has overtaken Chernobyl. It's a green oasis now. And because people can't go there for very long because of the radiation—it's dangerous for us to stay there for a long period—it's been left alone.\u003c/p>\n\u003cfigure id=\"attachment_111085\" class=\"wp-caption aligncenter\" style=\"max-width: 755px\">\u003cimg class=\"size-full wp-image-111085\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/Screen-Shot-2019-04-16-at-12.41.39-PM.png\" alt=\"At a fairground within Ukraine's Chernobyl exclusion zone, a birch forest has emerged decades after a nuclear reactor accident forced the abandonment of the area.\" width=\"755\" height=\"401\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/04/Screen-Shot-2019-04-16-at-12.41.39-PM.png 755w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/Screen-Shot-2019-04-16-at-12.41.39-PM-160x85.png 160w\" sizes=\"(max-width: 755px) 100vw, 755px\">\u003cfigcaption class=\"wp-caption-text\">At a fairground within Ukraine's Chernobyl exclusion zone, a birch forest has emerged decades after a nuclear reactor accident forced the abandonment of the area. \u003ccite>(Jeff Wilson/Silverback/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And we found that an enormous variety of animals had returned, including the wolf. The wolf is an apex predator. The wolves are only there if beneath it, there's a very, very healthy community. And we now know that there are seven times more wolves in the Chernobyl exclusion zone than anywhere else in Eastern Europe. And the key point—and it's very important in our series to remind people—[is] that nature is resilient. And if we give it space, if we work together to preserve it, it can bounce back. And Chernobyl is a wonderful example of that.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/713585983/713616971\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gustavo Contreras and Dave Blanchard produced and edited this interview for broadcast. Patrick Jarenwattananon edited it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.youtube.com/watch?v=aETNYyrqNYE\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Our+Planet%27+Nature+Documentary+Addresses+The+800-Pound+Gorilla+%E2%80%94+Human+Impact&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Our Planet\u003c/em> is the kind of nature show where every image could be a screen saver: sweeping, dramatic landscapes full of colorful animals.\u003c/p>\n\u003cp>But among the high-definition scenes of lions on the hunt, there are some images you don't often see in these kinds of shows. Tropical reefs bleach into white bone-scapes; glaciers crumble into Arctic seas. In one particularly noteworthy sequence, \u003ca href=\"https://www.theatlantic.com/science/archive/2019/04/why-are-walruses-walking-off-cliffs/586510/\">confused walruses plummet off a cliff\u003c/a> to their deaths—a phenomenon that the show links to climate change and the decline of the walrus' preferred habitat of sea ice.\u003c/p>\n\u003cp>Series producer Alastair Fothergill was responsible for some of the most high-profile nature documentaries of the last decade: \u003cem>Planet Earth\u003c/em>, \u003cem>Blue Planet\u003c/em>, \u003cem>Frozen Planet\u003c/em>. In an interview, he says that it has previously been difficult to include environmental messaging in prime-time, mass-audience programming—and even so, that \u003cem>Our Planet\u003c/em> is careful to show where earth is still very healthy, or has bounced back.\u003c/p>\n\u003cp>But while other nature programs might make passing reference to the impact of humans, that narrative is at the center of \u003cem>Our Planet\u003c/em>.\u003c/p>\n\u003cp>\"We decided way back, actually in 2012, that the time had come to try and do a series which would be as entertaining and as accessible as series like \u003cem>Planet Earth\u003c/em>—but for the first time deal in depth with the challenges that our planet faces,\" Fothergill says. \"There's no doubt that it is seriously under threat. And we felt that it was a story that urgently needed telling now.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The eight-part series, \u003ca href=\"https://www.npr.org/tags/221779898/sir-david-attenborough\">narrated by David Attenborough\u003c/a>, is now streaming on Netflix.\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/aETNYyrqNYE'\n title='//www.youtube.com/embed/aETNYyrqNYE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On planning a project of this scale and rarity\u003c/strong>\u003c/p>\n\u003cp>We spent a whole year planning: talking to scientists, talking to conservationists, deciding on our stories. And then we filmed over three years, and we spent a record 3,500 days in the field. To give you an idea, that means every final minute of the show you watch, we spent 10 days in the field. ...\u003c/p>\n\u003cp>But we were very specific. Although the animals don't read the script, we have a very, very organized and planned script and we knew exactly the narrative that we wanted to tell. ... What is very important to us is that each individual episode tell a bigger story about each individual habitat. Because what's very interesting is the challenges to the habitats, the threats to the habitats and the solutions to those habitats differ, depending on whether it's the open ocean, the tropical forest or the coniferous forest.