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"content": "\u003cp>\"Bringing a unicorn here is not an easy or inexpensive endeavor. You have to be the right sort of girl.\"\u003c/p>\n\u003cp>\u003cem>The right sort of girl. \u003c/em>\u003c/p>\n\u003cp>The backbone of Brie Larson's offbeat directorial debut, the comedy \u003cem>Unicorn Store\u003c/em>, is the idea of what it means to be the right sort of girl. Larson plays Kit, a woman pushing 30 who lives with her parents and favors an aesthetic heavy on rainbows, glitter and—yes—unicorns. And after she receives a couple of mysterious magical letters, she finds herself in the company of a man who calls himself The Salesman (Samuel L. Jackson). He's the one who says these words, who tells her that she's in line for a unicorn of her own. But she has to earn it. She has to be stable. She has to make a home for it. She has to be an adult, ironically, to be the right companion for a unicorn.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r_51UsTDBAE\u003c/p>\n\u003cp>Not everyone finds Kit's eccentricities appealing, to say the least. She flunks out of art school after completing an exuberant self-portrait at which her teacher silently frowns. This sends Kit into a tailspin, and she resolves to change herself. She will not dress in rainbow colors, she will not use glitter, and she will be serious at all times as she undertakes a career as an office temp at a marketing agency. Larson's portrayal of Kit cosplaying as an adult is funny and weird in just the right way, and of course, \u003cem>of course\u003c/em>, this phase can't last. Because she gets that note. And she begins to long for that unicorn. But how does she prove she's the right sort of girl, and how does she make a life in the real world while being someone who can convince a magic man with tinsel in his hair that she should own a unicorn?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tasked with building her potential unicorn a place to call home, Kit meets up with a hardware store employee named Virgil. Virgil is played by the fabulous Mamoudou Athie, who played Grandmaster Flash in \u003cem>The Get Down\u003c/em>, starred opposite Elizabeth Olsen in the Facebook Watch show \u003cem>Sorry For Your Loss\u003c/em>, and appeared in \u003cem>Patti Cake$\u003c/em>. He's a disarmingly naturalistic actor who has never for a moment seemed less than utterly believable, and here, he brings a crucial grounding to the story. As Virgil and Kit get closer, Athie has a very hard line to walk. If Virgil seems too credulous of what sound like Kit's fanciful ideas, then the risk of her placing her trust in him will be deflated, but if he seems too dismissive or patronizing, he will be ruined, an obviously unsuitable partner for a woman who will probably always believe some things that sound a little ... weird. There is a scene in which Virgil's fondness for Kit collides with some of the things she says and believes about unicorns, and Athie's face silently tells a whole story in which you can see his own longing to meet someone and the clash of his rational brain and his more whimsical feelings.\u003c/p>\n\u003cp>\u003cimg class=\"size-medium wp-image-110812 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/unicorn_store_ff_00008_wide-74dc9c949c9567b9f28e342d67efe38e4d9bbfbc-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00008_wide-74dc9c949c9567b9f28e342d67efe38e4d9bbfbc-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00008_wide-74dc9c949c9567b9f28e342d67efe38e4d9bbfbc-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00008_wide-74dc9c949c9567b9f28e342d67efe38e4d9bbfbc-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00008_wide-74dc9c949c9567b9f28e342d67efe38e4d9bbfbc-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00008_wide-74dc9c949c9567b9f28e342d67efe38e4d9bbfbc-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00008_wide-74dc9c949c9567b9f28e342d67efe38e4d9bbfbc-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00008_wide-74dc9c949c9567b9f28e342d67efe38e4d9bbfbc.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>It's worth noting and quite conspicuous, I think, that Samuel L. Jackson here is playing a person who's magical, and he is black, so it's easy to see connections between this role and the dreaded \"Magical Negro\" trope. I'm certainly not in a position to adjudicate how the film handles that for everyone. But in this case, the role seems particularly right for Jackson, who is playing against type as a literal unicorn salesman. It doesn't feel like a generic role or a generic performance. The kind of funny it is to see Jackson in these scenes wouldn't be the same with \u003cem>anyone\u003c/em> else, partly because of a persona he has cultivated. Jackson and Larson had also worked together in \u003cem>Kong: Skull Island \u003c/em>and would again in \u003cem>Captain Marvel\u003c/em>, so it may be as simple as a chemistry that proved durable. Moreover, tropes of this kind are often accompanied by a failure to cast black actors in \u003cem>other\u003c/em>, non-magical roles in the story, which isn't the case here.\u003c/p>\n\u003cp>But wait! We haven't even talked about the fact that Kit's long-suffering parents are played by Bradley Whitford and Joan Cusack! If only every pair of long-suffering parents were played by those two. Between them and the Julia Sweeney/Daniel Stern pairing in \u003cem>Shrill\u003c/em>, we've rarely had such good choices when it comes to imperfect moms and dads. As with Annie in \u003cem>Shrill\u003c/em>, Kit is given dimension and allowed grace throughout the story of her very imperfect but sturdy family connections.\u003c/p>\n\u003cfigure id=\"attachment_110813\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-110813\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/unicorn_store_ff_00012-be8be89445979dfb923d5d7388e15ae0762a7067-800x600.jpg\" alt=\"Brie Larson and Mamoudou Athie see some interesting stuff (and she wears some pretty great outfits) in 'Unicorn Store.'\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00012-be8be89445979dfb923d5d7388e15ae0762a7067-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00012-be8be89445979dfb923d5d7388e15ae0762a7067-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00012-be8be89445979dfb923d5d7388e15ae0762a7067-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00012-be8be89445979dfb923d5d7388e15ae0762a7067-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00012-be8be89445979dfb923d5d7388e15ae0762a7067-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00012-be8be89445979dfb923d5d7388e15ae0762a7067-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00012-be8be89445979dfb923d5d7388e15ae0762a7067.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brie Larson and Mamoudou Athie see some interesting stuff (and she wears some pretty great outfits) in 'Unicorn Store.' \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is not a movie for everyone. Kit is what a \u003ca href=\"https://tvtropes.org/pmwiki/pmwiki.php/Main/ManicPixieDreamGirl\">Manic Pixie Dream Girl\u003c/a> would be like if the story were actually about her, if her quirks and energy and flights of fancy mostly affected her life, not someone else's. Her style, for sure, is what a lot of people would refer to as \"twee,\" and that's if they felt generous. It's the kind of thing, particularly from an adult woman, that can carry the stink of affectation, of a persona adopted to seek attention with whimsy. It is Larson's performance and Samantha McIntyre's script that make it clear that no, this is really Kit. This is really her heart, and this is what makes her happy. For a unicorn, she's precisely the right sort of girl. So why does she feel like she needs to change?\u003c/p>\n\u003cp>It's worth noting that out of all the women's empowerment narratives about style that are currently popular, ones that emphasize freedom to be aggressively girly are surprisingly rare. Not punky-girly, and not pop-diva-girly, and not pinup-girly, but ... sparkle-rainbow girly. Not for the purposes of performance, but just because that's a person's source of joy. That's what makes her feel like herself, the same way other women might adopt goth or punk or androgynous or retro styles. It's interesting to see a film dare you to dismiss this as simply a style that's too annoying for a person to have. \u003cem>If I can wear army boots\u003c/em>, it asks, \u003cem>why can't I walk through glitter until it covers the bottoms of my feet? Why can't my self-portrait be a rainbow? Why can't I love confetti the way someone might love burning incense? \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Unicorn Store \u003c/em>is weird and funny, sweet and fearless, and it's another opportunity to see a fine young actress at work. Furthermore, Athie is one of the best young romantic comedy leads currently working (catch him in \u003cem>Jean of the Joneses \u003c/em>as well if it ever comes around), and who doesn't need more chances to see Samuel L. Jackson in brightly colored suits?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR.org\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Brie+Larson%27s+Directorial+Debut+Glitters+With+The+Charming+%27Unicorn+Store%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tasked with building her potential unicorn a place to call home, Kit meets up with a hardware store employee named Virgil. Virgil is played by the fabulous Mamoudou Athie, who played Grandmaster Flash in \u003cem>The Get Down\u003c/em>, starred opposite Elizabeth Olsen in the Facebook Watch show \u003cem>Sorry For Your Loss\u003c/em>, and appeared in \u003cem>Patti Cake$\u003c/em>. He's a disarmingly naturalistic actor who has never for a moment seemed less than utterly believable, and here, he brings a crucial grounding to the story. As Virgil and Kit get closer, Athie has a very hard line to walk. If Virgil seems too credulous of what sound like Kit's fanciful ideas, then the risk of her placing her trust in him will be deflated, but if he seems too dismissive or patronizing, he will be ruined, an obviously unsuitable partner for a woman who will probably always believe some things that sound a little ... weird. There is a scene in which Virgil's fondness for Kit collides with some of the things she says and believes about unicorns, and Athie's face silently tells a whole story in which you can see his own longing to meet someone and the clash of his rational brain and his more whimsical feelings.\u003c/p>\n\u003cp>\u003cimg class=\"size-medium wp-image-110812 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/unicorn_store_ff_00008_wide-74dc9c949c9567b9f28e342d67efe38e4d9bbfbc-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00008_wide-74dc9c949c9567b9f28e342d67efe38e4d9bbfbc-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00008_wide-74dc9c949c9567b9f28e342d67efe38e4d9bbfbc-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00008_wide-74dc9c949c9567b9f28e342d67efe38e4d9bbfbc-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00008_wide-74dc9c949c9567b9f28e342d67efe38e4d9bbfbc-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00008_wide-74dc9c949c9567b9f28e342d67efe38e4d9bbfbc-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00008_wide-74dc9c949c9567b9f28e342d67efe38e4d9bbfbc-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00008_wide-74dc9c949c9567b9f28e342d67efe38e4d9bbfbc.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>It's worth noting and quite conspicuous, I think, that Samuel L. Jackson here is playing a person who's magical, and he is black, so it's easy to see connections between this role and the dreaded \"Magical Negro\" trope. I'm certainly not in a position to adjudicate how the film handles that for everyone. But in this case, the role seems particularly right for Jackson, who is playing against type as a literal unicorn salesman. It doesn't feel like a generic role or a generic performance. The kind of funny it is to see Jackson in these scenes wouldn't be the same with \u003cem>anyone\u003c/em> else, partly because of a persona he has cultivated. Jackson and Larson had also worked together in \u003cem>Kong: Skull Island \u003c/em>and would again in \u003cem>Captain Marvel\u003c/em>, so it may be as simple as a chemistry that proved durable. Moreover, tropes of this kind are often accompanied by a failure to cast black actors in \u003cem>other\u003c/em>, non-magical roles in the story, which isn't the case here.\u003c/p>\n\u003cp>But wait! We haven't even talked about the fact that Kit's long-suffering parents are played by Bradley Whitford and Joan Cusack! If only every pair of long-suffering parents were played by those two. Between them and the Julia Sweeney/Daniel Stern pairing in \u003cem>Shrill\u003c/em>, we've rarely had such good choices when it comes to imperfect moms and dads. As with Annie in \u003cem>Shrill\u003c/em>, Kit is given dimension and allowed grace throughout the story of her very imperfect but sturdy family connections.\u003c/p>\n\u003cfigure id=\"attachment_110813\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-110813\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/unicorn_store_ff_00012-be8be89445979dfb923d5d7388e15ae0762a7067-800x600.jpg\" alt=\"Brie Larson and Mamoudou Athie see some interesting stuff (and she wears some pretty great outfits) in 'Unicorn Store.'\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00012-be8be89445979dfb923d5d7388e15ae0762a7067-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00012-be8be89445979dfb923d5d7388e15ae0762a7067-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00012-be8be89445979dfb923d5d7388e15ae0762a7067-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00012-be8be89445979dfb923d5d7388e15ae0762a7067-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00012-be8be89445979dfb923d5d7388e15ae0762a7067-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00012-be8be89445979dfb923d5d7388e15ae0762a7067-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/unicorn_store_ff_00012-be8be89445979dfb923d5d7388e15ae0762a7067.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brie Larson and Mamoudou Athie see some interesting stuff (and she wears some pretty great outfits) in 'Unicorn Store.' \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is not a movie for everyone. Kit is what a \u003ca href=\"https://tvtropes.org/pmwiki/pmwiki.php/Main/ManicPixieDreamGirl\">Manic Pixie Dream Girl\u003c/a> would be like if the story were actually about her, if her quirks and energy and flights of fancy mostly affected her life, not someone else's. Her style, for sure, is what a lot of people would refer to as \"twee,\" and that's if they felt generous. It's the kind of thing, particularly from an adult woman, that can carry the stink of affectation, of a persona adopted to seek attention with whimsy. It is Larson's performance and Samantha McIntyre's script that make it clear that no, this is really Kit. This is really her heart, and this is what makes her happy. For a unicorn, she's precisely the right sort of girl. So why does she feel like she needs to change?\u003c/p>\n\u003cp>It's worth noting that out of all the women's empowerment narratives about style that are currently popular, ones that emphasize freedom to be aggressively girly are surprisingly rare. Not punky-girly, and not pop-diva-girly, and not pinup-girly, but ... sparkle-rainbow girly. Not for the purposes of performance, but just because that's a person's source of joy. That's what makes her feel like herself, the same way other women might adopt goth or punk or androgynous or retro styles. It's interesting to see a film dare you to dismiss this as simply a style that's too annoying for a person to have. \u003cem>If I can wear army boots\u003c/em>, it asks, \u003cem>why can't I walk through glitter until it covers the bottoms of my feet? Why can't my self-portrait be a rainbow? Why can't I love confetti the way someone might love burning incense? \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Unicorn Store \u003c/em>is weird and funny, sweet and fearless, and it's another opportunity to see a fine young actress at work. Furthermore, Athie is one of the best young romantic comedy leads currently working (catch him in \u003cem>Jean of the Joneses \u003c/em>as well if it ever comes around), and who doesn't need more chances to see Samuel L. Jackson in brightly colored suits?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR.org\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Brie+Larson%27s+Directorial+Debut+Glitters+With+The+Charming+%27Unicorn+Store%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Before the 'Breaking Bad' Movie, 8 Theories About the Fate of Jesse Pinkman",
