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"content": "\u003cp>Just over a year ago, Netflix announced that \u003cem>Queer Eye for the Straight Guy\u003c/em>, the Bravo network phenomenon of a makeover show that launched in 2003 before fizzling out in 2007, was coming back.\u003c/p>\n\u003cp>Reaction to this news varied. Some welcomed the idea. Some didn't. And some \u003ca href=\"https://www.npr.org/sections/monkeysee/2017/01/26/511607790/seven-pieces-of-unsolicited-advice-for-those-rebooting-queer-eye\">self-appointed know-it-alls who didn't want to see the show come back went so far as to offer unsolicited advice\u003c/a>.\u003c/p>\n\u003cp>What they were worried about, chiefly, was that the show's return engagement would proceed as if the intervening decade hadn't happened, blithely ignoring the seismic cultural shifts the country has undergone, with respect to the LGBT community.\u003c/p>\n\u003cp>Eight episodes of the subtly but significantly revamped series drops Wednesday, featuring an all-new cast and a more earnest, more engaged sensibility. The worst-case scenario — that the show would emerge from its ten year cryogenic beauty nap only to launch immediately into its business of zhoozhing the sleeves of a nation of hapless, schlubby man-boys — has happily not come to pass. The new Fab Five, and the producer's wise decision to drop \"\u003cem>For the Straight Guy\u003c/em>\" from the show's title — and its mission parameters — help ensure that.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GZMrivD2Aok\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Understand: It's still a makeover show. Frothy, frenetic, freewheeling, fun. And there are plenty of hapless, schlubby man-boys on hand, who still need to be admonished about skin care, and footwear, and the need to make \u003cem>the barest possible freaking effort\u003c/em>, once in a while.\u003c/p>\n\u003cp>The new Fab Five prove dependably charming and charismatic, and rule over the show's familiar bailiwicks — though they do so, it must be said, with a bit more wet-eyed sincerity than the O.G. crew: Antoni (Food and Wine) passes along recipes like he's imparting the wisdom of the ages; Tan (Fashion) rails against Crocs in a manner that is only right and fitting; Bobby (Design) rips apart gross man-caves (stop it) with a cheery determination; Karamo (Culture), stuck with the series' perennial \"And Peggy!\" area of expertise, does what he can to transform it into a series of therapy sessions about confidence and intimacy and, inevitably, journeys — but who can blame him; and the great and good Jonathan Van Ness (Grooming), late of the web series \u003ca href=\"http://www.funnyordie.com/gayofthrones\">\u003cem>Gay of Thrones\u003c/em>\u003c/a>, does here what he does there, fiercely and fabulously. If they collectively lack the tart-tongued acidity of the original Fab Five, it's clearly a deliberate tonal choice.\u003c/p>\n\u003cp>Of course, the new \u003cem>Queer Eye\u003c/em>, like the old, remains a heavily packaged product engineered to deliver, by the closing credits, the same carefully calibrated bolus of tidy uplift, episode after episode. This time out, however — and this is inextricably linked to that aforementioned earnestness of tone — the producers seem bound and determined that no episode should end without first wringing a predetermined number of fluid ounces of salty, salty tears from its subjects, and the Fab Five, and the viewing audience.\u003c/p>\n\u003cfigure id=\"attachment_101754\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-101754\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/02/qeye_sg_104_00098_wide-909bbd58628384d776102c7288c3882af6284b51-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/02/qeye_sg_104_00098_wide-909bbd58628384d776102c7288c3882af6284b51-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/qeye_sg_104_00098_wide-909bbd58628384d776102c7288c3882af6284b51-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/qeye_sg_104_00098_wide-909bbd58628384d776102c7288c3882af6284b51-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/qeye_sg_104_00098_wide-909bbd58628384d776102c7288c3882af6284b51-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/qeye_sg_104_00098_wide-909bbd58628384d776102c7288c3882af6284b51-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/qeye_sg_104_00098_wide-909bbd58628384d776102c7288c3882af6284b51-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/qeye_sg_104_00098_wide-909bbd58628384d776102c7288c3882af6284b51-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/qeye_sg_104_00098_wide-909bbd58628384d776102c7288c3882af6284b51-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/qeye_sg_104_00098_wide-909bbd58628384d776102c7288c3882af6284b51-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/qeye_sg_104_00098_wide-909bbd58628384d776102c7288c3882af6284b51-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/qeye_sg_104_00098_wide-909bbd58628384d776102c7288c3882af6284b51-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Antoni Porowsky, Tan France, Bobby Berk, Karamo Brown and Jonathan Van Ness, eyeing queerly. (Netflix)\u003c/figcaption>\u003c/figure>\n\u003cp>That newfound urge to leave no waterworks un-cued is a by-product of the show's willingness to engage with — or at least, not completely ignore — the current cultural landscape. This season, the Fab Five are based in Atlanta, and the subjects of the makeovers are residents of that city and its environs. Among them are a firefighter, the devoutly religious head of a large family, and a Trump-supporting, NASCAR-loving police officer. The new Fab Five are quick to pick up on any discomfort these men evince, and the show is perfectly willing to devote a few minutes of screen time to some uncomfortable conversations about police brutality, internalized homophobia and religious intolerance. The producers and the hosts proudly ascribe a great deal of importance to these moments; whether or not you do too, and precisely how much, will depend on your baseline cynicism.