\u003c/p>\n\u003cp>\u003cstrong>On capturing the Siberian tiger in the wild\u003c/strong>\u003c/p>\n\u003cp>I think the Siberian tiger is a wonderful achievement. It's the first intimate images of these amazing cats in the wild. And to give you a sense of how difficult it was, over two winters, three cameramen were literally locked away inside wooden hides. They didn't come out for six weeks. Everything you need to do to survive, they did inside the small box. And they worked for two winters. They got one single shot of a wild Siberian tiger. At the same time, we had in about 40 motion-control cameras—remote cameras that are set off by the moving animal. And again, the first winter we got nothing really. We got lynx going past, other animals of the forest. But over that period we began to see the movements of the tigers, how they were moving in that area. And the second season we got 36 precious, precious images. For me, it's a wonderfully emblematic sequence of a wonderfully rare, wild, iconic species of the boreal forest.\u003c/p>\n\u003cfigure id=\"attachment_111079\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111079\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/ourplanettiger_custom-e267f4e51443a8f2a8a5b9d9814e5650b4353ab0-800x421.jpg\" alt=\"A Siberian tiger is caught on camera in the boreal forests of Russia's Pacific Coast.\" width=\"800\" height=\"421\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/04/ourplanettiger_custom-e267f4e51443a8f2a8a5b9d9814e5650b4353ab0-800x421.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/ourplanettiger_custom-e267f4e51443a8f2a8a5b9d9814e5650b4353ab0-160x84.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/ourplanettiger_custom-e267f4e51443a8f2a8a5b9d9814e5650b4353ab0-768x405.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/ourplanettiger_custom-e267f4e51443a8f2a8a5b9d9814e5650b4353ab0-1020x537.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/ourplanettiger_custom-e267f4e51443a8f2a8a5b9d9814e5650b4353ab0-1200x632.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/ourplanettiger_custom-e267f4e51443a8f2a8a5b9d9814e5650b4353ab0-1920x1012.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/ourplanettiger_custom-e267f4e51443a8f2a8a5b9d9814e5650b4353ab0.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Siberian tiger is caught on camera in the boreal forests of Russia's Pacific Coast. \u003ccite>(Kieran O'Donovan/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On the images the show missed\u003c/strong>\u003c/p>\n\u003cp>You know, failure is my job, and we failed a lot. Often to get the sequence, we'd go one season—as I described the Siberian tiger—back and back and back. And yes, there are things that we still have to do and still have to film—which is great, because I've still got the life in me.\u003c/p>\n\u003cp>\u003cstrong>On the forest sequence in Madagascar\u003c/strong>\u003c/p>\n\u003cp>The patch of forest where we were filming was destroyed by the end of our filming period, yes. It was desperately, desperately sad. I mean, you know, Madagascar is a poor country. There's a lot of pressure; people need land. But the traditional forest—there's only 3 percent left. It's got so many precious, precious animals there. We really need to help those people to preserve the lemurs and all the wonderful forests that they live in.\u003c/p>\n\u003cp>\u003cstrong>On the forest sequence in Chernobyl\u003c/strong>\u003c/p>\n\u003cp>Thirty-three years ago, of course, famously the [nuclear] reactor at Chernobyl exploded. It was probably the greatest environmental disaster in living memory. And 30 years later, we ... go back and amazingly, the forest, the resilient forest, has overtaken Chernobyl. It's a green oasis now. And because people can't go there for very long because of the radiation—it's dangerous for us to stay there for a long period—it's been left alone.\u003c/p>\n\u003cfigure id=\"attachment_111085\" class=\"wp-caption aligncenter\" style=\"max-width: 755px\">\u003cimg class=\"size-full wp-image-111085\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/Screen-Shot-2019-04-16-at-12.41.39-PM.png\" alt=\"At a fairground within Ukraine's Chernobyl exclusion zone, a birch forest has emerged decades after a nuclear reactor accident forced the abandonment of the area.\" width=\"755\" height=\"401\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/04/Screen-Shot-2019-04-16-at-12.41.39-PM.png 755w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/Screen-Shot-2019-04-16-at-12.41.39-PM-160x85.png 160w\" sizes=\"(max-width: 755px) 100vw, 755px\">\u003cfigcaption class=\"wp-caption-text\">At a fairground within Ukraine's Chernobyl exclusion zone, a birch forest has emerged decades after a nuclear reactor accident forced the abandonment of the area. \u003ccite>(Jeff Wilson/Silverback/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And we found that an enormous variety of animals had returned, including the wolf. The wolf is an apex predator. The wolves are only there if beneath it, there's a very, very healthy community. And we now know that there are seven times more wolves in the Chernobyl exclusion zone than anywhere else in Eastern Europe. And the key point—and it's very important in our series to remind people—[is] that nature is resilient. And if we give it space, if we work together to preserve it, it can bounce back. And Chernobyl is a wonderful example of that.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/713585983/713616971\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gustavo Contreras and Dave Blanchard produced and edited this interview for broadcast. Patrick Jarenwattananon edited it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.youtube.com/watch?v=aETNYyrqNYE\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Our+Planet%27+Nature+Documentary+Addresses+The+800-Pound+Gorilla+%E2%80%94+Human+Impact&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\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.",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