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"content": "\u003cp>Last November, a decade after the series premiered, Vince Gilligan announced that a \u003cem>Breaking Bad\u003c/em> movie was on the way. It has since been revealed that the plot will revolve around a kidnapped man's quest for freedom—so, duh, it's about Jesse Pinkman. Fans are having mixed feelings, due to the deep emotional attachment most of us developed towards the character.\u003c/p>\n\u003cp>Writing for \u003ca href=\"https://uproxx.com/tv/sopranos-breaking-bad-movies-tv-golden-age-end/\">\u003cem>Uproxx\u003c/em>\u003c/a>, long-time fan Steven Hyden says: “Allowing Jesse to \u003ca href=\"https://www.youtube.com/watch?v=03T-6HRt6Ko\">flee into the desert night\u003c/a> [in the finale] seemed less like a loose end than a tantalizing grace note for the most tortured character in Walter White’s orbit. I didn’t need to know where Jesse ended up. The value in not knowing was the hope that he would somehow be okay. But now, I know Jesse has another two hours of torment ahead of him. Thank you?”\u003c/p>\n\u003cp>This being \u003cem>Breaking Bad\u003c/em>, torment is indeed inevitable. When it comes to specifics about what happened to Jesse though, there are multiple theories that have been flying around the internet since the show ended back in 2013.\u003c/p>\n\u003cp>Here's a selection for you to ponder before the movie arrives.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Aaron Paul's Theory: Fishing in Alaska\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-110525\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/jesse-breaking-bad-self-starter.gif\" alt=\"\" width=\"500\" height=\"264\">\u003c/p>\n\u003cp>During a \u003ca href=\"https://www.reddit.com/r/IAmA/comments/47lwuw/whats_up_reddit_its_aaron_paul_back_for_my_second/\">Reddit \"Ask Me Anything\"\u003c/a> session, Paul said: \"I like to think Jesse got away. I like to think he kept driving... I like to think he was building something in Alaska... So, I think he's living happy on a lake somewhere in Alaska, fishing a lot, making things out of wood, probably kicked the habit of meth.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003ca href=\"https://www.reddit.com/r/breakingbad/comments/1fsdyb/jesses_fate/\">Fan Theory 1\u003c/a>: Two kids and a teaching position\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-109696 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/giphy.gif\" alt=\"\" width=\"500\" height=\"239\">\u003c/p>\n\u003cp>\"Jesse will end up happily married with two kids... Walt started out as a nice guy and broke bad, while Jesse started as 'a bad guy' and then gradually [became] more and more of a nice person with a heart. Meaning, at the end... they will have switched places completely. And who knows, maybe Jesse will become a chemistry teacher, after everything Walt has taught him.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Vince Gilligan's Theory: Prison\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-109702 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/562.gif\" alt=\"\" width=\"350\" height=\"198\">\u003c/p>\n\u003cp>\u003cem>Breaking Bad\u003c/em>'s creator, head writer, executive producer and director, errs characteristically on the side of \u003ca href=\"https://www.indiewire.com/2013/11/vince-gilligan-on-what-happened-to-jesse-pinkman-and-walter-whites-final-plan-32603/\">harsh realism\u003c/a>: “The most likely thing, as negative as this sounds, is that they’re going to find this kid’s fingerprints all over this lab and they’re going to find him within a day or a week or a month. And he’s still going to be on the hook for the murder of two federal agents.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003ca href=\"https://www.cinemablend.com/television/Breaking-Bad-Final-Thoughts-What-Happens-Jesse-59516.html\">Fan Theory 2\u003c/a>: Woodworking with Nick Offerman\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-109703 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/HiSO.gif\" alt=\"\" width=\"245\" height=\"180\">\"Now living in Branson, Missouri under an assumed name… Jesse gets in touch with Badger and Skinny Pete, who drive up to visit him. He unloads [his] entire story to them… Badger takes notes, asks Jesse if he can write a screenplay about it. Jesse agrees… Badger sells the screenplay almost immediately, and it causes a bidding war… He moves to Hollywood and uses his newfound connections to arrange a meeting between Jesse and Nick 'Ron Swanson' Offerman, and the two of them spend a few hours in Offerman’s woodworking shop. It is the happiest day of Jesse’s life.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Bryan Cranston Theory: Happily Ever After\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-109706 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/tumblr_mhlypcfKHL1s00ervo1_500.gif\" alt=\"\" width=\"500\" height=\"200\">\u003c/p>\n\u003cp>After five years playing Walter White, the man most responsible for much of Jesse's misery, you can't blame Cranston for trying to find a way to make it up to Pinkman, so he's erring on the positive side. \"I would like to see [Jesse] break that mold and eventually break out and find his own real true calling,” \u003ca href=\"https://www.indiewire.com/2018/11/breaking-bad-movie-bryan-cranston-wants-for-jesse-pinkman-1202021134/\">Cranston told \u003cem>IndieWire\u003c/em>\u003c/a>. “Something that empowered him as a human being, that is on the straight and narrow, that allows him to be able to open up, to let another human being into his life. And be happy. ‘Cause I don’t sense that he was really ever happy.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003ca href=\"https://filmdaily.co/obsessions/craziest-breaking-bad-fan-theories/\">Fan Theory 3\u003c/a>: Jesse literally becomes Mike Ehrmantraut\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-109707 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/OSfB.gif\" alt=\"\" width=\"500\" height=\"282\">\u003c/p>\n\u003cp>This one is a long shot, but fans long ago came up with a theory that Mike is Jesse's future self, having traveled back in time in order to guide Jesse away from Walter White's maniacal grip. \u003cem>Film Daily\u003c/em> notes that: \"There’s a lot of tenuous 'evidence' to support this [theory], like how both characters love kids, the way that Mike looks out for Jesse, some maddening speculation surrounding Mike’s past, and a paradox involving the ricin Walt once poisoned Brock with.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003ca href=\"https://www.hollywoodreporter.com/live-feed/breaking-bad-movie-jesse-pinkman-aaron-paul-sequel-theories-1186556\">\u003cem>The Hollywood Reporter\u003c/em>\u003c/a> Theory: Kidnapped to cook (again)\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-109705 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/53f0fd839b1e228549e7ba3d_you-wanna-cook-crystal-meth.gif\" alt=\"\" width=\"500\" height=\"217\">\u003c/p>\n\u003cp>Given what happened in the finale, this one is almost too grim to contemplate. \"In season four… Gus takes Jesse south of the border to demonstrate his cookery to the cartel… The entire event is filmed, captured on camera. If dark forces in the world beyond the \u003cem>Breaking Bad\u003c/em> series finale know Walter White is dead, and also know Jesse Pinkman's whereabouts... they will be very incentivized to find and capture the man for his cooking skills.\" Noooooooo!\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Fan Theory 4: Jesse winds up in \u003cem>The Walking Dead\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-109709 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/F0iQ.gif\" alt=\"\" width=\"511\" height=\"288\">\u003c/p>\n\u003cp>Some corners of \u003cem>Breaking Bad\u003c/em>'s fandom think \u003ca href=\"https://www.youtube.com/watch?v=fG3DGzcwn70\">the show is a prequel\u003c/a> to \u003cem>The Walking Dead\u003c/em> and that Walter White's blue meth is responsible for starting the zombie apocalypse. Remarkably, this isn't as ridiculous as it sounds. In episode two of \u003cem>The Walking Dead\u003c/em>, a close up of \u003ca href=\"https://artsbeat.blogs.nytimes.com/2011/10/24/did-the-walking-dead-cook-up-a-breaking-bad-reference/\">Merle's stash of drugs\u003c/a> reveals a bag containing blue meth. Much later, in Season 4,\u003cem> \u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=VKaNVjb-Q9M\">Daryl describes Merle's drug-dealer\u003c/a> as “a janky little white guy tweaker” who was prone to using the word \"bitch.\" Sounds a lot like Jesse, no? Another crossover in \u003cem>Walking Dead\u003c/em>'s second episode comes in the form of Glenn's red and black Dodge Challenger—the exact model that Walter gave to Walt Jr. in \u003cem>Breaking Bad,\u003c/em> having bought it in (no, really) a place called \"Glenn's Car Lot.\" Finally, fans of both shows have suggested that in Season 4 when Fring walks away from Walter's explosion with half his face missing, he was the very first sign of the zombie apocalypse to come.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>No word yet on a release date for the \u003cem>Breaking Bad\u003c/em> movie... but we wouldn't be that sad to see Daryl Dixon and Jesse Pinkman in a room together. Make it so, AMC!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last November, a decade after the series premiered, Vince Gilligan announced that a \u003cem>Breaking Bad\u003c/em> movie was on the way. It has since been revealed that the plot will revolve around a kidnapped man's quest for freedom—so, duh, it's about Jesse Pinkman. Fans are having mixed feelings, due to the deep emotional attachment most of us developed towards the character.\u003c/p>\n\u003cp>Writing for \u003ca href=\"https://uproxx.com/tv/sopranos-breaking-bad-movies-tv-golden-age-end/\">\u003cem>Uproxx\u003c/em>\u003c/a>, long-time fan Steven Hyden says: “Allowing Jesse to \u003ca href=\"https://www.youtube.com/watch?v=03T-6HRt6Ko\">flee into the desert night\u003c/a> [in the finale] seemed less like a loose end than a tantalizing grace note for the most tortured character in Walter White’s orbit. I didn’t need to know where Jesse ended up. The value in not knowing was the hope that he would somehow be okay. But now, I know Jesse has another two hours of torment ahead of him. Thank you?”\u003c/p>\n\u003cp>This being \u003cem>Breaking Bad\u003c/em>, torment is indeed inevitable. When it comes to specifics about what happened to Jesse though, there are multiple theories that have been flying around the internet since the show ended back in 2013.\u003c/p>\n\u003cp>Here's a selection for you to ponder before the movie arrives.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Aaron Paul's Theory: Fishing in Alaska\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-110525\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/jesse-breaking-bad-self-starter.gif\" alt=\"\" width=\"500\" height=\"264\">\u003c/p>\n\u003cp>During a \u003ca href=\"https://www.reddit.com/r/IAmA/comments/47lwuw/whats_up_reddit_its_aaron_paul_back_for_my_second/\">Reddit \"Ask Me Anything\"\u003c/a> session, Paul said: \"I like to think Jesse got away. I like to think he kept driving... I like to think he was building something in Alaska... So, I think he's living happy on a lake somewhere in Alaska, fishing a lot, making things out of wood, probably kicked the habit of meth.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003ca href=\"https://www.reddit.com/r/breakingbad/comments/1fsdyb/jesses_fate/\">Fan Theory 1\u003c/a>: Two kids and a teaching position\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-109696 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/giphy.gif\" alt=\"\" width=\"500\" height=\"239\">\u003c/p>\n\u003cp>\"Jesse will end up happily married with two kids... Walt started out as a nice guy and broke bad, while Jesse started as 'a bad guy' and then gradually [became] more and more of a nice person with a heart. Meaning, at the end... they will have switched places completely. And who knows, maybe Jesse will become a chemistry teacher, after everything Walt has taught him.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Vince Gilligan's Theory: Prison\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-109702 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/562.gif\" alt=\"\" width=\"350\" height=\"198\">\u003c/p>\n\u003cp>\u003cem>Breaking Bad\u003c/em>'s creator, head writer, executive producer and director, errs characteristically on the side of \u003ca href=\"https://www.indiewire.com/2013/11/vince-gilligan-on-what-happened-to-jesse-pinkman-and-walter-whites-final-plan-32603/\">harsh realism\u003c/a>: “The most likely thing, as negative as this sounds, is that they’re going to find this kid’s fingerprints all over this lab and they’re going to find him within a day or a week or a month. And he’s still going to be on the hook for the murder of two federal agents.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003ca href=\"https://www.cinemablend.com/television/Breaking-Bad-Final-Thoughts-What-Happens-Jesse-59516.html\">Fan Theory 2\u003c/a>: Woodworking with Nick Offerman\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-109703 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/HiSO.gif\" alt=\"\" width=\"245\" height=\"180\">\"Now living in Branson, Missouri under an assumed name… Jesse gets in touch with Badger and Skinny Pete, who drive up to visit him. He unloads [his] entire story to them… Badger takes notes, asks Jesse if he can write a screenplay about it. Jesse agrees… Badger sells the screenplay almost immediately, and it causes a bidding war… He moves to Hollywood and uses his newfound connections to arrange a meeting between Jesse and Nick 'Ron Swanson' Offerman, and the two of them spend a few hours in Offerman’s woodworking shop. It is the happiest day of Jesse’s life.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Bryan Cranston Theory: Happily Ever After\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-109706 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/tumblr_mhlypcfKHL1s00ervo1_500.gif\" alt=\"\" width=\"500\" height=\"200\">\u003c/p>\n\u003cp>After five years playing Walter White, the man most responsible for much of Jesse's misery, you can't blame Cranston for trying to find a way to make it up to Pinkman, so he's erring on the positive side. \"I would like to see [Jesse] break that mold and eventually break out and find his own real true calling,” \u003ca href=\"https://www.indiewire.com/2018/11/breaking-bad-movie-bryan-cranston-wants-for-jesse-pinkman-1202021134/\">Cranston told \u003cem>IndieWire\u003c/em>\u003c/a>. “Something that empowered him as a human being, that is on the straight and narrow, that allows him to be able to open up, to let another human being into his life. And be happy. ‘Cause I don’t sense that he was really ever happy.”\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003ca href=\"https://filmdaily.co/obsessions/craziest-breaking-bad-fan-theories/\">Fan Theory 3\u003c/a>: Jesse literally becomes Mike Ehrmantraut\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-109707 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/OSfB.gif\" alt=\"\" width=\"500\" height=\"282\">\u003c/p>\n\u003cp>This one is a long shot, but fans long ago came up with a theory that Mike is Jesse's future self, having traveled back in time in order to guide Jesse away from Walter White's maniacal grip. \u003cem>Film Daily\u003c/em> notes that: \"There’s a lot of tenuous 'evidence' to support this [theory], like how both characters love kids, the way that Mike looks out for Jesse, some maddening speculation surrounding Mike’s past, and a paradox involving the ricin Walt once poisoned Brock with.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003ca href=\"https://www.hollywoodreporter.com/live-feed/breaking-bad-movie-jesse-pinkman-aaron-paul-sequel-theories-1186556\">\u003cem>The Hollywood Reporter\u003c/em>\u003c/a> Theory: Kidnapped to cook (again)\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-109705 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/53f0fd839b1e228549e7ba3d_you-wanna-cook-crystal-meth.gif\" alt=\"\" width=\"500\" height=\"217\">\u003c/p>\n\u003cp>Given what happened in the finale, this one is almost too grim to contemplate. \"In season four… Gus takes Jesse south of the border to demonstrate his cookery to the cartel… The entire event is filmed, captured on camera. If dark forces in the world beyond the \u003cem>Breaking Bad\u003c/em> series finale know Walter White is dead, and also know Jesse Pinkman's whereabouts... they will be very incentivized to find and capture the man for his cooking skills.\" Noooooooo!\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Fan Theory 4: Jesse winds up in \u003cem>The Walking Dead\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-109709 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/F0iQ.gif\" alt=\"\" width=\"511\" height=\"288\">\u003c/p>\n\u003cp>Some corners of \u003cem>Breaking Bad\u003c/em>'s fandom think \u003ca href=\"https://www.youtube.com/watch?v=fG3DGzcwn70\">the show is a prequel\u003c/a> to \u003cem>The Walking Dead\u003c/em> and that Walter White's blue meth is responsible for starting the zombie apocalypse. Remarkably, this isn't as ridiculous as it sounds. In episode two of \u003cem>The Walking Dead\u003c/em>, a close up of \u003ca href=\"https://artsbeat.blogs.nytimes.com/2011/10/24/did-the-walking-dead-cook-up-a-breaking-bad-reference/\">Merle's stash of drugs\u003c/a> reveals a bag containing blue meth. Much later, in Season 4,\u003cem> \u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=VKaNVjb-Q9M\">Daryl describes Merle's drug-dealer\u003c/a> as “a janky little white guy tweaker” who was prone to using the word \"bitch.\" Sounds a lot like Jesse, no? Another crossover in \u003cem>Walking Dead\u003c/em>'s second episode comes in the form of Glenn's red and black Dodge Challenger—the exact model that Walter gave to Walt Jr. in \u003cem>Breaking Bad,\u003c/em> having bought it in (no, really) a place called \"Glenn's Car Lot.\" Finally, fans of both shows have suggested that in Season 4 when Fring walks away from Walter's explosion with half his face missing, he was the very first sign of the zombie apocalypse to come.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No word yet on a release date for the \u003cem>Breaking Bad\u003c/em> movie... but we wouldn't be that sad to see Daryl Dixon and Jesse Pinkman in a room together. Make it so, AMC!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The 'Stranger Things' Season 3 Trailer Is Here And It Is Totally Tubular",
"title": "The 'Stranger Things' Season 3 Trailer Is Here And It Is Totally Tubular",