\u003c/p>\n\u003cp>It's worth noting that three out of this season's eight makeover subjects are something other than the old series' go-to subject: the schlubby straight white dude. The fact that the Fab Five now includes a black man and a Brit of Pakistani descent also adds texture to the show's familiar dynamic.\u003c/p>\n\u003cp>These are welcome developments, and ones that bode well for future seasons.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It means that Queer Eye of the series' title is now freed up to train its gaze — and its gays — on the world as it is in 2018, not as it was in 2003.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+%27Queer+Eye%27+Is+A+Reboot%2C+Not+A+Retread&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>Understand: It's still a makeover show. Frothy, frenetic, freewheeling, fun. And there are plenty of hapless, schlubby man-boys on hand, who still need to be admonished about skin care, and footwear, and the need to make \u003cem>the barest possible freaking effort\u003c/em>, once in a while.\u003c/p>\n\u003cp>The new Fab Five prove dependably charming and charismatic, and rule over the show's familiar bailiwicks — though they do so, it must be said, with a bit more wet-eyed sincerity than the O.G. crew: Antoni (Food and Wine) passes along recipes like he's imparting the wisdom of the ages; Tan (Fashion) rails against Crocs in a manner that is only right and fitting; Bobby (Design) rips apart gross man-caves (stop it) with a cheery determination; Karamo (Culture), stuck with the series' perennial \"And Peggy!\" area of expertise, does what he can to transform it into a series of therapy sessions about confidence and intimacy and, inevitably, journeys — but who can blame him; and the great and good Jonathan Van Ness (Grooming), late of the web series \u003ca href=\"http://www.funnyordie.com/gayofthrones\">\u003cem>Gay of Thrones\u003c/em>\u003c/a>, does here what he does there, fiercely and fabulously. If they collectively lack the tart-tongued acidity of the original Fab Five, it's clearly a deliberate tonal choice.\u003c/p>\n\u003cp>Of course, the new \u003cem>Queer Eye\u003c/em>, like the old, remains a heavily packaged product engineered to deliver, by the closing credits, the same carefully calibrated bolus of tidy uplift, episode after episode. This time out, however — and this is inextricably linked to that aforementioned earnestness of tone — the producers seem bound and determined that no episode should end without first wringing a predetermined number of fluid ounces of salty, salty tears from its subjects, and the Fab Five, and the viewing audience.\u003c/p>\n\u003cfigure id=\"attachment_101754\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-101754\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/02/qeye_sg_104_00098_wide-909bbd58628384d776102c7288c3882af6284b51-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/02/qeye_sg_104_00098_wide-909bbd58628384d776102c7288c3882af6284b51-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/qeye_sg_104_00098_wide-909bbd58628384d776102c7288c3882af6284b51-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/qeye_sg_104_00098_wide-909bbd58628384d776102c7288c3882af6284b51-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/qeye_sg_104_00098_wide-909bbd58628384d776102c7288c3882af6284b51-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/qeye_sg_104_00098_wide-909bbd58628384d776102c7288c3882af6284b51-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/qeye_sg_104_00098_wide-909bbd58628384d776102c7288c3882af6284b51-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/qeye_sg_104_00098_wide-909bbd58628384d776102c7288c3882af6284b51-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/qeye_sg_104_00098_wide-909bbd58628384d776102c7288c3882af6284b51-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/qeye_sg_104_00098_wide-909bbd58628384d776102c7288c3882af6284b51-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/qeye_sg_104_00098_wide-909bbd58628384d776102c7288c3882af6284b51-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/02/qeye_sg_104_00098_wide-909bbd58628384d776102c7288c3882af6284b51-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Antoni Porowsky, Tan France, Bobby Berk, Karamo Brown and Jonathan Van Ness, eyeing queerly. (Netflix)\u003c/figcaption>\u003c/figure>\n\u003cp>That newfound urge to leave no waterworks un-cued is a by-product of the show's willingness to engage with — or at least, not completely ignore — the current cultural landscape. This season, the Fab Five are based in Atlanta, and the subjects of the makeovers are residents of that city and its environs. Among them are a firefighter, the devoutly religious head of a large family, and a Trump-supporting, NASCAR-loving police officer. The new Fab Five are quick to pick up on any discomfort these men evince, and the show is perfectly willing to devote a few minutes of screen time to some uncomfortable conversations about police brutality, internalized homophobia and religious intolerance. The producers and the hosts proudly ascribe a great deal of importance to these moments; whether or not you do too, and precisely how much, will depend on your baseline cynicism.\u003c/p>\n\u003cp>It's worth noting that three out of this season's eight makeover subjects are something other than the old series' go-to subject: the schlubby straight white dude. The fact that the Fab Five now includes a black man and a Brit of Pakistani descent also adds texture to the show's familiar dynamic.\u003c/p>\n\u003cp>These are welcome developments, and ones that bode well for future seasons.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It means that Queer Eye of the series' title is now freed up to train its gaze — and its gays — on the world as it is in 2018, not as it was in 2003.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+%27Queer+Eye%27+Is+A+Reboot%2C+Not+A+Retread&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'Black Mirror' and 'Electric Dreams' Are This Generation's 'Twilight Zone'",
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"content": "\u003cp>Some TV genres are perennials. They've been around since the early days of television, and probably are never going away — weekly drama series featuring doctors or cops, for example.\u003c/p>\n\u003cp>Other TV genres are like locusts. They get buried, lying dormant, until they suddenly resurface. On prime time TV, the game show was dead for decades until \u003ca href=\"http://www.imdb.com/title/tt0231033/?ref_=fn_al_tt_3\">\u003cem>Who Wants to Be a Millionaire?\u003c/em>\u003c/a> brought it back. And quite recently, Netflix's \u003cem>\u003ca href=\"http://www.imdb.com/title/tt5516154/?ref_=fn_al_tt_1\">Godless\u003c/a>,\u003c/em> like HBO's \u003ca href=\"http://www.imdb.com/title/tt0348914/?ref_=fn_al_tt_1\">\u003cem>Deadwood\u003c/em>\u003c/a> years before it, did its best to try and revive the TV Western.\u003c/p>\n\u003cp>But no genre on television, in this century, has had a bigger and better resurgence than the anthology series. In the early golden age of TV, these shows were performed live, with programs like \u003cem>Kraft Television Theatre\u003c/em> and \u003cem>Goodyear Television Playhouse\u003c/em> presenting great dramas like Rod Serling's \u003cem>Requiem for a Heavyweight\u003c/em> and Paddy Chayefsky's \u003cem>Marty\u003c/em>.\u003c/p>\n\u003cp>Then came filmed anthology shows, often hosted by the program's creators: writer Serling, again, with \u003ca href=\"http://www.imdb.com/title/tt0052520/?ref_=fn_al_tt_1\">\u003cem>The Twilight Zone\u003c/em>\u003c/a>, and director Alfred Hitchcock with \u003ca href=\"http://www.imdb.com/title/tt0047708/?ref_=fn_al_tt_1\">\u003cem>Alfred Hitchcock Presents.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Eventually, this genre lost out to the weekly dramatic series, where the same protagonist returned every week in a format that was easier to promote and prolong. But TV lost something in the process — the thrill of uncertainty, where anything can happen, and any character can be in real danger and even die, and stories can actually wrap up in relatively quick fashion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, almost out of nowhere, the anthology series is back — and in some cases, literally is bigger than ever.\u003c/p>\n\u003cp>The modern standard-issue anthology shows are actually post-modern, and basically deal with themes of technology versus humanity. The best of them is Charlie Brooker's \u003ca href=\"http://www.imdb.com/title/tt2085059/?ref_=fn_al_tt_1\">\u003cem>Black Mirror\u003c/em>\u003c/a>, which began in England and now is co-produced by Netflix.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5ELQ6u_5YYM\u003c/p>\n\u003cp>Last year, an expanded \u003cem>Black Mirror\u003c/em> episode won a pair of Emmys. This year, with an \u003ca href=\"https://ww2.kqed.org/pop/2017/12/29/in-season-4-of-black-mirror-power-corrupts-but-love-still-matters/\">expanded episode called \"USS Callister,\"\u003c/a> I expect it may do the same. It's a wonderful story about a character trapped against her will in an alternate computerized reality — the same idea also explored, right now on TV, in a stand-alone episode of Fox's \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0106179/?ref_=fn_al_tt_1\">The X-Files\u003c/a>,\u003c/em> and in an episode of yet another anthology series, Amazon's \u003cem>\u003ca href=\"http://www.imdb.com/title/tt5711280/?ref_=nv_sr_1\">Electric Dreams\u003c/a>,\u003c/em> based on the stories of Philip K. Dick.\u003c/p>\n\u003cp>Dick is the science-fiction writer who, some 50 years ago, wrote the stories that later inspired the movies \u003ca href=\"http://www.imdb.com/title/tt0083658/?ref_=fn_al_tt_1\">\u003cem>Blade Runner\u003c/em>\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0100802/?ref_=fn_al_tt_1\">\u003cem>Total Recall\u003c/em> \u003c/a>and \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0181689/?ref_=fn_al_tt_1\">Minority Report\u003c/a>.\u003c/em> For this new series, which includes \u003ca href=\"https://www.npr.org/2014/03/27/295246908/from-walter-white-to-lbj-bryan-cranston-is-a-master-of-transformation\">Bryan Cranston\u003c/a> of \u003ca href=\"http://www.imdb.com/title/tt0903747/?ref_=fn_al_tt_1\">\u003cem>Breaking Bad\u003c/em>\u003c/a> as one of its executive producers and stars, the old stories are adapted very freely — sometimes almost unrecognizably, but usually with impressive results.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RtX_LVwEJhA\u003c/p>\n\u003cp>One of the best adaptations, called \"Safe and Sound,\" is based on a 1955 Dick story called \"Foster, You're Dead.