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"content": "\u003cp>One of the major appeals of \u003cem>Stranger Things\u003c/em> has always been how darn '80s it is. Stylistically, the Netflix series has been \u003cem>E.T\u003c/em>. meets \u003cem>The Goonies\u003c/em> meets Stephen King from the get-go. Those of us who grew up in that decade know the joy of a Ghostbusters costume, the pain of Barb's oversized eyeglasses and the convenience of the Walkman. While Season 2 upped the fashion ante with Eleven's shoulder-padded New Wave makeover, Season 3 is promising to take things to the next level. Come with us as we enjoy all the most gloriously '80s elements of the new trailer.\u003c/p>\n\u003cp>Mötley Crüe's 1985 hit, \"\u003ca href=\"https://www.youtube.com/watch?v=Gmrh42foUsg\">Home Sweet Home\u003c/a>,\" playing on this beast:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-110468\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.29.35-AM-800x397.png\" alt=\"\" width=\"800\" height=\"397\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.29.35-AM-800x397.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.29.35-AM-160x79.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.29.35-AM-768x381.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.29.35-AM.png 828w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Dustin's toys—including an R2-D2, an Ultra Magnus Transformer and a G.I. Joe tank:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-110467\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.33.14-AM-800x527.png\" alt=\"\" width=\"800\" height=\"527\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.33.14-AM-800x527.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.33.14-AM-160x105.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.33.14-AM-768x506.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.33.14-AM.png 835w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dustin's Farrah Fawcett hairspray (which was a \u003ca href=\"http://americanhistory.si.edu/collections/search/object/nmah_1414216\">real\u003c/a> thing):\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-110470\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.41.43-AM-800x482.png\" alt=\"\" width=\"800\" height=\"482\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.41.43-AM-800x482.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.41.43-AM-160x96.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.41.43-AM-768x462.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.41.43-AM-1020x614.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.41.43-AM.png 1121w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>This homemade antenna which is totally reminiscent of E.T. and Elliott phoning home:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-110472\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.00.32-PM-800x476.png\" alt=\"\" width=\"800\" height=\"476\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.00.32-PM-800x476.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.00.32-PM-160x95.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.00.32-PM-768x457.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.00.32-PM-1020x608.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.00.32-PM.png 1135w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>This beautifully tousled mullet:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-full wp-image-110473\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.03.22-PM.png\" alt=\"\" width=\"655\" height=\"411\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.03.22-PM.png 655w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.03.22-PM-160x100.png 160w\" sizes=\"(max-width: 655px) 100vw, 655px\">\u003c/p>\n\u003cp>Mall culture:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-full wp-image-110475\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.06.33-PM.png\" alt=\"\" width=\"668\" height=\"387\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.06.33-PM.png 668w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.06.33-PM-160x93.png 160w\" sizes=\"(max-width: 668px) 100vw, 668px\">\u003c/p>\n\u003cp>...and all of the shocking pink neon that came with that:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-full wp-image-110474\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.07.45-PM.png\" alt=\"\" width=\"732\" height=\"413\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.07.45-PM.png 732w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.07.45-PM-160x90.png 160w\" sizes=\"(max-width: 732px) 100vw, 732px\">\u003c/p>\n\u003cp>Every single one of these outfits:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-110478\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM-800x372.png\" alt=\"\" width=\"800\" height=\"372\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM-800x372.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM-160x74.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM-768x357.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM-1020x474.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM-1200x558.png 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM.png 1271w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>And these outfits:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-110479\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.14.23-PM-800x364.png\" alt=\"\" width=\"800\" height=\"364\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.14.23-PM-800x364.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.14.23-PM-160x73.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.14.23-PM-768x349.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.14.23-PM.png 912w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>And \u003cem>definitely\u003c/em> these outfits:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-full wp-image-110476\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/stranger-things-season-3-trailer-breakdown-700x314.jpg\" alt=\"\" width=\"700\" height=\"314\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/stranger-things-season-3-trailer-breakdown-700x314.jpg 700w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/stranger-things-season-3-trailer-breakdown-700x314-160x72.jpg 160w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/p>\n\u003cp>To revel in all of this nostalgic glory—plus at least one brand new monster—watch the trailer in full:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6Am4v0C_z8c\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Season 3 of \u003cem>Stranger Things\u003c/em> arrives on Netflix, July 4, 2019.\u003c/p>\n\n",
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"excerpt": "A look at the most gloriously '80s elements of the Season 3 trailer of 'Stranger Things.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the major appeals of \u003cem>Stranger Things\u003c/em> has always been how darn '80s it is. Stylistically, the Netflix series has been \u003cem>E.T\u003c/em>. meets \u003cem>The Goonies\u003c/em> meets Stephen King from the get-go. Those of us who grew up in that decade know the joy of a Ghostbusters costume, the pain of Barb's oversized eyeglasses and the convenience of the Walkman. While Season 2 upped the fashion ante with Eleven's shoulder-padded New Wave makeover, Season 3 is promising to take things to the next level. Come with us as we enjoy all the most gloriously '80s elements of the new trailer.\u003c/p>\n\u003cp>Mötley Crüe's 1985 hit, \"\u003ca href=\"https://www.youtube.com/watch?v=Gmrh42foUsg\">Home Sweet Home\u003c/a>,\" playing on this beast:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-110468\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.29.35-AM-800x397.png\" alt=\"\" width=\"800\" height=\"397\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.29.35-AM-800x397.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.29.35-AM-160x79.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.29.35-AM-768x381.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.29.35-AM.png 828w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Dustin's toys—including an R2-D2, an Ultra Magnus Transformer and a G.I. Joe tank:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-110467\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.33.14-AM-800x527.png\" alt=\"\" width=\"800\" height=\"527\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.33.14-AM-800x527.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.33.14-AM-160x105.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.33.14-AM-768x506.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.33.14-AM.png 835w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dustin's Farrah Fawcett hairspray (which was a \u003ca href=\"http://americanhistory.si.edu/collections/search/object/nmah_1414216\">real\u003c/a> thing):\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-110470\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.41.43-AM-800x482.png\" alt=\"\" width=\"800\" height=\"482\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.41.43-AM-800x482.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.41.43-AM-160x96.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.41.43-AM-768x462.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.41.43-AM-1020x614.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-11.41.43-AM.png 1121w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>This homemade antenna which is totally reminiscent of E.T. and Elliott phoning home:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-110472\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.00.32-PM-800x476.png\" alt=\"\" width=\"800\" height=\"476\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.00.32-PM-800x476.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.00.32-PM-160x95.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.00.32-PM-768x457.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.00.32-PM-1020x608.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.00.32-PM.png 1135w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>This beautifully tousled mullet:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-full wp-image-110473\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.03.22-PM.png\" alt=\"\" width=\"655\" height=\"411\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.03.22-PM.png 655w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.03.22-PM-160x100.png 160w\" sizes=\"(max-width: 655px) 100vw, 655px\">\u003c/p>\n\u003cp>Mall culture:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-full wp-image-110475\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.06.33-PM.png\" alt=\"\" width=\"668\" height=\"387\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.06.33-PM.png 668w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.06.33-PM-160x93.png 160w\" sizes=\"(max-width: 668px) 100vw, 668px\">\u003c/p>\n\u003cp>...and all of the shocking pink neon that came with that:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-full wp-image-110474\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.07.45-PM.png\" alt=\"\" width=\"732\" height=\"413\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.07.45-PM.png 732w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.07.45-PM-160x90.png 160w\" sizes=\"(max-width: 732px) 100vw, 732px\">\u003c/p>\n\u003cp>Every single one of these outfits:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-110478\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM-800x372.png\" alt=\"\" width=\"800\" height=\"372\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM-800x372.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM-160x74.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM-768x357.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM-1020x474.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM-1200x558.png 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.12.48-PM.png 1271w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>And these outfits:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-110479\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.14.23-PM-800x364.png\" alt=\"\" width=\"800\" height=\"364\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.14.23-PM-800x364.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.14.23-PM-160x73.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.14.23-PM-768x349.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/Screen-Shot-2019-03-20-at-12.14.23-PM.png 912w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>And \u003cem>definitely\u003c/em> these outfits:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-full wp-image-110476\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/stranger-things-season-3-trailer-breakdown-700x314.jpg\" alt=\"\" width=\"700\" height=\"314\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/stranger-things-season-3-trailer-breakdown-700x314.jpg 700w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/stranger-things-season-3-trailer-breakdown-700x314-160x72.jpg 160w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/p>\n\u003cp>To revel in all of this nostalgic glory—plus at least one brand new monster—watch the trailer in full:\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/6Am4v0C_z8c'\n title='//www.youtube.com/embed/6Am4v0C_z8c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Season 3 of \u003cem>Stranger Things\u003c/em> arrives on Netflix, July 4, 2019.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Queer Eye's Jonathan Van Ness Set to Live His Ice Skater Fantasy on Netflix's 'Spinning Out'",
"title": "Queer Eye's Jonathan Van Ness Set to Live His Ice Skater Fantasy on Netflix's 'Spinning Out'",
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"content": "\u003cp>Last summer, we enthusiastically declared that following \u003cem>Queer Eye\u003c/em>'s Fab Five on social media might just have \u003ca href=\"https://www.kqed.org/pop/104854/following-the-queer-eye-fab-5-on-instagram-might-just-fix-your-life\">life-changing consequences.\u003c/a> Well, those of you who took our advice have probably been watching in wonder as silken-haired god amongst men, Jonathan Van Ness, learned to ice skate before our very eyes.\u003c/p>\n\u003cp>From \"\u003ca href=\"https://www.youtube.com/watch?v=rRtDWeu0HX8\">strugz to func\u003c/a>\" last November:\u003c/p>\n\u003cp>https://www.instagram.com/p/Bqh6rPGAIMD/\u003c/p>\n\u003cp>To spins in February:\u003c/p>\n\u003cp>https://www.instagram.com/p/BuWWcRdn3tk/\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Finally, on Wednesday, Jonathan explained what all the hard work has been for; he's guest-starring on a new Netflix drama series called \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Spinning_Out\">Spinning Out\u003c/a>\u003c/em>!\u003c/p>\n\u003cp>https://www.instagram.com/p/BurR4Jmne16/\u003c/p>\n\u003cp>JVN will play Bruce, a larger-than-life \u003ca href=\"https://ew.com/tv/2019/03/06/jonathan-van-ness-netflix-spinning-out/?utm_term=B8CF86CC-4044-11E9-8F33-D7BB4744363C&utm_source=twitter.com&utm_campaign=entertainmentweekly_ew&utm_medium=social&utm_content=link\">\"former skater turned big-time choreographer,\"\u003c/a> who is hired to work with an up-and-coming solo skater to launch her career. The 10-episode series will also feature January Jones and Olympic skater babe \u003ca href=\"https://en.wikipedia.org/wiki/Johnny_Weir\">Johnny Weir\u003c/a>.\u003c/p>\n\u003cp>If you think about it, JVN has been manifesting this role ever since he performed a figure skating routine on dry land, before an entire school auditorium in his youth:\u003c/p>\n\u003cp>https://www.instagram.com/p/BrqpMdTHTE0/?utm_source=ig_embed\u003c/p>\n\u003cp>Really, it shouldn't come as a surprise, given how outspoken he's consistently been about his passion for the sport. There was the \u003cem>Queer Eye\u003c/em> episode in which he declared \"I have been watching figure skating like it was the end of the world since 1992.\" There was the assertion on \u003cem>The\u003c/em> \u003cem>Wendy Williams Show\u003c/em> that the celebrity he'd most like to makeover would be Tonya Harding (\"No shade at all because I’m, like, obsessed with her\"). And there was the episode of his podcast, \u003ca href=\"https://www.earwolf.com/show/getting-curious-with-jonathan-van-ness/\">\u003cem>Getting Curious With Jonathan Van Ness,\u003c/em>\u003c/a> in which he asked Olympic skater, Mirai Nagasu: “Do you ever make eyes with like that one f**king judge who you know is an asshole, and just be like ‘I’m gonna triple this axel so f**king hard down your throat right now’?”\u003c/p>\n\u003cp>Don't tell the others, but Jonathan has been our Fab Five fave ever since the Netflix reboot started, and not just because of how much\u003ca href=\"https://itunes.apple.com/us/podcast/queer-eyes-jonathan-van-ness-on-turning-red-states-pink/id1041117499?i=1000407027183&mt=2\"> fun the hosts of \u003cem>The Cooler\u003c/em> had with him\u003c/a> this time last year. Listen for yourself:\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/thecooler/2018/03/JVN.mp3\" title=\"Queer Eye's Jonathan Van Ness on Turning Red States Pink\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/03/Jonathan-Van-Ness.jpg\"]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>No word yet on when \u003cem>Spinning Out\u003c/em> premieres, but to say we can't wait is an understatement, honey.\u003c/p>\n\n",
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"excerpt": "All that ice-skating practice on Jonathan's Instagram account wasn't just for fun, honey.",
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"description": "All that ice-skating practice on Jonathan's Instagram account wasn't just for fun, honey.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last summer, we enthusiastically declared that following \u003cem>Queer Eye\u003c/em>'s Fab Five on social media might just have \u003ca href=\"https://www.kqed.org/pop/104854/following-the-queer-eye-fab-5-on-instagram-might-just-fix-your-life\">life-changing consequences.\u003c/a> Well, those of you who took our advice have probably been watching in wonder as silken-haired god amongst men, Jonathan Van Ness, learned to ice skate before our very eyes.\u003c/p>\n\u003cp>From \"\u003ca href=\"https://www.youtube.com/watch?v=rRtDWeu0HX8\">strugz to func\u003c/a>\" last November:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Finally, on Wednesday, Jonathan explained what all the hard work has been for; he's guest-starring on a new Netflix drama series called \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Spinning_Out\">Spinning Out\u003c/a>\u003c/em>!\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>JVN will play Bruce, a larger-than-life \u003ca href=\"https://ew.com/tv/2019/03/06/jonathan-van-ness-netflix-spinning-out/?utm_term=B8CF86CC-4044-11E9-8F33-D7BB4744363C&utm_source=twitter.com&utm_campaign=entertainmentweekly_ew&utm_medium=social&utm_content=link\">\"former skater turned big-time choreographer,\"\u003c/a> who is hired to work with an up-and-coming solo skater to launch her career. The 10-episode series will also feature January Jones and Olympic skater babe \u003ca href=\"https://en.wikipedia.org/wiki/Johnny_Weir\">Johnny Weir\u003c/a>.\u003c/p>\n\u003cp>If you think about it, JVN has been manifesting this role ever since he performed a figure skating routine on dry land, before an entire school auditorium in his youth:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>Canadians are furious over Netflix's use of real-life footage of a deadly oil-train disaster in two of the company's recent science fiction productions. The 2013 accident in Lac-Megantic, Quebec, involved an American-owned oil tanker train and left 47 people dead. It incinerated the community's historic downtown—video images of towering pillars of smoke and fire went viral on Youtube.\u003c/p>\n\u003cp>This winter, those images began appearing again on Canadian TV screens, not in newscasts or documentaries, but in sci-fi stories, including the hit alien invasion film \u003cem>\u003ca href=\"https://www.netflix.com/title/80196789\">Bird Box\u003c/a>\u003c/em> with Sandra Bullock. In the Bullock film, the Lac-Megantic images are part of a fake newscast that purports to show violent turmoil in Europe.\u003c/p>\n\u003cfigure id=\"attachment_109317\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-109317\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/screen-shot-2019-02-08-at-3.04.50-pm-85745827d855c0aa966c1d6794cfe5f743abc1ac-800x600.png\" alt=\"Netflix used video footage from an oil train disaster in Lac-Megantic, Quebec, in both 'Travelers' and 'Birdbox'. The use of the footage has angered Canadians.