\" The original story was about a high-school boy whose family buys the newest model of bomb shelter, only to have it prove instantly obsolete.\u003c/p>\n\u003cp>In this new TV version, Foster is a girl, and the new technology isn't a bomb shelter. It's a Siri-type artificial intelligence that is implanted into her head when she sticks some high-tech gel in her ear. That's the latest gotta-have consumer item in this version — or is she just imagining it? Because, in this story about paranoia, the voice in Foster's head may just be... a voice in Foster's head. Especially when it instructs her to do some crazy-sounding things, like searching for anthills or planning an act of terrorism on her own high school.\u003c/p>\n\u003cp>The beauty of the anthology series is that anything could happen — even to a character like Foster. In the past few years, TV has taken this idea and expanded it, coming up with extended narratives, lasting 10 episodes or so, that end, then return with all-new casts and stories.\u003c/p>\n\u003cp>The FX network is the pioneer here. Ryan Murphy has presented seven very different seasons so far of \u003cem>\u003ca href=\"http://www.imdb.com/title/tt1844624/?ref_=nv_sr_1\">American Horror Story\u003c/a>,\u003c/em> and has just followed his superb \u003cem>American Crime Story\u003c/em> entry, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt2788432/?ref_=fn_al_tt_2\">The People v. O.J. Simpson\u003c/a>, \u003c/em>with a new drama about \u003ca href=\"https://ww2.kqed.org/pop/2018/01/17/the-assassination-of-gianni-versace-isnt-what-you-think-it-is/\">the murder of Gianni Versace\u003c/a>.\u003c/p>\n\u003cp>And \u003ca href=\"https://www.npr.org/2017/05/15/528459775/fargo-is-a-series-about-the-things-people-do-for-money\">Noah Hawley\u003c/a>, with three dizzyingly different seasons of \u003ca href=\"https://www.npr.org/2017/04/19/524546828/fargo-and-bill-nye-make-promising-returns-to-the-small-screen\">FX's \u003cem>Fargo\u003c/em>\u003c/a>, has perfected this new form. It's part series, part miniseries, part anthology show — and it's thrilling.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=azjw0hTkOIs\u003c/p>\n\u003cp>And the best development of all may be that CBS, for its streaming CBS All Access site, has announced plans to present a new version of \u003cem>The Twilight Zone\u003c/em> — a version produced by \u003ca href=\"http://www.imdb.com/name/nm1443502/?ref_=fn_al_nm_1\">Jordan Peele\u003c/a>, who just wowed everyone with the very \u003cem>Zone\u003c/em>-ish movie thriller\u003cem>\u003ca href=\"http://www.imdb.com/title/tt5052448/?ref_=fn_al_tt_1\"> Get Out\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With news like that — and with the creative success of shows like \u003cem>Black Mirror\u003c/em> and \u003cem>Electric Dreams\u003c/em>, and extended dramas like \u003cem>Fargo --\u003c/em> there's no question whatsoever: The anthology show is back.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 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+Mirror%27+And+%27Electric+Dreams%27+Prove+It%3A+The+Anthology+Show+Is+Back&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some TV genres are perennials. They've been around since the early days of television, and probably are never going away — weekly drama series featuring doctors or cops, for example.\u003c/p>\n\u003cp>Other TV genres are like locusts. They get buried, lying dormant, until they suddenly resurface. On prime time TV, the game show was dead for decades until \u003ca href=\"http://www.imdb.com/title/tt0231033/?ref_=fn_al_tt_3\">\u003cem>Who Wants to Be a Millionaire?\u003c/em>\u003c/a> brought it back. And quite recently, Netflix's \u003cem>\u003ca href=\"http://www.imdb.com/title/tt5516154/?ref_=fn_al_tt_1\">Godless\u003c/a>,\u003c/em> like HBO's \u003ca href=\"http://www.imdb.com/title/tt0348914/?ref_=fn_al_tt_1\">\u003cem>Deadwood\u003c/em>\u003c/a> years before it, did its best to try and revive the TV Western.\u003c/p>\n\u003cp>But no genre on television, in this century, has had a bigger and better resurgence than the anthology series. In the early golden age of TV, these shows were performed live, with programs like \u003cem>Kraft Television Theatre\u003c/em> and \u003cem>Goodyear Television Playhouse\u003c/em> presenting great dramas like Rod Serling's \u003cem>Requiem for a Heavyweight\u003c/em> and Paddy Chayefsky's \u003cem>Marty\u003c/em>.\u003c/p>\n\u003cp>Then came filmed anthology shows, often hosted by the program's creators: writer Serling, again, with \u003ca href=\"http://www.imdb.com/title/tt0052520/?ref_=fn_al_tt_1\">\u003cem>The Twilight Zone\u003c/em>\u003c/a>, and director Alfred Hitchcock with \u003ca href=\"http://www.imdb.com/title/tt0047708/?ref_=fn_al_tt_1\">\u003cem>Alfred Hitchcock Presents.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Eventually, this genre lost out to the weekly dramatic series, where the same protagonist returned every week in a format that was easier to promote and prolong. But TV lost something in the process — the thrill of uncertainty, where anything can happen, and any character can be in real danger and even die, and stories can actually wrap up in relatively quick fashion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, almost out of nowhere, the anthology series is back — and in some cases, literally is bigger than ever.\u003c/p>\n\u003cp>The modern standard-issue anthology shows are actually post-modern, and basically deal with themes of technology versus humanity. The best of them is Charlie Brooker's \u003ca href=\"http://www.imdb.com/title/tt2085059/?ref_=fn_al_tt_1\">\u003cem>Black Mirror\u003c/em>\u003c/a>, which began in England and now is co-produced by Netflix.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5ELQ6u_5YYM'\n title='//www.youtube.com/embed/5ELQ6u_5YYM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Last year, an expanded \u003cem>Black Mirror\u003c/em> episode won a pair of Emmys. This year, with an \u003ca href=\"https://ww2.kqed.org/pop/2017/12/29/in-season-4-of-black-mirror-power-corrupts-but-love-still-matters/\">expanded episode called \"USS Callister,\"\u003c/a> I expect it may do the same. It's a wonderful story about a character trapped against her will in an alternate computerized reality — the same idea also explored, right now on TV, in a stand-alone episode of Fox's \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0106179/?ref_=fn_al_tt_1\">The X-Files\u003c/a>,\u003c/em> and in an episode of yet another anthology series, Amazon's \u003cem>\u003ca href=\"http://www.imdb.com/title/tt5711280/?ref_=nv_sr_1\">Electric Dreams\u003c/a>,\u003c/em> based on the stories of Philip K. Dick.\u003c/p>\n\u003cp>Dick is the science-fiction writer who, some 50 years ago, wrote the stories that later inspired the movies \u003ca href=\"http://www.imdb.com/title/tt0083658/?ref_=fn_al_tt_1\">\u003cem>Blade Runner\u003c/em>\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0100802/?ref_=fn_al_tt_1\">\u003cem>Total Recall\u003c/em> \u003c/a>and \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0181689/?ref_=fn_al_tt_1\">Minority Report\u003c/a>.\u003c/em> For this new series, which includes \u003ca href=\"https://www.npr.org/2014/03/27/295246908/from-walter-white-to-lbj-bryan-cranston-is-a-master-of-transformation\">Bryan Cranston\u003c/a> of \u003ca href=\"http://www.imdb.com/title/tt0903747/?ref_=fn_al_tt_1\">\u003cem>Breaking Bad\u003c/em>\u003c/a> as one of its executive producers and stars, the old stories are adapted very freely — sometimes almost unrecognizably, but usually with impressive results.\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/RtX_LVwEJhA'\n title='//www.youtube.com/embed/RtX_LVwEJhA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of the best adaptations, called \"Safe and Sound,\" is based on a 1955 Dick story called \"Foster, You're Dead.\" The original story was about a high-school boy whose family buys the newest model of bomb shelter, only to have it prove instantly obsolete.\u003c/p>\n\u003cp>In this new TV version, Foster is a girl, and the new technology isn't a bomb shelter. It's a Siri-type artificial intelligence that is implanted into her head when she sticks some high-tech gel in her ear. That's the latest gotta-have consumer item in this version — or is she just imagining it? Because, in this story about paranoia, the voice in Foster's head may just be... a voice in Foster's head. Especially when it instructs her to do some crazy-sounding things, like searching for anthills or planning an act of terrorism on her own high school.\u003c/p>\n\u003cp>The beauty of the anthology series is that anything could happen — even to a character like Foster. In the past few years, TV has taken this idea and expanded it, coming up with extended narratives, lasting 10 episodes or so, that end, then return with all-new casts and stories.\u003c/p>\n\u003cp>The FX network is the pioneer here. Ryan Murphy has presented seven very different seasons so far of \u003cem>\u003ca href=\"http://www.imdb.com/title/tt1844624/?ref_=nv_sr_1\">American Horror Story\u003c/a>,\u003c/em> and has just followed his superb \u003cem>American Crime Story\u003c/em> entry, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt2788432/?ref_=fn_al_tt_2\">The People v. O.J. Simpson\u003c/a>, \u003c/em>with a new drama about \u003ca href=\"https://ww2.kqed.org/pop/2018/01/17/the-assassination-of-gianni-versace-isnt-what-you-think-it-is/\">the murder of Gianni Versace\u003c/a>.\u003c/p>\n\u003cp>And \u003ca href=\"https://www.npr.org/2017/05/15/528459775/fargo-is-a-series-about-the-things-people-do-for-money\">Noah Hawley\u003c/a>, with three dizzyingly different seasons of \u003ca href=\"https://www.npr.org/2017/04/19/524546828/fargo-and-bill-nye-make-promising-returns-to-the-small-screen\">FX's \u003cem>Fargo\u003c/em>\u003c/a>, has perfected this new form. It's part series, part miniseries, part anthology show — and it's thrilling.\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/azjw0hTkOIs'\n title='//www.youtube.com/embed/azjw0hTkOIs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And the best development of all may be that CBS, for its streaming CBS All Access site, has announced plans to present a new version of \u003cem>The Twilight Zone\u003c/em> — a version produced by \u003ca href=\"http://www.imdb.com/name/nm1443502/?ref_=fn_al_nm_1\">Jordan Peele\u003c/a>, who just wowed everyone with the very \u003cem>Zone\u003c/em>-ish movie thriller\u003cem>\u003ca href=\"http://www.imdb.com/title/tt5052448/?ref_=fn_al_tt_1\"> Get Out\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With news like that — and with the creative success of shows like \u003cem>Black Mirror\u003c/em> and \u003cem>Electric Dreams\u003c/em>, and extended dramas like \u003cem>Fargo --\u003c/em> there's no question whatsoever: The anthology show is back.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 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+Mirror%27+And+%27Electric+Dreams%27+Prove+It%3A+The+Anthology+Show+Is+Back&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Missing Barack Obama? Netflix Has A Fix For You",