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/02/screen-shot-2019-02-08-at-3.04.50-pm-85745827d855c0aa966c1d6794cfe5f743abc1ac-800x600.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/02/screen-shot-2019-02-08-at-3.04.50-pm-85745827d855c0aa966c1d6794cfe5f743abc1ac-160x120.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/02/screen-shot-2019-02-08-at-3.04.50-pm-85745827d855c0aa966c1d6794cfe5f743abc1ac-768x576.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/02/screen-shot-2019-02-08-at-3.04.50-pm-85745827d855c0aa966c1d6794cfe5f743abc1ac.png 927w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Netflix used video footage from an oil train disaster in Lac-Megantic, Quebec, in both 'Travelers' and 'Birdbox'. The use of the footage has angered Canadians.\u003c/figcaption>\u003c/figure>\n\u003cp>The clip appears briefly again in \u003cem>\u003ca href=\"https://www.netflix.com/title/80105699\">Travelers\u003c/a>,\u003c/em> a joint U.S.-Canadian sci-fi series about time-travelers, repurposed in a fake newscast describing a nuclear attack on London.\u003c/p>\n\u003cp>Lac-Megantic Mayor Julie Morin declined to speak with NPR, but provided a statement calling use of the video unethical.\u003c/p>\n\u003cp>\"Those images are the representation of our city's worst day in history, a day from which we are still working hard to recover,\" Morin wrote. She called for the film industry to reconsider the use of footage taken from \"real tragic human events\" for fictional entertainment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Canada's Parliament agrees. In late January, MP Pierre Mantel spoke on the floor of the House of Commons, denouncing Netflix and introducing a nonbinding resolution calling for the company to \"compensate local residents and remove the video clip from the films.\" The proposal was approved unanimously and drew a round of applause in the chamber.\u003c/p>\n\u003cp>Some commentators in Canada have pointed out that stock footage of real disasters has been used by Hollywood in entertainment films for years. In an open letter addressed to the community of Lac-Megantic, Netflix executives wrote that they \"regret any pain\" their productions caused, but they haven't offered compensation.\u003c/p>\n\u003cp>The stock film distribution company that sold the video clip also apologized and says it's reviewing its policy for how images can be repurposed by clients in the film industry. \"It has recently come to our attention that our footage depicting the Lac-Mégantic rail disaster was taken out of context,\" said the firm Pond5 in a statement.\u003c/p>\n\u003cp>\"We deeply regret that this happened and sincerely apologize to anyone who was offended, especially the victims and their families,\" the company added.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Producers of the \u003cem>Travelers\u003c/em> sci-fi series now say the fiery images will be clipped out and replaced as soon as possible. Netflix is refusing to remove the footage from the film \u003cem>Bird Box\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NCPR. To see more, visit \u003ca href=\"http://www.northcountrypublicradio.org/\">NCPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Video+Clips+Of+Oil+Train+Disaster+Used+In+Netflix+Sci-Fi+Films+Anger+Canadians&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Canadians are furious over Netflix's use of real-life footage of a deadly oil-train disaster in two of the company's recent science fiction productions. The 2013 accident in Lac-Megantic, Quebec, involved an American-owned oil tanker train and left 47 people dead. It incinerated the community's historic downtown—video images of towering pillars of smoke and fire went viral on Youtube.\u003c/p>\n\u003cp>This winter, those images began appearing again on Canadian TV screens, not in newscasts or documentaries, but in sci-fi stories, including the hit alien invasion film \u003cem>\u003ca href=\"https://www.netflix.com/title/80196789\">Bird Box\u003c/a>\u003c/em> with Sandra Bullock. In the Bullock film, the Lac-Megantic images are part of a fake newscast that purports to show violent turmoil in Europe.\u003c/p>\n\u003cfigure id=\"attachment_109317\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-109317\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/screen-shot-2019-02-08-at-3.04.50-pm-85745827d855c0aa966c1d6794cfe5f743abc1ac-800x600.png\" alt=\"Netflix used video footage from an oil train disaster in Lac-Megantic, Quebec, in both 'Travelers' and 'Birdbox'. The use of the footage has angered Canadians.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/02/screen-shot-2019-02-08-at-3.04.50-pm-85745827d855c0aa966c1d6794cfe5f743abc1ac-800x600.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/02/screen-shot-2019-02-08-at-3.04.50-pm-85745827d855c0aa966c1d6794cfe5f743abc1ac-160x120.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/02/screen-shot-2019-02-08-at-3.04.50-pm-85745827d855c0aa966c1d6794cfe5f743abc1ac-768x576.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/02/screen-shot-2019-02-08-at-3.04.50-pm-85745827d855c0aa966c1d6794cfe5f743abc1ac.png 927w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Netflix used video footage from an oil train disaster in Lac-Megantic, Quebec, in both 'Travelers' and 'Birdbox'. The use of the footage has angered Canadians.\u003c/figcaption>\u003c/figure>\n\u003cp>The clip appears briefly again in \u003cem>\u003ca href=\"https://www.netflix.com/title/80105699\">Travelers\u003c/a>,\u003c/em> a joint U.S.-Canadian sci-fi series about time-travelers, repurposed in a fake newscast describing a nuclear attack on London.\u003c/p>\n\u003cp>Lac-Megantic Mayor Julie Morin declined to speak with NPR, but provided a statement calling use of the video unethical.\u003c/p>\n\u003cp>\"Those images are the representation of our city's worst day in history, a day from which we are still working hard to recover,\" Morin wrote. She called for the film industry to reconsider the use of footage taken from \"real tragic human events\" for fictional entertainment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Canada's Parliament agrees. In late January, MP Pierre Mantel spoke on the floor of the House of Commons, denouncing Netflix and introducing a nonbinding resolution calling for the company to \"compensate local residents and remove the video clip from the films.\" The proposal was approved unanimously and drew a round of applause in the chamber.\u003c/p>\n\u003cp>Some commentators in Canada have pointed out that stock footage of real disasters has been used by Hollywood in entertainment films for years. In an open letter addressed to the community of Lac-Megantic, Netflix executives wrote that they \"regret any pain\" their productions caused, but they haven't offered compensation.\u003c/p>\n\u003cp>The stock film distribution company that sold the video clip also apologized and says it's reviewing its policy for how images can be repurposed by clients in the film industry. \"It has recently come to our attention that our footage depicting the Lac-Mégantic rail disaster was taken out of context,\" said the firm Pond5 in a statement.\u003c/p>\n\u003cp>\"We deeply regret that this happened and sincerely apologize to anyone who was offended, especially the victims and their families,\" the company added.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Producers of the \u003cem>Travelers\u003c/em> sci-fi series now say the fiery images will be clipped out and replaced as soon as possible. Netflix is refusing to remove the footage from the film \u003cem>Bird Box\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NCPR. To see more, visit \u003ca href=\"http://www.northcountrypublicradio.org/\">NCPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Video+Clips+Of+Oil+Train+Disaster+Used+In+Netflix+Sci-Fi+Films+Anger+Canadians&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A woman whose curly red hair spills past her shoulders stands in front of a bathroom mirror as a party rages outside. She looks at her reflection. People bang on the door to get in. She turns and leaves, through a door with a handgun for a handle, out of the bathroom where the areas of the walls and door glow with blotches of chilly blue light. As she leaves, two women push their way past her into the bathroom, and she moves into the room where the party is. Friends swarm around her. A woman cooking in the kitchen offers her a joint laced with cocaine. Something is wrong. She is a quick-witted New York game designer who seems to smoke in part for the smoking itself, but also in part so she can gesture, in quick little jabs, with her cigarette. And she can't figure out quite what's going on. \"What was I just doing?\" she asks her friend.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YHcKoAMGGvY\u003c/p>\n\u003cp>This is, I think, as much as I can tell you about the premise of \u003cem>Russian Doll\u003c/em>, an eight-part series premiering on Netflix Friday, except that the woman is named Nadia, and she is played by the genuinely inimitable Natasha Lyonne. Lyonne created the series along with Amy Poehler and playwright/director Leslye Headland.\u003c/p>\n\u003cp>Lyonne has been around a long time. She was a child actor on \u003cem>Pee-wee's Playhouse \u003c/em>and in \u003cem>Dennis the Menace\u003c/em>. She was in \u003cem>American Pie\u003c/em>. She did small, well-regarded films in the late 1990s, most notably Tamara Jenkins' \u003cem>Slums of Beverly Hills\u003c/em> and Jamie Babbit's \u003cem>But I'm a Cheerleader\u003c/em>. Most recently, she's one of a group of actresses who got wonderful boosts from appearing on \u003cem>Orange Is The New Black. \u003c/em>There, she plays Nicky, whose addictions continue to haunt her in prison. Lyonne was nominated for an Emmy for the role.\u003c/p>\n\u003cp>She's always been a good actress, and still, \u003cem>Russian Doll \u003c/em>feels like a revelation. Lyonne is not only the purest version of herself in it, but Nadia is an improvement, in this project Lyonne co-created, on every character she's played that has nearly captured her particular energy. Nicky on \u003cem>OITNB\u003c/em>, for instance, is a very Natasha Lyonne role, as it were, but Nadia is \u003cem>more \u003c/em>so. Lyonne can seem, as a \u003ca href=\"https://www.theguardian.com/film/2017/apr/06/antibirth-star-natasha-lyonne-isnt-everyone-entitled-to-an-existential-breakdown\">\u003cem>Guardian \u003c/em>profile once noted\u003c/a>, like someone who \"has a weird ability to grow more appealing the gnarlier her character and surroundings get.\" But Nadia isn't a character bigger than Nicky. She's not broader. She's just so \u003cem>specifically\u003c/em> conceived. It's a performance where the actor understands the character so well, down to every little gesture she makes, every twitch of her face, that it's startling, at times, to remember she's fictional.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It's a tough show to review, because I'd like to tell you all about its pleasures—how clever it is, how intelligent about people, how intelligent about the isolation of knowing you're the only person who knows the truth about your own situation and even you know only some of it.\u003c/p>\n\u003cp>But I don't even want to tell you what \u003cem>kind \u003c/em>of show it is, because its tonal turns are among the narrative elements that make it effective. That gun-shaped doorknob. Those glowing blue splotches. Is it supernatural? Is it a crime show? Nadia certainly has a way with a clever line; is it a comedy?\u003c/p>\n\u003cp>Not exactly, not exactly, and not exactly.\u003c/p>\n\u003cp>This much spoils nothing: unlike many streaming shows, \u003cem>Russian Doll \u003c/em>is only as long as it needs to be to tell its story. The eight half-hour episodes maintain their momentum, which is particularly tough in a story that, by its nature and its exploration of a certain kind of déjà vu, isn't precisely linear. The series bends and breathes, introducing other characters into Nadia's life (I don't even want to tell you who!), giving away more and more of her fundamentally New York kind of humanity, never wavering in its conviction that she is fascinating enough to carry this entire story.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And at the center is Natasha Lyonne, playing a character so human that if you opened your own bathroom door and found her standing there, it wouldn't be all \u003cem>that \u003c/em>surprising.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Natasha+Lyonne+Anchors+The+Riveting+%27Russian+Doll%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A woman whose curly red hair spills past her shoulders stands in front of a bathroom mirror as a party rages outside. She looks at her reflection. People bang on the door to get in. She turns and leaves, through a door with a handgun for a handle, out of the bathroom where the areas of the walls and door glow with blotches of chilly blue light. As she leaves, two women push their way past her into the bathroom, and she moves into the room where the party is. Friends swarm around her. A woman cooking in the kitchen offers her a joint laced with cocaine. Something is wrong. She is a quick-witted New York game designer who seems to smoke in part for the smoking itself, but also in part so she can gesture, in quick little jabs, with her cigarette. And she can't figure out quite what's going on. \"What was I just doing?\" she asks her friend.\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/YHcKoAMGGvY'\n title='//www.youtube.com/embed/YHcKoAMGGvY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is, I think, as much as I can tell you about the premise of \u003cem>Russian Doll\u003c/em>, an eight-part series premiering on Netflix Friday, except that the woman is named Nadia, and she is played by the genuinely inimitable Natasha Lyonne. Lyonne created the series along with Amy Poehler and playwright/director Leslye Headland.\u003c/p>\n\u003cp>Lyonne has been around a long time. She was a child actor on \u003cem>Pee-wee's Playhouse \u003c/em>and in \u003cem>Dennis the Menace\u003c/em>. She was in \u003cem>American Pie\u003c/em>. She did small, well-regarded films in the late 1990s, most notably Tamara Jenkins' \u003cem>Slums of Beverly Hills\u003c/em> and Jamie Babbit's \u003cem>But I'm a Cheerleader\u003c/em>. Most recently, she's one of a group of actresses who got wonderful boosts from appearing on \u003cem>Orange Is The New Black. \u003c/em>There, she plays Nicky, whose addictions continue to haunt her in prison. Lyonne was nominated for an Emmy for the role.\u003c/p>\n\u003cp>She's always been a good actress, and still, \u003cem>Russian Doll \u003c/em>feels like a revelation. Lyonne is not only the purest version of herself in it, but Nadia is an improvement, in this project Lyonne co-created, on every character she's played that has nearly captured her particular energy. Nicky on \u003cem>OITNB\u003c/em>, for instance, is a very Natasha Lyonne role, as it were, but Nadia is \u003cem>more \u003c/em>so. Lyonne can seem, as a \u003ca href=\"https://www.theguardian.com/film/2017/apr/06/antibirth-star-natasha-lyonne-isnt-everyone-entitled-to-an-existential-breakdown\">\u003cem>Guardian \u003c/em>profile once noted\u003c/a>, like someone who \"has a weird ability to grow more appealing the gnarlier her character and surroundings get.\" But Nadia isn't a character bigger than Nicky. She's not broader. She's just so \u003cem>specifically\u003c/em> conceived. It's a performance where the actor understands the character so well, down to every little gesture she makes, every twitch of her face, that it's startling, at times, to remember she's fictional.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It's a tough show to review, because I'd like to tell you all about its pleasures—how clever it is, how intelligent about people, how intelligent about the isolation of knowing you're the only person who knows the truth about your own situation and even you know only some of it.\u003c/p>\n\u003cp>But I don't even want to tell you what \u003cem>kind \u003c/em>of show it is, because its tonal turns are among the narrative elements that make it effective. That gun-shaped doorknob. Those glowing blue splotches. Is it supernatural? Is it a crime show? Nadia certainly has a way with a clever line; is it a comedy?\u003c/p>\n\u003cp>Not exactly, not exactly, and not exactly.\u003c/p>\n\u003cp>This much spoils nothing: unlike many streaming shows, \u003cem>Russian Doll \u003c/em>is only as long as it needs to be to tell its story. The eight half-hour episodes maintain their momentum, which is particularly tough in a story that, by its nature and its exploration of a certain kind of déjà vu, isn't precisely linear. The series bends and breathes, introducing other characters into Nadia's life (I don't even want to tell you who!), giving away more and more of her fundamentally New York kind of humanity, never wavering in its conviction that she is fascinating enough to carry this entire story.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And at the center is Natasha Lyonne, playing a character so human that if you opened your own bathroom door and found her standing there, it wouldn't be all \u003cem>that \u003c/em>surprising.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Natasha+Lyonne+Anchors+The+Riveting+%27Russian+Doll%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>April will mark the 25th anniversary of the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/04/26/606105347/mass-graves-discovered-24-years-after-rwandan-genocide\">Rwandan genocide\u003c/a>, a 100-day period in which world leaders stood idly by as more than 800,000 people—Tutsi minorities and moderate Hutus—were murdered by the majority Hutus, who had been whipped into a homicidal frenzy by their leaders.\u003c/p>\n\u003cp>The fallout from this killing spree is the subject of a clunky but fascinating BBC drama, \u003cem>Black Earth Rising\u003c/em>, just out on Netflix. It was made by Hugo Blick, whose award-winning 2014 series \u003cem>The Honourable Woman\u003c/em> used a deliriously serpentine plot to explore the Israeli-Palestinian conundrum.\u003c/p>\n\u003cp>Blick's up to the same tricks in this new eight-part series, which offers us the gaudy goodies of a thriller—murders, chases and shocking revelations—in order to interest us in a tragedy whose aftershocks are still rocking Africa today.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YNb5w1ERY8E\u003c/p>\n\u003cp>Rising British star Michaela Coel plays the role of Kate Ashby, a 30-ish Rwandan who, as a little girl, was rescued from the 1994 genocide by human rights lawyer Eve Ashby—that's Harriet Walter —who adopted her and raised her in London.