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"content": "\u003cp>Netflix usually presents its new shows one season at a time, with a dozen or so episodes available immediately, but its latest talk show is being unveiled at the unusual rate of one installment per month.\u003c/p>\n\u003cp>It's called \u003ca href=\"https://www.netflix.com/title/80209096\">\u003cem>My Next Guest Needs No Introduction with David Letterman\u003c/em> \u003c/a>— and it's excellent. The program marks Letterman's return to the talk-show format and to series television, a journey he began in 1980 with his brief but brilliant daytime talk show, NBC's \u003ca href=\"http://www.imdb.com/title/tt0080209/?ref_=fn_al_tt_1\">\u003cem>The David Letterman Show\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>After that, he clocked 11 years on NBC's \u003ca href=\"http://www.imdb.com/title/tt0083441/?ref_=fn_al_tt_1\">\u003cem>Late Night with David Letterman\u003c/em>\u003c/a>, from 1982 to 1993, then went straight to CBS' \u003cem>Late Show with David Letterman,\u003c/em> where he lasted another 22 years.\u003c/p>\n\u003cp>One of his final guests on CBS, before \u003ca href=\"https://www.npr.org/2015/05/21/408407147/fade-to-black-david-letterman-signs-off-cbs-show\">retiring in May 2015\u003c/a>, was then-President Barack Obama, who was a year away from wrapping up a long-running job of his own. Letterman's new Netflix show opens with a clip of that final interview — which seems appropriate since Obama is the first guest on Letterman's new show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ctBVhyZxXYY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For Letterman, the new show isn't merely a comeback; it's a reboot. His previous talk shows — all of them — were irreverent deconstructions of the genre. But they relied on the same basic format and trappings introduced by the \u003cem>Tonight Show\u003c/em> hosts who invented and honed the form: Steve Allen, Jack Paar and Johnny Carson.\u003c/p>\n\u003cp>Carson was 66 when he retired; Letterman is now 70 — but the old dog has some new tricks. This is his first series not made for broadcast television, so there is no censorship of language. There is no topical opening monologue, because on Netflix these shows are meant to be watched whenever the viewer wants to see them. There is also no band, no flashy set and, because Netflix is a paid streaming site, no commercials or interruptions. There is, however, a studio audience — the premiere was taped last fall at the City College of New York, in an auditorium filled with mostly young people who had no clue who Letterman's guests would be.\u003c/p>\n\u003cp>This is a talk show stripped to its basics: one main guest for the hour, with the two of them sitting in plush leather chairs on an otherwise bare stage. Letterman retains his long, bushy white retirement beard — he calls it his \"aging vagrant look\" — but his questioning skills, and his listening skills, are as sharp as ever.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=113538358\">Paul Shaffer\u003c/a>, the bandleader on Letterman's previous series, provides the theme music, but he's not on stage or on hand. The show's director, Michael Bonfiglio, has his cameras capture the action by constantly prowling. They glide slowly but add movement to an otherwise aggressively stark and static presentation.\u003c/p>\n\u003cp>Each show makes room for a brief, pre-taped, on-location piece, where Letterman visits and interviews someone with an association to the main guest. But the vast bulk of \u003cem>My Next Guest Needs No Introduction\u003c/em> is just two people talking — and not about a new project the guest wants to promote. Just interesting, unpredictable talk. Much of the conversation with Obama was personal, and the two men mostly stayed away from politics and news.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-a12nTEcoqE\u003c/p>\n\u003cp>The premiere show also features another politician: \u003ca href=\"https://www.npr.org/tags/125955396/john-lewis\">Rep. John Lewis\u003c/a>, D-Ga. Lewis is shown in an on-location piece chatting with Letterman about race, politics and history as the two walk across the Edmund Pettus Bridge in Selma, Ala., where Lewis led a \u003ca href=\"https://www.npr.org/2015/03/06/391217903/obama-returns-to-selma-for-50th-anniversary-of-historic-march\">march protesting segregation\u003c/a> more than 50 years earlier.\u003c/p>\n\u003cp>So don't expect a top 10 list or a \"monkey cam\"; Letterman is here to talk and listen — and that's about it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For me, that is more than enough. There are countless talk shows on TV, but almost none provide the depth and length of conversation Letterman's new show provides. He and Netflix have scheduled six monthly installments of \u003cem>My Guest Needs No Introduction.\u003c/em> If they don't keep making more, I'll be stunned. I'll also be very disappointed — because TV needs the curiosity and irreverence of David Letterman now more than ever.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 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=Netflix+Brings+David+Letterman+Back+To+The+Interview+Chair+%E2%80%94+With+A+Few+Twists&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Netflix usually presents its new shows one season at a time, with a dozen or so episodes available immediately, but its latest talk show is being unveiled at the unusual rate of one installment per month.\u003c/p>\n\u003cp>It's called \u003ca href=\"https://www.netflix.com/title/80209096\">\u003cem>My Next Guest Needs No Introduction with David Letterman\u003c/em> \u003c/a>— and it's excellent. The program marks Letterman's return to the talk-show format and to series television, a journey he began in 1980 with his brief but brilliant daytime talk show, NBC's \u003ca href=\"http://www.imdb.com/title/tt0080209/?ref_=fn_al_tt_1\">\u003cem>The David Letterman Show\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>After that, he clocked 11 years on NBC's \u003ca href=\"http://www.imdb.com/title/tt0083441/?ref_=fn_al_tt_1\">\u003cem>Late Night with David Letterman\u003c/em>\u003c/a>, from 1982 to 1993, then went straight to CBS' \u003cem>Late Show with David Letterman,\u003c/em> where he lasted another 22 years.\u003c/p>\n\u003cp>One of his final guests on CBS, before \u003ca href=\"https://www.npr.org/2015/05/21/408407147/fade-to-black-david-letterman-signs-off-cbs-show\">retiring in May 2015\u003c/a>, was then-President Barack Obama, who was a year away from wrapping up a long-running job of his own. Letterman's new Netflix show opens with a clip of that final interview — which seems appropriate since Obama is the first guest on Letterman's new show.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ctBVhyZxXYY'\n title='//www.youtube.com/embed/ctBVhyZxXYY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Letterman, the new show isn't merely a comeback; it's a reboot. His previous talk shows — all of them — were irreverent deconstructions of the genre. But they relied on the same basic format and trappings introduced by the \u003cem>Tonight Show\u003c/em> hosts who invented and honed the form: Steve Allen, Jack Paar and Johnny Carson.\u003c/p>\n\u003cp>Carson was 66 when he retired; Letterman is now 70 — but the old dog has some new tricks. This is his first series not made for broadcast television, so there is no censorship of language. There is no topical opening monologue, because on Netflix these shows are meant to be watched whenever the viewer wants to see them. There is also no band, no flashy set and, because Netflix is a paid streaming site, no commercials or interruptions. There is, however, a studio audience — the premiere was taped last fall at the City College of New York, in an auditorium filled with mostly young people who had no clue who Letterman's guests would be.\u003c/p>\n\u003cp>This is a talk show stripped to its basics: one main guest for the hour, with the two of them sitting in plush leather chairs on an otherwise bare stage. Letterman retains his long, bushy white retirement beard — he calls it his \"aging vagrant look\" — but his questioning skills, and his listening skills, are as sharp as ever.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=113538358\">Paul Shaffer\u003c/a>, the bandleader on Letterman's previous series, provides the theme music, but he's not on stage or on hand. The show's director, Michael Bonfiglio, has his cameras capture the action by constantly prowling. They glide slowly but add movement to an otherwise aggressively stark and static presentation.\u003c/p>\n\u003cp>Each show makes room for a brief, pre-taped, on-location piece, where Letterman visits and interviews someone with an association to the main guest. But the vast bulk of \u003cem>My Next Guest Needs No Introduction\u003c/em> is just two people talking — and not about a new project the guest wants to promote. Just interesting, unpredictable talk. Much of the conversation with Obama was personal, and the two men mostly stayed away from politics and news.\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/-a12nTEcoqE'\n title='//www.youtube.com/embed/-a12nTEcoqE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The premiere show also features another politician: \u003ca href=\"https://www.npr.org/tags/125955396/john-lewis\">Rep. John Lewis\u003c/a>, D-Ga. Lewis is shown in an on-location piece chatting with Letterman about race, politics and history as the two walk across the Edmund Pettus Bridge in Selma, Ala., where Lewis led a \u003ca href=\"https://www.npr.org/2015/03/06/391217903/obama-returns-to-selma-for-50th-anniversary-of-historic-march\">march protesting segregation\u003c/a> more than 50 years earlier.\u003c/p>\n\u003cp>So don't expect a top 10 list or a \"monkey cam\"; Letterman is here to talk and listen — and that's about it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For me, that is more than enough. There are countless talk shows on TV, but almost none provide the depth and length of conversation Letterman's new show provides. He and Netflix have scheduled six monthly installments of \u003cem>My Guest Needs No Introduction.\u003c/em> If they don't keep making more, I'll be stunned. I'll also be very disappointed — because TV needs the curiosity and irreverence of David Letterman now more than ever.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 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=Netflix+Brings+David+Letterman+Back+To+The+Interview+Chair+%E2%80%94+With+A+Few+Twists&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Season 2 Of 'The Crown' is Surprisingly Great",