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Eve and her American boss Michael Ennis (played by John Goodman) are dedicated to prosecuting those who turned Central Africa into a killing field. All of which is fine until Eve goes after a Tutsi general who, after helping end the genocide, went on to commit war crimes in neighboring Democratic Republic of Congo. Kate is outraged. How can her own mom go after a man who saved Tutsis like herself from slaughter?\u003c/p>\n\u003cp>This tricky question gets even trickier once Kate finds herself working with Michael on a second case, this time defending a Rwandan government minister from a war crimes charge brought by the French. As the two cases cross-pollinate, \u003cem>Black Earth Rising\u003c/em> races from London mansions to Congolese mining camps, from Parisian police stations to the presidential offices in the Rwandan capital of Kigali. Meanwhile, Kate—whose childhood trauma keeps her inner life churning—burns with a righteous anger that blinds her to the past's full complexity.\u003c/p>\n\u003cfigure id=\"attachment_109031\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-109031\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/01/tfe_ep2_sm_150817_238a4636-78d772706c3e970fbf66f165dec2406503c773d7-800x600.jpg\" alt=\"Michaela Coel plays a survivor of the Rwandan genocide in the BBC/Netflix miniseries, 'Black Earth Rising.'\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/01/tfe_ep2_sm_150817_238a4636-78d772706c3e970fbf66f165dec2406503c773d7-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tfe_ep2_sm_150817_238a4636-78d772706c3e970fbf66f165dec2406503c773d7-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tfe_ep2_sm_150817_238a4636-78d772706c3e970fbf66f165dec2406503c773d7-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tfe_ep2_sm_150817_238a4636-78d772706c3e970fbf66f165dec2406503c773d7-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tfe_ep2_sm_150817_238a4636-78d772706c3e970fbf66f165dec2406503c773d7-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tfe_ep2_sm_150817_238a4636-78d772706c3e970fbf66f165dec2406503c773d7-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michaela Coel plays a survivor of the Rwandan genocide in the BBC/Netflix miniseries, 'Black Earth Rising.'\u003c/figcaption>\u003c/figure>\n\u003cp>Now, \u003cem>Black Earth Rising\u003c/em> is decidedly not one of those current-events potboilers like \u003ca href=\"https://www.npr.org/2018/10/22/659526648/take-thrilling-comfort-in-bodyguard-where-the-malfeasance-is-just-fiction\">Bodyguard \u003c/a>or \u003ca href=\"https://www.npr.org/2014/10/03/353506560/homeland-regains-urgency-with-twin-protagonists-and-divided-loyalties\">Homeland\u003c/a>. It cares less about ratcheting things up than reminding us that history is vast, messy and ever-changing. Kate's exploration of her past helps us understand the Rwanda genocide and its violent aftermath. We get details of how Belgian and French policies helped fuel the killing, and how colonialism still works today. We see how the Tutsi leaders who currently run Rwanda have created an orderly but dictatorial state. And more abstractly, we see how hard it is to define justice in a world where onetime heroes start doing bad things and fate transforms villains into victims.\u003c/p>\n\u003cp>Of course, it would take a lifetime to capture the complexity of all these things, and \u003cem>Black Earth Rising\u003c/em> is only an eight-hour TV series. Although Blick tries hard to do justice to his subject, his ambition has a cost: The dramatic side of the series can be wobbly. Some of the dialogue is thuddingly expository, some of the plot twists feel mechanical, some of the symbolism is overbearing. And our heroine, Kate, is less a three-dimensional character than a walking emblem of Central African trauma.\u003c/p>\n\u003cp>Yet Coel plays Kate with such incandescent intensity that she keeps us riveted anyway. In fact, the whole series is superbly acted. There's a winningly ambiguous turn by Lucian Msamati as the confidant of Rwanda's president and a brilliant one by Goodman who, in Michael, aces a dream role—he gets to play smart, witty, soulful and, heck, even sexy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the show's opening credits, we hear \u003ca href=\"https://www.npr.org/artists/15392685/leonard-cohen\">Leonard Cohen\u003c/a> performing his song \"You Want It Darker\" in his incomparable hound-of-hell growl. Yet \u003cem>Black Earth Rising\u003c/em> is actually about seeking the light. As Kate learns the buried truth about the past—her own and her home country's—she begins to escape its clutches, transforming herself from an innocent victimized by history into a wised-up woman who's trying to make it.\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=%27Black+Earth+Rising%27+Is+A+Fascinating%2C+If+Clunky%2C+Take+On+The+Rwandan+Genocide+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>April will mark the 25th anniversary of the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/04/26/606105347/mass-graves-discovered-24-years-after-rwandan-genocide\">Rwandan genocide\u003c/a>, a 100-day period in which world leaders stood idly by as more than 800,000 people—Tutsi minorities and moderate Hutus—were murdered by the majority Hutus, who had been whipped into a homicidal frenzy by their leaders.\u003c/p>\n\u003cp>The fallout from this killing spree is the subject of a clunky but fascinating BBC drama, \u003cem>Black Earth Rising\u003c/em>, just out on Netflix. It was made by Hugo Blick, whose award-winning 2014 series \u003cem>The Honourable Woman\u003c/em> used a deliriously serpentine plot to explore the Israeli-Palestinian conundrum.\u003c/p>\n\u003cp>Blick's up to the same tricks in this new eight-part series, which offers us the gaudy goodies of a thriller—murders, chases and shocking revelations—in order to interest us in a tragedy whose aftershocks are still rocking Africa today.\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/YNb5w1ERY8E'\n title='//www.youtube.com/embed/YNb5w1ERY8E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rising British star Michaela Coel plays the role of Kate Ashby, a 30-ish Rwandan who, as a little girl, was rescued from the 1994 genocide by human rights lawyer Eve Ashby—that's Harriet Walter —who adopted her and raised her in London.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eve and her American boss Michael Ennis (played by John Goodman) are dedicated to prosecuting those who turned Central Africa into a killing field. All of which is fine until Eve goes after a Tutsi general who, after helping end the genocide, went on to commit war crimes in neighboring Democratic Republic of Congo. Kate is outraged. How can her own mom go after a man who saved Tutsis like herself from slaughter?\u003c/p>\n\u003cp>This tricky question gets even trickier once Kate finds herself working with Michael on a second case, this time defending a Rwandan government minister from a war crimes charge brought by the French. As the two cases cross-pollinate, \u003cem>Black Earth Rising\u003c/em> races from London mansions to Congolese mining camps, from Parisian police stations to the presidential offices in the Rwandan capital of Kigali. Meanwhile, Kate—whose childhood trauma keeps her inner life churning—burns with a righteous anger that blinds her to the past's full complexity.\u003c/p>\n\u003cfigure id=\"attachment_109031\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-109031\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/01/tfe_ep2_sm_150817_238a4636-78d772706c3e970fbf66f165dec2406503c773d7-800x600.jpg\" alt=\"Michaela Coel plays a survivor of the Rwandan genocide in the BBC/Netflix miniseries, 'Black Earth Rising.'\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/01/tfe_ep2_sm_150817_238a4636-78d772706c3e970fbf66f165dec2406503c773d7-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tfe_ep2_sm_150817_238a4636-78d772706c3e970fbf66f165dec2406503c773d7-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tfe_ep2_sm_150817_238a4636-78d772706c3e970fbf66f165dec2406503c773d7-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tfe_ep2_sm_150817_238a4636-78d772706c3e970fbf66f165dec2406503c773d7-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tfe_ep2_sm_150817_238a4636-78d772706c3e970fbf66f165dec2406503c773d7-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tfe_ep2_sm_150817_238a4636-78d772706c3e970fbf66f165dec2406503c773d7-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michaela Coel plays a survivor of the Rwandan genocide in the BBC/Netflix miniseries, 'Black Earth Rising.'\u003c/figcaption>\u003c/figure>\n\u003cp>Now, \u003cem>Black Earth Rising\u003c/em> is decidedly not one of those current-events potboilers like \u003ca href=\"https://www.npr.org/2018/10/22/659526648/take-thrilling-comfort-in-bodyguard-where-the-malfeasance-is-just-fiction\">Bodyguard \u003c/a>or \u003ca href=\"https://www.npr.org/2014/10/03/353506560/homeland-regains-urgency-with-twin-protagonists-and-divided-loyalties\">Homeland\u003c/a>. It cares less about ratcheting things up than reminding us that history is vast, messy and ever-changing. Kate's exploration of her past helps us understand the Rwanda genocide and its violent aftermath. We get details of how Belgian and French policies helped fuel the killing, and how colonialism still works today. We see how the Tutsi leaders who currently run Rwanda have created an orderly but dictatorial state. And more abstractly, we see how hard it is to define justice in a world where onetime heroes start doing bad things and fate transforms villains into victims.\u003c/p>\n\u003cp>Of course, it would take a lifetime to capture the complexity of all these things, and \u003cem>Black Earth Rising\u003c/em> is only an eight-hour TV series. Although Blick tries hard to do justice to his subject, his ambition has a cost: The dramatic side of the series can be wobbly. Some of the dialogue is thuddingly expository, some of the plot twists feel mechanical, some of the symbolism is overbearing. And our heroine, Kate, is less a three-dimensional character than a walking emblem of Central African trauma.\u003c/p>\n\u003cp>Yet Coel plays Kate with such incandescent intensity that she keeps us riveted anyway. In fact, the whole series is superbly acted. There's a winningly ambiguous turn by Lucian Msamati as the confidant of Rwanda's president and a brilliant one by Goodman who, in Michael, aces a dream role—he gets to play smart, witty, soulful and, heck, even sexy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the show's opening credits, we hear \u003ca href=\"https://www.npr.org/artists/15392685/leonard-cohen\">Leonard Cohen\u003c/a> performing his song \"You Want It Darker\" in his incomparable hound-of-hell growl. Yet \u003cem>Black Earth Rising\u003c/em> is actually about seeking the light. As Kate learns the buried truth about the past—her own and her home country's—she begins to escape its clutches, transforming herself from an innocent victimized by history into a wised-up woman who's trying to make it.\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=%27Black+Earth+Rising%27+Is+A+Fascinating%2C+If+Clunky%2C+Take+On+The+Rwandan+Genocide+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In April 2017, it was marketed as the party of a lifetime. The \u003ca href=\"https://www.npr.org/tags/526073306/fyre-festival\">Fyre Music Festival\u003c/a> was billed as a two-weekend, immersive experience in paradise where festival goers would enjoy top musical acts, party with supermodels and stay in lux accommodations on a private island in The Bahamas once owned by Pablo Escobar.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/684887614/684894947\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>But attendees who paid thousands of dollars to fly to the Caribbean for Fyre Fest were greeted with complete chaos. When they arrived, they found a tent city and half-built structures. As more ticket holders arrived, they discovered there was not enough security, lights or food. \u003ca href=\"https://twitter.com/trev4president/status/857776562615308288?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E857776562615308288&ref_url=https%3A%2F%2Fwww.slashfilm.com%2Ffyre-festival-movie-trailer%2F\">Live tweets\u003c/a> from ground zero of the pseudo-concert turned the fest and its co-founders, rapper Ja Rule and entrepreneur Billy McFarland, into the laughing stock of the Internet.\u003c/p>\n\u003cp>In the aftermath of the debacle, Fyre Fest was federally investigated and subject to a class action lawsuit. McFarland was arrested and \u003ca href=\"https://www.npr.org/2018/10/11/656480640/fyre-festival-co-founder-billy-mcfarland-sentenced-in-manhattan\">sentenced to six years in prison\u003c/a> for defrauding investors for millions of dollars.\u003c/p>\n\u003cp>Now, the new Netflix documentary \u003cem>Fyre: The Greatest Party That Never Happened, \u003c/em>out Jan. 18, goes behind the scenes with people directly involved to find out exactly what happened and how it all fell apart.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=123&v=uZ0KNVU2fV0\u003c/p>\n\u003cp>Chris Smith, the documentary director, says that in terms of marketing, Fyre Media succeeded in \"selling the dream\" of a beach vacation combined with a music fest. But delivering on the fantasy was another story.\u003c/p>\n\u003cp>\"I don't think they set out to try and scam people and just have them fly out and it be a disaster. I think the idea was to deliver something that lived up to the marketing. It was just the reality of that just proved to be incredibly impossible,\" Smith says.\u003c/p>\n\u003cp>The documentary interviews not only the organizers and people who know McFarland, but also native Bahamians who worked to set up the festival that were never paid.\u003c/p>\n\u003cfigure id=\"attachment_108587\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-108587\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/01/fyre_pr_still_jetski_wide-05b4d675ff96504c029e4d1b12ec64e79af59351-800x449.jpg\" alt=\"Billy McFarland in a screenshot from 'FYRE: The Greatest Party That Never Happened.'\" width=\"800\" height=\"449\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/01/fyre_pr_still_jetski_wide-05b4d675ff96504c029e4d1b12ec64e79af59351-800x449.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/fyre_pr_still_jetski_wide-05b4d675ff96504c029e4d1b12ec64e79af59351-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/fyre_pr_still_jetski_wide-05b4d675ff96504c029e4d1b12ec64e79af59351-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/fyre_pr_still_jetski_wide-05b4d675ff96504c029e4d1b12ec64e79af59351-1020x573.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/fyre_pr_still_jetski_wide-05b4d675ff96504c029e4d1b12ec64e79af59351-1200x674.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/fyre_pr_still_jetski_wide-05b4d675ff96504c029e4d1b12ec64e79af59351-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/fyre_pr_still_jetski_wide-05b4d675ff96504c029e4d1b12ec64e79af59351-960x539.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/fyre_pr_still_jetski_wide-05b4d675ff96504c029e4d1b12ec64e79af59351-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/fyre_pr_still_jetski_wide-05b4d675ff96504c029e4d1b12ec64e79af59351-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/fyre_pr_still_jetski_wide-05b4d675ff96504c029e4d1b12ec64e79af59351-520x292.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/fyre_pr_still_jetski_wide-05b4d675ff96504c029e4d1b12ec64e79af59351.jpg 1899w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy McFarland in a screenshot from 'FYRE: The Greatest Party That Never Happened.' \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"I had seen the news story when it broke and just the implosion of the fest and how it was being reported and it always felt very one dimensional,\" Smith says. \"To me, I was interested to see if there was a human story behind it.\"\u003c/p>\n\u003cp>Smith notes that he reached out to Billy McFarland to be interviewed for this documentary but that McFarland wanted to be paid in order to appear.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"It's a reflection of this idea of perception and reality,\" Smith says when explaining takeaways of the film. \"Here you had something that was presented as sort of the ultimate festival experience and the reality of it was so different. It feels very much like a reflection of the times that we're in right now.\"\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fyre+Festival+Documentary+Shows+%27Perception+And+Reality%27+Of+Infamous+Concert+Flop&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In April 2017, it was marketed as the party of a lifetime. The \u003ca href=\"https://www.npr.org/tags/526073306/fyre-festival\">Fyre Music Festival\u003c/a> was billed as a two-weekend, immersive experience in paradise where festival goers would enjoy top musical acts, party with supermodels and stay in lux accommodations on a private island in The Bahamas once owned by Pablo Escobar.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/684887614/684894947\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>But attendees who paid thousands of dollars to fly to the Caribbean for Fyre Fest were greeted with complete chaos. When they arrived, they found a tent city and half-built structures. As more ticket holders arrived, they discovered there was not enough security, lights or food. \u003ca href=\"https://twitter.com/trev4president/status/857776562615308288?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E857776562615308288&ref_url=https%3A%2F%2Fwww.slashfilm.com%2Ffyre-festival-movie-trailer%2F\">Live tweets\u003c/a> from ground zero of the pseudo-concert turned the fest and its co-founders, rapper Ja Rule and entrepreneur Billy McFarland, into the laughing stock of the Internet.\u003c/p>\n\u003cp>In the aftermath of the debacle, Fyre Fest was federally investigated and subject to a class action lawsuit. McFarland was arrested and \u003ca href=\"https://www.npr.org/2018/10/11/656480640/fyre-festival-co-founder-billy-mcfarland-sentenced-in-manhattan\">sentenced to six years in prison\u003c/a> for defrauding investors for millions of dollars.\u003c/p>\n\u003cp>Now, the new Netflix documentary \u003cem>Fyre: The Greatest Party That Never Happened, \u003c/em>out Jan. 18, goes behind the scenes with people directly involved to find out exactly what happened and how it all fell apart.\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/uZ0KNVU2fV0'\n title='//www.youtube.com/embed/uZ0KNVU2fV0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Chris Smith, the documentary director, says that in terms of marketing, Fyre Media succeeded in \"selling the dream\" of a beach vacation combined with a music fest. But delivering on the fantasy was another story.\u003c/p>\n\u003cp>\"I don't think they set out to try and scam people and just have them fly out and it be a disaster. I think the idea was to deliver something that lived up to the marketing. It was just the reality of that just proved to be incredibly impossible,\" Smith says.\u003c/p>\n\u003cp>The documentary interviews not only the organizers and people who know McFarland, but also native Bahamians who worked to set up the festival that were never paid.\u003c/p>\n\u003cfigure id=\"attachment_108587\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-108587\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/01/fyre_pr_still_jetski_wide-05b4d675ff96504c029e4d1b12ec64e79af59351-800x449.jpg\" alt=\"Billy McFarland in a screenshot from 'FYRE: The Greatest Party That Never Happened.'\" width=\"800\" height=\"449\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/01/fyre_pr_still_jetski_wide-05b4d675ff96504c029e4d1b12ec64e79af59351-800x449.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/fyre_pr_still_jetski_wide-05b4d675ff96504c029e4d1b12ec64e79af59351-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/fyre_pr_still_jetski_wide-05b4d675ff96504c029e4d1b12ec64e79af59351-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/fyre_pr_still_jetski_wide-05b4d675ff96504c029e4d1b12ec64e79af59351-1020x573.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/fyre_pr_still_jetski_wide-05b4d675ff96504c029e4d1b12ec64e79af59351-1200x674.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/fyre_pr_still_jetski_wide-05b4d675ff96504c029e4d1b12ec64e79af59351-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/fyre_pr_still_jetski_wide-05b4d675ff96504c029e4d1b12ec64e79af59351-960x539.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/fyre_pr_still_jetski_wide-05b4d675ff96504c029e4d1b12ec64e79af59351-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/fyre_pr_still_jetski_wide-05b4d675ff96504c029e4d1b12ec64e79af59351-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/fyre_pr_still_jetski_wide-05b4d675ff96504c029e4d1b12ec64e79af59351-520x292.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/fyre_pr_still_jetski_wide-05b4d675ff96504c029e4d1b12ec64e79af59351.jpg 1899w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy McFarland in a screenshot from 'FYRE: The Greatest Party That Never Happened.' \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"I had seen the news story when it broke and just the implosion of the fest and how it was being reported and it always felt very one dimensional,\" Smith says. \"To me, I was interested to see if there was a human story behind it.\"\u003c/p>\n\u003cp>Smith notes that he reached out to Billy McFarland to be interviewed for this documentary but that McFarland wanted to be paid in order to appear.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"It's a reflection of this idea of perception and reality,\" Smith says when explaining takeaways of the film. \"Here you had something that was presented as sort of the ultimate festival experience and the reality of it was so different. It feels very much like a reflection of the times that we're in right now.\"\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fyre+Festival+Documentary+Shows+%27Perception+And+Reality%27+Of+Infamous+Concert+Flop&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last fall, the world watched as Saudi Arabia's official story about the death of \u003cem>Washington Post \u003c/em>columnist Jamal Khashoggi changed, and changed again. A series of \u003ca href=\"https://www.npr.org/2018/11/17/668835242/saudis-deny-reported-cia-conclusion-that-crown-prince-ordered-khashoggi-assassin\">contradictory claims and denials\u003c/a> came even as \u003ca href=\"https://www.npr.org/2018/12/04/673224487/cia-director-gina-haspel-to-brief-senators-on-jamal-khashoggi-killing\">evidence emerged\u003c/a> that Khashoggi's killing had been ordered by the country's crown prince.\u003c/p>\n\u003cp>Many people were angry, and that included the American comedian Hasan Minhaj, who blasted the Saudi government on his Netflix news-comedy show \u003ca href=\"https://www.netflix.com/title/80239931\">Patriot Act with Hasan Minhaj\u003c/a>.\u003c/p>\n\u003cp>\"This is the most unbelievable cover story since Blake Shelton won sexiest man alive,\" Minhaj \u003ca href=\"https://www.youtube.com/watch?v=ApjzglBDhJ0\">joked to his audience\u003c/a>.\u003c/p>\n\u003cp>But the Saudi government isn't laughing.\u003c/p>\n\u003cp>Last week, it had Netflix remove the episode in that country. As the \u003cem>Financial Times\u003c/em> \u003ca href=\"https://www.ft.com/content/5121f014-0db8-11e9-a3aa-118c761d2745\">first reported\u003c/a>, a Saudi regulator cited a law that prohibits the \"production, preparation, transmission, or storage of material impinging on public order, religious values, public morals, and privacy, through the information network or computers.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a statement to NPR, a Netflix spokesperson said, \"We strongly support artistic freedom and removed this episode only in Saudi Arabia after we had received a valid legal request—and to comply with local law.\"\u003c/p>\n\u003cp>The episode was also posted to the show's YouTube page, which is reportedly still accessible inside Saudi Arabia. Google, which owns YouTube, didn't immediately respond to questions about whether it had also heard from the Saudi government.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ApjzglBDhJ0\u003c/p>\n\u003cp>In the episode, Minhaj called Saudi Arabia's actions a \"cover-up\" and went on to question the deep financial and political ties between the U.S. and Saudi Arabia, the country's involvement in Yemen and crackdowns on women's rights advocates.\u003c/p>\n\u003cp>\u003ca href=\"https://www.theatlantic.com/entertainment/archive/2018/12/netflixs-patriot-act-hasan-minhaj-makes-talk-show/577048/\">In an interview\u003c/a> with \u003cem>The Atlantic\u003c/em> about his show, Minhaj said he and his family discussed the potential repercussions of his criticism of the Saudi government, and that he now has fears about his own safety.\u003c/p>\n\u003cp>News of Netflix's decision was met with \u003ca href=\"https://twitter.com/MelissaJPeltier/status/1080136807373770755\">some criticism\u003c/a>, including from the \u003cem>Washington Post's\u003c/em> global opinions editor, Karen Attiah, who called it \"quite outrageous.\"\u003c/p>\n\u003cp>https://twitter.com/KarenAttiah/status/1080115463269597185?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1080115463269597185&ref_url=https%3A%2F%2Fwww.npr.org%2Fsections%2Ftechnology%2F\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This isn't the first time Netflix has removed episodes of a show at the request of a foreign government. According to a Netflix spokesperson, Singapore objected to three Netflix shows—\u003cem>Disjointed, Cooking on High \u003c/em>and\u003cem> The Legend of 420\u003c/em>—because they have positive portrayals of drug use which is \u003ca href=\"https://www.nst.com.my/world/2018/10/425482/singapore-warns-citizens-against-legal-cannabis-use-overseas\">highly restricted\u003c/a> in the country.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Netflix+Drops+Hasan+Minhaj+Episode+In+Saudi+Arabia+At+Government%27s+Request&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last fall, the world watched as Saudi Arabia's official story about the death of \u003cem>Washington Post \u003c/em>columnist Jamal Khashoggi changed, and changed again. A series of \u003ca href=\"https://www.npr.org/2018/11/17/668835242/saudis-deny-reported-cia-conclusion-that-crown-prince-ordered-khashoggi-assassin\">contradictory claims and denials\u003c/a> came even as \u003ca href=\"https://www.npr.org/2018/12/04/673224487/cia-director-gina-haspel-to-brief-senators-on-jamal-khashoggi-killing\">evidence emerged\u003c/a> that Khashoggi's killing had been ordered by the country's crown prince.\u003c/p>\n\u003cp>Many people were angry, and that included the American comedian Hasan Minhaj, who blasted the Saudi government on his Netflix news-comedy show \u003ca href=\"https://www.netflix.com/title/80239931\">Patriot Act with Hasan Minhaj\u003c/a>.\u003c/p>\n\u003cp>\"This is the most unbelievable cover story since Blake Shelton won sexiest man alive,\" Minhaj \u003ca href=\"https://www.youtube.com/watch?v=ApjzglBDhJ0\">joked to his audience\u003c/a>.\u003c/p>\n\u003cp>But the Saudi government isn't laughing.\u003c/p>\n\u003cp>Last week, it had Netflix remove the episode in that country. As the \u003cem>Financial Times\u003c/em> \u003ca href=\"https://www.ft.com/content/5121f014-0db8-11e9-a3aa-118c761d2745\">first reported\u003c/a>, a Saudi regulator cited a law that prohibits the \"production, preparation, transmission, or storage of material impinging on public order, religious values, public morals, and privacy, through the information network or computers.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a statement to NPR, a Netflix spokesperson said, \"We strongly support artistic freedom and removed this episode only in Saudi Arabia after we had received a valid legal request—and to comply with local law.\"\u003c/p>\n\u003cp>The episode was also posted to the show's YouTube page, which is reportedly still accessible inside Saudi Arabia. Google, which owns YouTube, didn't immediately respond to questions about whether it had also heard from the Saudi government.\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/ApjzglBDhJ0'\n title='//www.youtube.com/embed/ApjzglBDhJ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the episode, Minhaj called Saudi Arabia's actions a \"cover-up\" and went on to question the deep financial and political ties between the U.S. and Saudi Arabia, the country's involvement in Yemen and crackdowns on women's rights advocates.\u003c/p>\n\u003cp>\u003ca href=\"https://www.theatlantic.com/entertainment/archive/2018/12/netflixs-patriot-act-hasan-minhaj-makes-talk-show/577048/\">In an interview\u003c/a> with \u003cem>The Atlantic\u003c/em> about his show, Minhaj said he and his family discussed the potential repercussions of his criticism of the Saudi government, and that he now has fears about his own safety.\u003c/p>\n\u003cp>News of Netflix's decision was met with \u003ca href=\"https://twitter.com/MelissaJPeltier/status/1080136807373770755\">some criticism\u003c/a>, including from the \u003cem>Washington Post's\u003c/em> global opinions editor, Karen Attiah, who called it \"quite outrageous.\"\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>Netflix is hungry, and it's got its eye on a juicy slice of interactivity.\u003c/p>\n\u003cp>The streaming service started its originals business with prestige dramas and comedies. But its appetite increases, and now it also wants to be your source for holiday schlock, baking competitions, home renovation shows, documentaries, animation, stand-up specials, and romantic comedies. And it's looking for new areas that it can own, new ways it can make itself essential, new worlds it can dominate. A new film that can follow a variety of paths depending on choices made by the viewer—a film that's almost a game—is the next direction it would like to stomp its giant feet.\u003c/p>\n\u003cp>\u003cem>Black Mirror\u003c/em>, a science fiction anthology series focused on the horrors of technology, was originally on British television. Now, Netflix makes it directly for its streaming service. On Friday, \u003cem>Black Mirror \u003c/em>released its latest installment, called \u003cem>Black Mirror: Bandersnatch\u003c/em>. Set in 1984, it's about a young programmer named Stefan working on a game adaptation of a famous \"choose your own adventure\" book. For those who aren't familiar, CYOA books (which really existed) are books where at certain points, the story asks you to make a decision. Something like, \"If you pick up the stick, turn to page 49. If you leave the stick on the ground, turn to page 51.\" And you would follow the story from there. CYOA was an elementary, low-tech version of interactivity, long before today's complex open-world games were available.\u003c/p>\n\u003cp>The innovation of \u003cem>Bandersnatch \u003c/em>itself is that it functions similarly. While you're watching the film, on Netflix, on your television, a choice will come up on the screen, and you'll use your remote (or your computer or finger or whatever) to choose the option you want. The first choice, for instance, is what Stefan will have for breakfast from the two cereals his father shows him. Whichever you choose, that's what you see his father hand him. As you can imagine, the choices grow more significant than that later in the film.\u003c/p>\n\u003cp>It would have been good to see this technology demonstrated on a stronger story. While it obviously makes sense for Stefan to be developing a CYOA game inside a Netflix CYOA movie about him—that's kind of the joke—you don't really learn enough about who he is to care about him. Sure, he's getting angry and wondering if he's losing it while he works on his game, but that's pretty elementary \"isolated artist who might go mad\" stuff, and it doesn't really hold up a narrative on its own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But while the story sags a bit, the execution is largely seamless. There's a lull in the action while you make each choice (if you don't choose, there's always a default option), but it generally doesn't actually hitch or pause or hiccup before it continues. It rolls right on, as instructed by you. Should Stefan say yes or no to a tempting offer? Should he take medication or not? Should he listen to the Thompson Twins or a compilation cassette?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XM0xWpBYlNM\u003c/p>\n\u003cp>The novelty is interesting, and in a couple of places, the story flirts with some great ideas about control and free will that have a connection to the very fact that you are—to some degree—dictating the narrative you see. \u003cem>Bandersnatch\u003c/em> has a couple of classic \u003cem>Black Mirror\u003c/em>-ish tricks to spring, and on a first viewing (which might take you an hour and a half or so), they're a lot of fun.\u003c/p>\n\u003cp>But this is a long way from being a fully developed concept that Netflix can deploy for other forms like romances or comedies (as representatives have suggested it might). There's just a distance, not yet bridged, between what a movie is and what a CYOA book is—let alone what a game is.\u003c/p>\n\u003cp>After the first time you follow \u003cem>Bandersnatch \u003c/em>through to one of what Netflix says are its five endings, it quickly becomes tiresome to try to find others. Fast forward and rewind are of limited use—you can jump 10 seconds ahead or back, but only within the unbroken segment you're watching, between the last choice you made and the next one. That means you can't, for instance, make a choice and then jump back past the choice point and try the other one, like you can with a CYOA book. The software \u003cem>sort of \u003c/em>behaves like it remembers what you've already seen, but in part for technical reasons and in part because a lot of segments look alike and happen in the same settings and involve the same elements, you can't immediately say, \"Oh, I've seen this part\" and double back. (Again, this is crucial to CYOA navigation on paper.)\u003c/p>\n\u003cp>As for comparisons to games, in games where people are willing to try again and again to reach the end of a sprawling game, they're usually trying to solve puzzles or develop game skills. They have to figure out how to beat that monster, open that bridge, get past that gate. But here, trying to find all the variations is just a matter of guessing, wandering through binary choices until something happens that you haven't already seen. When the rubber hits the road, a film is still linear in a way that a book isn't. Trying to see what other options might lead to, I wound up watching scenes six or seven times that were not interesting enough to watch six or seven times.\u003c/p>\n\u003cfigure id=\"attachment_108199\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-108199\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-800x450.jpg\" alt=\"Fionn Whitehead plays Stefan, a programmer creating a mid-'80s adventure game in 'Black Mirror: Bandersnatch'.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-1020x573.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-520x292.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb.jpg 1336w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fionn Whitehead plays Stefan, a programmer creating a mid-'80s adventure game in 'Black Mirror: Bandersnatch'.\u003c/figcaption>\u003c/figure>\n\u003cp>There are also some moments that I found deeply frustrating where there aren't really two choices—there's only one, in that the other creates a loop where you're simply shown the same segment of story again to force you into choosing the one that will actually move you forward. Similarly, Stefan jolts awake quite a lot, and sometimes it's clearly just a way to push you into a new situation.\u003c/p>\n\u003cp>More troublesome is the fact that because many choices lead to the same outcomes and many paths form loops, the story can't help but lose its narrative integrity as you experiment with it. When you've already seen it once all the way through and you keep exploring, you'll keep thinking, \"Did the event I'm remembering already happen in this version I'm watching now, or only in the first one?\" There's some effort to make this a feature rather than a bug with a lot of jabber about time and a story that is partly about losing your grip on reality. But that makes for a pretty flimsy explanation of what becomes a pretty tedious viewing experience.\u003c/p>\n\u003cp>It's easy to write all this off under \"they meant to do that.\" You could choose to believe that it's intentional that the story falls apart and that you become disoriented and can't figure out what's occurred in this version and what hasn't. But you're probably not supposed to be \u003cem>bored\u003c/em>, which I eventually was. And you're probably not supposed to realize you don't actually care what happens to any of the people, which I eventually did.\u003c/p>\n\u003cp>This is a piece of television that is especially eager to convince you to view it more than once—multiple viewings with their attendant obsessives are surely one upside of interactivity. Unfortunately, it's especially poorly suited to being watched more than once. After your first time through, when you'll see most of the things that are interesting about it (including some that are charmingly self-referential bordering on \"cute\"), you're likely to experience rapidly diminishing returns as you try to find things within the story itself to pay attention to. In fact, you may even wind up aggravated, muttering to yourself, \"QUIT SHOWING ME THE SAME SCENE IN THE RECORD STORE.\" (Just, you know. For example.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Experimentation is good. Just getting this thing onto a streaming platform in a workable and intact condition is a huge accomplishment. And parts of \u003cem>Bandersnatch \u003c/em>are undeniably clever. But this model is still the smart watch of television, if you will—kind of a cool gadget to mess around with, and good for certain things. But it's not anything you particularly need, and it's not ready to replace the things it might hope to convince you it can render obsolete.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Black+Mirror%3A+Bandersnatch%27+Makes+You+Choose+Your+Own+Adventure&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Netflix is hungry, and it's got its eye on a juicy slice of interactivity.\u003c/p>\n\u003cp>The streaming service started its originals business with prestige dramas and comedies. But its appetite increases, and now it also wants to be your source for holiday schlock, baking competitions, home renovation shows, documentaries, animation, stand-up specials, and romantic comedies. And it's looking for new areas that it can own, new ways it can make itself essential, new worlds it can dominate. A new film that can follow a variety of paths depending on choices made by the viewer—a film that's almost a game—is the next direction it would like to stomp its giant feet.\u003c/p>\n\u003cp>\u003cem>Black Mirror\u003c/em>, a science fiction anthology series focused on the horrors of technology, was originally on British television. Now, Netflix makes it directly for its streaming service. On Friday, \u003cem>Black Mirror \u003c/em>released its latest installment, called \u003cem>Black Mirror: Bandersnatch\u003c/em>. Set in 1984, it's about a young programmer named Stefan working on a game adaptation of a famous \"choose your own adventure\" book. For those who aren't familiar, CYOA books (which really existed) are books where at certain points, the story asks you to make a decision. Something like, \"If you pick up the stick, turn to page 49. If you leave the stick on the ground, turn to page 51.\" And you would follow the story from there. CYOA was an elementary, low-tech version of interactivity, long before today's complex open-world games were available.\u003c/p>\n\u003cp>The innovation of \u003cem>Bandersnatch \u003c/em>itself is that it functions similarly. While you're watching the film, on Netflix, on your television, a choice will come up on the screen, and you'll use your remote (or your computer or finger or whatever) to choose the option you want. The first choice, for instance, is what Stefan will have for breakfast from the two cereals his father shows him. Whichever you choose, that's what you see his father hand him. As you can imagine, the choices grow more significant than that later in the film.\u003c/p>\n\u003cp>It would have been good to see this technology demonstrated on a stronger story. While it obviously makes sense for Stefan to be developing a CYOA game inside a Netflix CYOA movie about him—that's kind of the joke—you don't really learn enough about who he is to care about him. Sure, he's getting angry and wondering if he's losing it while he works on his game, but that's pretty elementary \"isolated artist who might go mad\" stuff, and it doesn't really hold up a narrative on its own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But while the story sags a bit, the execution is largely seamless. There's a lull in the action while you make each choice (if you don't choose, there's always a default option), but it generally doesn't actually hitch or pause or hiccup before it continues. It rolls right on, as instructed by you. Should Stefan say yes or no to a tempting offer? Should he take medication or not? Should he listen to the Thompson Twins or a compilation cassette?\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/XM0xWpBYlNM'\n title='//www.youtube.com/embed/XM0xWpBYlNM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The novelty is interesting, and in a couple of places, the story flirts with some great ideas about control and free will that have a connection to the very fact that you are—to some degree—dictating the narrative you see. \u003cem>Bandersnatch\u003c/em> has a couple of classic \u003cem>Black Mirror\u003c/em>-ish tricks to spring, and on a first viewing (which might take you an hour and a half or so), they're a lot of fun.\u003c/p>\n\u003cp>But this is a long way from being a fully developed concept that Netflix can deploy for other forms like romances or comedies (as representatives have suggested it might). There's just a distance, not yet bridged, between what a movie is and what a CYOA book is—let alone what a game is.\u003c/p>\n\u003cp>After the first time you follow \u003cem>Bandersnatch \u003c/em>through to one of what Netflix says are its five endings, it quickly becomes tiresome to try to find others. Fast forward and rewind are of limited use—you can jump 10 seconds ahead or back, but only within the unbroken segment you're watching, between the last choice you made and the next one. That means you can't, for instance, make a choice and then jump back past the choice point and try the other one, like you can with a CYOA book. The software \u003cem>sort of \u003c/em>behaves like it remembers what you've already seen, but in part for technical reasons and in part because a lot of segments look alike and happen in the same settings and involve the same elements, you can't immediately say, \"Oh, I've seen this part\" and double back. (Again, this is crucial to CYOA navigation on paper.)\u003c/p>\n\u003cp>As for comparisons to games, in games where people are willing to try again and again to reach the end of a sprawling game, they're usually trying to solve puzzles or develop game skills. They have to figure out how to beat that monster, open that bridge, get past that gate. But here, trying to find all the variations is just a matter of guessing, wandering through binary choices until something happens that you haven't already seen. When the rubber hits the road, a film is still linear in a way that a book isn't. Trying to see what other options might lead to, I wound up watching scenes six or seven times that were not interesting enough to watch six or seven times.\u003c/p>\n\u003cfigure id=\"attachment_108199\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-108199\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-800x450.jpg\" alt=\"Fionn Whitehead plays Stefan, a programmer creating a mid-'80s adventure game in 'Black Mirror: Bandersnatch'.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-1020x573.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-520x292.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb.jpg 1336w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fionn Whitehead plays Stefan, a programmer creating a mid-'80s adventure game in 'Black Mirror: Bandersnatch'.\u003c/figcaption>\u003c/figure>\n\u003cp>There are also some moments that I found deeply frustrating where there aren't really two choices—there's only one, in that the other creates a loop where you're simply shown the same segment of story again to force you into choosing the one that will actually move you forward. Similarly, Stefan jolts awake quite a lot, and sometimes it's clearly just a way to push you into a new situation.\u003c/p>\n\u003cp>More troublesome is the fact that because many choices lead to the same outcomes and many paths form loops, the story can't help but lose its narrative integrity as you experiment with it. When you've already seen it once all the way through and you keep exploring, you'll keep thinking, \"Did the event I'm remembering already happen in this version I'm watching now, or only in the first one?\" There's some effort to make this a feature rather than a bug with a lot of jabber about time and a story that is partly about losing your grip on reality. But that makes for a pretty flimsy explanation of what becomes a pretty tedious viewing experience.\u003c/p>\n\u003cp>It's easy to write all this off under \"they meant to do that.\" You could choose to believe that it's intentional that the story falls apart and that you become disoriented and can't figure out what's occurred in this version and what hasn't. But you're probably not supposed to be \u003cem>bored\u003c/em>, which I eventually was. And you're probably not supposed to realize you don't actually care what happens to any of the people, which I eventually did.\u003c/p>\n\u003cp>This is a piece of television that is especially eager to convince you to view it more than once—multiple viewings with their attendant obsessives are surely one upside of interactivity. Unfortunately, it's especially poorly suited to being watched more than once. After your first time through, when you'll see most of the things that are interesting about it (including some that are charmingly self-referential bordering on \"cute\"), you're likely to experience rapidly diminishing returns as you try to find things within the story itself to pay attention to. In fact, you may even wind up aggravated, muttering to yourself, \"QUIT SHOWING ME THE SAME SCENE IN THE RECORD STORE.\" (Just, you know. For example.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Experimentation is good. Just getting this thing onto a streaming platform in a workable and intact condition is a huge accomplishment. And parts of \u003cem>Bandersnatch \u003c/em>are undeniably clever. But this model is still the smart watch of television, if you will—kind of a cool gadget to mess around with, and good for certain things. But it's not anything you particularly need, and it's not ready to replace the things it might hope to convince you it can render obsolete.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Black+Mirror%3A+Bandersnatch%27+Makes+You+Choose+Your+Own+Adventure&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "NPR's Favorite TV Shows Of 2018",
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"content": "\u003cp>Hundreds and hundreds of series air every year. They are good and they are lousy; they are new and they are old. There's too much television for a comprehensive ranking, so Glen Weldon, Linda Holmes and Eric Deggans round up 16 of their favorite shows from 2018.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Americans \u003c/strong>\u003c/em>\u003cstrong>(FX)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zIn_MH8_2ig\u003c/p>\n\u003cp>The final season of this slow-burn, serious-minded series about a pair of KGB agents planted in the U.S. to raise a family and spy on government officials had its fans worried. Could the show, which so intricately examined the world of '80s spycraft through the lens of a thrillingly intense domestic drama, nail the dismount? Would Philip and Elizabeth (Matthew Rhys and Keri Russell) survive? Would their daughter, Paige (Holly Taylor), follow in their footsteps? Would their son, Henry (Keidrich Sellati) ... um, okay, no one wondered about Henry. The series finale managed to feel both surprising and inevitable, in a hugely satisfying way. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Barry\u003c/strong>\u003c/em>\u003cstrong> (HBO)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=M6TZdk1t8Zo\u003c/p>\n\u003cp>Bill Hader is best known as a comedic actor, but he delivers drama as well in HBO's dark comedy about Barry, a hit man trying to go straight by studying acting. It sounds like a precious premise. But great work from Hader and Henry Winkler as his acting teacher elevates the story to something that stuck with me stubbornly all year. It's unsettling to begin with the idea of redemption and gradually smother it, and it remains to be seen whether the second season can succeed. But these eight tight half-hours are well worth a watch. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Big Mouth \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oTC7wQMHHEA\u003c/p>\n\u003cp>The jokes about the sundry terrors of puberty are many, and filthy, and utterly cringeworthy for all the right (read: deeply earned) reasons. Compared to \u003cem>South Park,\u003c/em> an animated series that similarly delights in humiliating its characters, \u003cem>Big Mouth\u003c/em> is a filthier show, with even cruder jokes and an obsession with sex that's more relentless. Crucially, however, it's also a much more sincere, more sweet, more intensely empathetic series that, even as it's visiting horrors and humiliations on its characters, never fails to side with them. We care about these poor schmucks, so the jokes land harder and the cringes go deeper.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Chi\u003c/strong>\u003c/em>\u003cstrong> (Showtime)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tgrx0F6G2bA\u003c/p>\n\u003cp>Chicago's notoriously violent South Side neighborhoods have long needed a fictional drama that humanizes their struggle the way \u003cem>The Wire\u003c/em> characterized Baltimore and \u003cem>Boyz n the Hood\u003c/em> depicted South Central Los Angeles. Creator Lena Waithe pulls it off here. The show is fueled by Jason Mitchell's emotional turn as an aspiring chef whose ambitions are threatened by his brother's murder and Alex Hibbert's beyond-his-years performance playing the middle-schooler who saw the killing happen. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Crazy Ex-Girlfriend\u003c/strong>\u003c/em>\u003cstrong> (The CW)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eg3TKjr8A0s\u003c/p>\n\u003cp>The series about high-powered lawyer Rebecca (Rachel Bloom), who uproots her life to chase down the boy who represents everything she thinks she wants, deftly transitioned into its fourth and final season by not simply addressing the elephant in the room—Rebecca's mental illness—but wrestling it to the floor. The show managed to engage, responsibly and tastefully, with a character's attempted suicide while remaining the tuneful, breezy, acidly funny show we've come to know and love. It's a risky endeavor that's paying off by giving supporting members of the cast room to develop—and tie up their own storylines.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Good Place \u003c/strong>\u003c/em>\u003cstrong>(NBC)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FaynKNZAKkc&t=8s\u003c/p>\n\u003cp>There are few comedies as consistently joke-packed as NBC's \u003cem>The Good Place\u003c/em>. Physical comedy, dumb puns, brilliant one-liners, unexpected observations—it doesn't discriminate. But the show's other calling card is its genuine—and well-researched!—considerations of philosophy. It asks over and over: \u003cem>What does it mean to be a good person? What do we owe to each other? \u003c/em>In its third season, as Michael (Ted Danson) and the gang face new questions together, it remains a high-stakes, thrillingly inventive series with one of TV's most consistently compelling casts. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Homecoming\u003c/strong>\u003c/em>\u003cstrong> (Amazon)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9WJSdpE-sJQ\u003c/p>\n\u003cp>Building a new series from the bones of a popular podcast is the latest fad in TV-land. But Director/Executive Producer Sam Esmail wound up developing an inventive show that stands as the best TV drama of the year. Movie superstar Julia Roberts crushes here, benching her legendary smile—mostly—to play a frazzled, damaged administrator discovering the dark side of a corporate-run program for veterans. And Esmail, whose trippy genius fueled USA Network's \u003cem>Mr. Robot, \u003c/em>upends the rules of TV storytelling by turning this show's half-hour-ish episodes into taut bits of visually ambitious drama.\u003cem> — Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Killing Eve\u003c/strong>\u003c/em>\u003cstrong> (BBC America)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Kk0PyD-XNZA\u003c/p>\n\u003cp>This may be the strangest—and most compelling—story of how opposites attract on TV this year. Sandra Oh is acerbic and knowing as Eve Polastri, a deskbound, low-level staffer in British intelligence who instinctively figures out how to track a notoriously psychopathic assassin, played with maniacal glee by Jodie Comer. Executive producer Phoebe Waller-Bridge subverts every male-centered trope of espionage thrillers as Eve and the assassin play a deadly cat-and-mouse game fueled by their mutual fascination with each other. —\u003cem> Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Kominsky Method\u003c/strong>\u003c/em>\u003cstrong> (Netflix)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TjuOTlf5Jb0\u003c/p>\n\u003cp>Okay, it may not \u003cem>sound\u003c/em> like much fun watching a silver-haired acting teacher kvetch about aging with his even older best friend and agent. But when those two guys are 70-something Michael Douglas (as actor/teacher Sandy Kominsky) and 80-something Alan Arkin (as his agent, Norman), you've got dramedy gold. Creator Chuck Lorre hits a career high, crafting stories rooted in the pain of loss and aging delivered by stars whose deft touch is informed by over a century of acting experience between them. —\u003cem> Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Legion \u003c/strong>\u003c/em>\u003cstrong>(FX)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5LjWnM1BsaE\u003c/p>\n\u003cp>When the guy with a wicker basket on his head (who talks only through androgynous android-clones in Tom Selleck mustaches and Beatle wigs) is the \u003cem>least\u003c/em> weird thing about your show, that show can safely be called ... distinctive. Welcome to Season 2 of \u003cem>Legion,\u003c/em> FX's not-your-daddy's-mutant-superhero series helmed once again by Noah Hawley (who also runs FX's other stylish, genre-inflected offering, \u003cem>Fargo\u003c/em>). It's a visual and aural feast, stylized to the point of gorgeous absurdity, and a testament to what a director with a good eye—and a loose leash—can bring to series television.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>One Day at a Time \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wNFFleycS8k\u003c/p>\n\u003cp>There was much ado about \u003cem>Roseanne\u003c/em> returning to ABC, and the hope that it would give \"working-class families\" more of a presence. Anyone looking for a working-class family, however, already had a few choices. One is the Alvarez family from Netflix's \u003cem>One Day at a Time\u003c/em>. Penelope (Justina Machado) is a veteran and a single mom, dating and raising her two kids, living with her mom (Rita Moreno). The cast is divine, the show feels contemporary and smart (its explorations of sexual and gender identity feel particularly profoundly needed), and Rita Moreno can still crack your heart right open. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Pose\u003c/strong>\u003c/em>\u003cstrong> (FX)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_t4YuPXdLZw\u003c/p>\n\u003cp>There is no more revolutionary act in television than a once-marginalized group rising up to tell its own stories, so this series matters. \u003cem>Pose\u003c/em> features an amazing cast of LGBTQ characters exploring 1980s New York through the city's ball culture competitions. Transgender actress Mj Rodriguez is indomitable as Blanca, the house mother to LGBTQ competitors who have chosen each other as family after biological relatives rejected them. Transgender writers like Janet Mock and Our Lady J served as producers, and, according to FX, the show made history by assembling TV's largest cast of transgender actors in regular series roles. Truly a revolution through revelation.\u003cem> — Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Queer Eye \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=97Gh0LRdKu4\u003c/p>\n\u003cp>You know the drill: Five gay guys breeze into the lives of hapless schlubs and show them the life-changing magic of ... making a damn effort. The Netflix reboot stays true to the formula, with an all-new quintet of queers—and a willingness to broaden the mission statement to address something other than straight, white man-boys. The new series brings less acid humor and a lot more heart than the original, and while its fumbling attempts to address America's political and racial divides can seem cringingly naive, it's a dependable source of pop-culture comfort food.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Shut Up and Dribble\u003c/strong>\u003c/em>\u003cstrong> (Showtime)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b8ZYeVuzPKs\u003c/p>\n\u003cp>LeBron James is one of the executive producers of this excellent Showtime documentary series examining the relationship between race and the NBA. Inspired by \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/19/587097707/laura-ingraham-told-lebron-james-to-shutup-and-dribble-he-went-to-the-hoop\">a dismissive cable-news insult directed at James himself\u003c/a>, the series looks back at pioneers like Oscar Robertson and Bill Russell, whose activism was fundamental to their careers. But it also considers stories like Magic versus Bird and the branding genius of Michael Jordan. It explores the inescapable links between racial justice and professional basketball—and labor economics as well. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>A Very English Scandal \u003c/strong>\u003c/em>\u003cstrong>(Amazon)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vfrPRzxMlTY\u003c/p>\n\u003cp>Ben Whishaw dithers fetchingly as Norman Scott, who enters into an illicit affair with the very opportunistic and so veddy veddy posh member of British Parliament Jeremy Thorpe. Hugh Grant plays Thorpe with a smarmy sense of entitlement and vowels plummier than moo shu pork. Watching this very—nay, \u003cem>achingly—\u003c/em>English affair play out, and then flame out, is what a Brit might call \"a right old hoot.\" It's soapy, funny, by turns gorgeous and grubby, and performed with a kind of headlong verve that's a joy to behold.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Vida \u003c/strong>\u003c/em>\u003cstrong>(Starz)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PhP9Ho7MS6w\u003c/p>\n\u003cp>On the surface, it's a familiar story: Two sisters who left home return after a parent's death to face all the complications left behind. But this series breaks new ground because the sisters are Latinx, they are returning to take ownership of a crumbling bar in a gentrifying East Los Angeles neighborhood, and they never knew their mother was a lesbian who married her partner and left her spouse one-third of their family business. Couching a familiar story in an authentic, specific experience helps create transformative, groundbreaking television. And \u003cem>Vida\u003c/em> delivers. —\u003cem> Eric Deggans\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Jessica Reedy produced and edited this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR%27s+Favorite+TV+Shows+Of+2018&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "This year we said goodbye to 'The Americans,' but also celebrated new gems like 'Queer Eye,' 'Killing Eve' and 'Homecoming.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hundreds and hundreds of series air every year. They are good and they are lousy; they are new and they are old. There's too much television for a comprehensive ranking, so Glen Weldon, Linda Holmes and Eric Deggans round up 16 of their favorite shows from 2018.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Americans \u003c/strong>\u003c/em>\u003cstrong>(FX)\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/zIn_MH8_2ig'\n title='//www.youtube.com/embed/zIn_MH8_2ig'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The final season of this slow-burn, serious-minded series about a pair of KGB agents planted in the U.S. to raise a family and spy on government officials had its fans worried. Could the show, which so intricately examined the world of '80s spycraft through the lens of a thrillingly intense domestic drama, nail the dismount? Would Philip and Elizabeth (Matthew Rhys and Keri Russell) survive? Would their daughter, Paige (Holly Taylor), follow in their footsteps? Would their son, Henry (Keidrich Sellati) ... um, okay, no one wondered about Henry. The series finale managed to feel both surprising and inevitable, in a hugely satisfying way. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Barry\u003c/strong>\u003c/em>\u003cstrong> (HBO)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/M6TZdk1t8Zo'\n title='//www.youtube.com/embed/M6TZdk1t8Zo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bill Hader is best known as a comedic actor, but he delivers drama as well in HBO's dark comedy about Barry, a hit man trying to go straight by studying acting. It sounds like a precious premise. But great work from Hader and Henry Winkler as his acting teacher elevates the story to something that stuck with me stubbornly all year. It's unsettling to begin with the idea of redemption and gradually smother it, and it remains to be seen whether the second season can succeed. But these eight tight half-hours are well worth a watch. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Big Mouth \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\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/oTC7wQMHHEA'\n title='//www.youtube.com/embed/oTC7wQMHHEA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The jokes about the sundry terrors of puberty are many, and filthy, and utterly cringeworthy for all the right (read: deeply earned) reasons. Compared to \u003cem>South Park,\u003c/em> an animated series that similarly delights in humiliating its characters, \u003cem>Big Mouth\u003c/em> is a filthier show, with even cruder jokes and an obsession with sex that's more relentless. Crucially, however, it's also a much more sincere, more sweet, more intensely empathetic series that, even as it's visiting horrors and humiliations on its characters, never fails to side with them. We care about these poor schmucks, so the jokes land harder and the cringes go deeper.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Chi\u003c/strong>\u003c/em>\u003cstrong> (Showtime)\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/tgrx0F6G2bA'\n title='//www.youtube.com/embed/tgrx0F6G2bA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Chicago's notoriously violent South Side neighborhoods have long needed a fictional drama that humanizes their struggle the way \u003cem>The Wire\u003c/em> characterized Baltimore and \u003cem>Boyz n the Hood\u003c/em> depicted South Central Los Angeles. Creator Lena Waithe pulls it off here. The show is fueled by Jason Mitchell's emotional turn as an aspiring chef whose ambitions are threatened by his brother's murder and Alex Hibbert's beyond-his-years performance playing the middle-schooler who saw the killing happen. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Crazy Ex-Girlfriend\u003c/strong>\u003c/em>\u003cstrong> (The CW)\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/eg3TKjr8A0s'\n title='//www.youtube.com/embed/eg3TKjr8A0s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The series about high-powered lawyer Rebecca (Rachel Bloom), who uproots her life to chase down the boy who represents everything she thinks she wants, deftly transitioned into its fourth and final season by not simply addressing the elephant in the room—Rebecca's mental illness—but wrestling it to the floor. The show managed to engage, responsibly and tastefully, with a character's attempted suicide while remaining the tuneful, breezy, acidly funny show we've come to know and love. It's a risky endeavor that's paying off by giving supporting members of the cast room to develop—and tie up their own storylines.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Good Place \u003c/strong>\u003c/em>\u003cstrong>(NBC)\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/FaynKNZAKkc'\n title='//www.youtube.com/embed/FaynKNZAKkc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are few comedies as consistently joke-packed as NBC's \u003cem>The Good Place\u003c/em>. Physical comedy, dumb puns, brilliant one-liners, unexpected observations—it doesn't discriminate. But the show's other calling card is its genuine—and well-researched!—considerations of philosophy. It asks over and over: \u003cem>What does it mean to be a good person? What do we owe to each other? \u003c/em>In its third season, as Michael (Ted Danson) and the gang face new questions together, it remains a high-stakes, thrillingly inventive series with one of TV's most consistently compelling casts. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Homecoming\u003c/strong>\u003c/em>\u003cstrong> (Amazon)\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/9WJSdpE-sJQ'\n title='//www.youtube.com/embed/9WJSdpE-sJQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Building a new series from the bones of a popular podcast is the latest fad in TV-land. But Director/Executive Producer Sam Esmail wound up developing an inventive show that stands as the best TV drama of the year. Movie superstar Julia Roberts crushes here, benching her legendary smile—mostly—to play a frazzled, damaged administrator discovering the dark side of a corporate-run program for veterans. And Esmail, whose trippy genius fueled USA Network's \u003cem>Mr. Robot, \u003c/em>upends the rules of TV storytelling by turning this show's half-hour-ish episodes into taut bits of visually ambitious drama.\u003cem> — Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Killing Eve\u003c/strong>\u003c/em>\u003cstrong> (BBC America)\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/Kk0PyD-XNZA'\n title='//www.youtube.com/embed/Kk0PyD-XNZA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This may be the strangest—and most compelling—story of how opposites attract on TV this year. Sandra Oh is acerbic and knowing as Eve Polastri, a deskbound, low-level staffer in British intelligence who instinctively figures out how to track a notoriously psychopathic assassin, played with maniacal glee by Jodie Comer. Executive producer Phoebe Waller-Bridge subverts every male-centered trope of espionage thrillers as Eve and the assassin play a deadly cat-and-mouse game fueled by their mutual fascination with each other. —\u003cem> Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Kominsky Method\u003c/strong>\u003c/em>\u003cstrong> (Netflix)\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/TjuOTlf5Jb0'\n title='//www.youtube.com/embed/TjuOTlf5Jb0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Okay, it may not \u003cem>sound\u003c/em> like much fun watching a silver-haired acting teacher kvetch about aging with his even older best friend and agent. But when those two guys are 70-something Michael Douglas (as actor/teacher Sandy Kominsky) and 80-something Alan Arkin (as his agent, Norman), you've got dramedy gold. Creator Chuck Lorre hits a career high, crafting stories rooted in the pain of loss and aging delivered by stars whose deft touch is informed by over a century of acting experience between them. —\u003cem> Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Legion \u003c/strong>\u003c/em>\u003cstrong>(FX)\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/5LjWnM1BsaE'\n title='//www.youtube.com/embed/5LjWnM1BsaE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When the guy with a wicker basket on his head (who talks only through androgynous android-clones in Tom Selleck mustaches and Beatle wigs) is the \u003cem>least\u003c/em> weird thing about your show, that show can safely be called ... distinctive. Welcome to Season 2 of \u003cem>Legion,\u003c/em> FX's not-your-daddy's-mutant-superhero series helmed once again by Noah Hawley (who also runs FX's other stylish, genre-inflected offering, \u003cem>Fargo\u003c/em>). It's a visual and aural feast, stylized to the point of gorgeous absurdity, and a testament to what a director with a good eye—and a loose leash—can bring to series television.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>One Day at a Time \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\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/wNFFleycS8k'\n title='//www.youtube.com/embed/wNFFleycS8k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There was much ado about \u003cem>Roseanne\u003c/em> returning to ABC, and the hope that it would give \"working-class families\" more of a presence. Anyone looking for a working-class family, however, already had a few choices. One is the Alvarez family from Netflix's \u003cem>One Day at a Time\u003c/em>. Penelope (Justina Machado) is a veteran and a single mom, dating and raising her two kids, living with her mom (Rita Moreno). The cast is divine, the show feels contemporary and smart (its explorations of sexual and gender identity feel particularly profoundly needed), and Rita Moreno can still crack your heart right open. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Pose\u003c/strong>\u003c/em>\u003cstrong> (FX)\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/_t4YuPXdLZw'\n title='//www.youtube.com/embed/_t4YuPXdLZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There is no more revolutionary act in television than a once-marginalized group rising up to tell its own stories, so this series matters. \u003cem>Pose\u003c/em> features an amazing cast of LGBTQ characters exploring 1980s New York through the city's ball culture competitions. Transgender actress Mj Rodriguez is indomitable as Blanca, the house mother to LGBTQ competitors who have chosen each other as family after biological relatives rejected them. Transgender writers like Janet Mock and Our Lady J served as producers, and, according to FX, the show made history by assembling TV's largest cast of transgender actors in regular series roles. Truly a revolution through revelation.\u003cem> — Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Queer Eye \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\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/97Gh0LRdKu4'\n title='//www.youtube.com/embed/97Gh0LRdKu4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You know the drill: Five gay guys breeze into the lives of hapless schlubs and show them the life-changing magic of ... making a damn effort. The Netflix reboot stays true to the formula, with an all-new quintet of queers—and a willingness to broaden the mission statement to address something other than straight, white man-boys. 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"content": "\u003cp>The new Netflix comedy \u003cem>Dumplin'\u003c/em> is all about \u003ca href=\"https://www.npr.org/artists/15750509/dolly-parton\">Dolly Parton\u003c/a>. But she's not in it. And that was deliberate. Instead, Dolly did what Dolly does best—write and sing songs for the movie.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k86KDFh_q6E\u003c/p>\n\u003cp>The film follows a young girl, Willowdean (Danielle Macdonald), who lacks confidence, but after being inspired by Parton's music, participates in a beauty pageant in Clover City, Tx., despite her mom's objections. That mom is played by Jennifer Aniston, who also co-produced the film and helped get Parton on board.\u003c/p>\n\u003cp>The soundtrack for \u003cem>Dumplin'\u003c/em> features five new songs, co-written by Parton with hitmaker and 4 Non Blondes frontwoman \u003ca href=\"https://www.npr.org/artists/15120126/linda-perry\">Linda Perry\u003c/a> and re-recordings of some of Parton's classics. The album boasts guest performances by Miranda Lambert, Sia, Mavis Staples and more.\u003c/p>\n\u003cp>Parton saw the film with Linda Perry before writing any of the music and immediately felt a connection to Willowdean. She says she wrote the song \"Girl in the Movies\" for Willowdean and every little girl and boy as a reminder: \"Don't just live in a fantasy of watching someone else live their lives. You star in your own role. You be the star of your own life.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LdSKR8EHnXY\u003c/p>\n\u003cp>\"You're never going to know if you don't get out there and try,\" Parton says. \"Everyone should try to find out who they are and really work that out and then be willing to stand by that and just be willing to sacrifice, stand up for it, fight for it and just dream it on through.\"\u003c/p>\n\u003cp>\u003cem>Dumplin\u003c/em>' and \u003cem>Dumplin' (Original Motion Picture Soundtrack) \u003c/em>are both out now. Parton spoke with NPR's Lulu-Garcia Navarro about songwriting, her own acting career and more. Hear their full conversation at the audio link.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/673738768/675070479\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Dream+It+On+Through%27%3A+Dolly+Parton+On+Her+New+Album%2C+Inspiring+Young+People+And+More&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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