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"content": "\u003cp>I never really understood why so many people saw \u003cem>The Crown\u003c/em> as a superior TV show last season.\u003c/p>\n\u003cp>Yes, the Netflix drama has the production values and ambition of an epic motion picture, tracing the long reign of Queen Elizabeth II. And for those who miss the aristocratic soap opera of \u003cem>Downton Abbey\u003c/em>, a big-budget recounting of the royal family's turmoil over marriages and abdications is quite a replacement. Who can argue with 13 Emmy nominations?\u003c/p>\n\u003cp>Still, to me, there was always a problem. \u003cem>The Crown\u003c/em> too often felt like a show telling two disconnected stories — one focused on world-shaking events which shaped the face of modern England, and the other on the palace intrigue of a royal family distanced from those big events.\u003c/p>\n\u003cp>Admittedly, it's the perspective of a cheeky Yank who doesn't quite get the British monarchy: If they don't actually run the country, why is every moment of their lives treated with such importance by the show?\u003c/p>\n\u003cp>Fortunately, the second season of \u003cem>The Crown\u003c/em> — covering events from the mid-1950s to the mid-1960s — answers that question. But not without first returning to its old tricks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ME2umFQ_xBA\u003c/p>\n\u003cp>The first three episodes of the new season focus on turmoil in the royal marriage between Elizabeth, played by Claire Foy, and her husband Philip. It's an elaborate story, showcasing \u003cem>Doctor Who\u003c/em> alum Matt Smith's amazing ability to play Philip as both a sympathetic figure trapped by the rigid demands of royal life and a blithely selfish jerk blinded by entitlement and childish petulance.\u003c/p>\n\u003cp>When rumors of infidelity emerge during a five-month diplomatic trip Philip takes without the queen, he can only focus on how the officials who run the royal household boss him around.\u003c/p>\n\u003cp>\"Giving me lists. Sending me instructions. Can you imagine anything more humiliating?\" Philip whines to Elizabeth.\u003c/p>\n\u003cp>\"Yes,\" she says, as reporters surround the royal yacht, speculating about cheating and divorce. \"As a matter of fact, I can.\"\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-97892\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46-520x293.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>This is all taking place while Britain is fighting over the Suez Canal and the prime minister is dealing with health problems that force him to leave the country for three weeks. So the royal marriage, which we already know survives this crisis, seems a little less important.\u003c/p>\n\u003cp>But \u003cem>The Crown\u003c/em> soon takes a turn toward a powerful run of episodes. In one, a British aristocrat and magazine publisher named Lord Altrincham challenges Elizabeth to prove the monarchy remains relevant in a post-war world by being more accessible and modern.\u003c/p>\n\u003cp>\"Spend time with normal people... average people, \u003cem>working \u003c/em>people,\" urges Altrincham, who would later renounce his own title in a challenge to England's class system. \"Make it more inclusive and egalitarian. Let normal people get to know you, too.\"\u003c/p>\n\u003cp>It feels as if you could draw a straight line of progress from the ideas in that scene, to the current moment: When a member of the royal family is engaged to marry a divorced, biracial woman from America.\u003c/p>\n\u003cp>Another episode features the Duke of Windsor, who had to abdicate the throne in 1936 to marry a divorced American woman (how times have changed!). When the duke asks to return to a job in the English government as part of the royal family, Elizabeth must decide whether to allow it.\u003c/p>\n\u003cp>As the episode progresses, Elizabeth slowly discovers just how close the duke was to the Nazis and Hitler during the war. I won't drop spoilers by detailing it all here, but it is a chilling moment when she learns the full truth. The entire story is bracketed by Elizabeth pondering the limits of forgiveness as demanded by her faith, eventually consulting evangelist Billy Graham to sort through her feelings.\u003c/p>\n\u003cp>\u003cem>Dexter\u003c/em> alum Michael C. Hall pops up as John F. Kennedy in a wonderful episode. It shows how international acclaim for Jackie Kennedy intimidated — and eventually angered — Elizabeth so much that she flew to Ghana, determined to prove her relevance by persuading that country's ruler to reject communism.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-97894\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/12/Screen-Shot-2017-08-10-at-2.06.48-PM-e1502392345894-800x398.png\" alt=\"\" width=\"800\" height=\"398\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/12/Screen-Shot-2017-08-10-at-2.06.48-PM-e1502392345894-800x398.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/Screen-Shot-2017-08-10-at-2.06.48-PM-e1502392345894-160x80.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/Screen-Shot-2017-08-10-at-2.06.48-PM-e1502392345894-768x382.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/Screen-Shot-2017-08-10-at-2.06.48-PM-e1502392345894-1020x507.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/Screen-Shot-2017-08-10-at-2.06.48-PM-e1502392345894-1200x596.png 1200w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/Screen-Shot-2017-08-10-at-2.06.48-PM-e1502392345894-1180x586.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/Screen-Shot-2017-08-10-at-2.06.48-PM-e1502392345894-960x477.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/Screen-Shot-2017-08-10-at-2.06.48-PM-e1502392345894-240x119.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/Screen-Shot-2017-08-10-at-2.06.48-PM-e1502392345894-375x186.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/Screen-Shot-2017-08-10-at-2.06.48-PM-e1502392345894-520x258.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/Screen-Shot-2017-08-10-at-2.06.48-PM-e1502392345894.png 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Hall's take on Kennedy's trademark Boston accent is kinda horrible. But the episode — which connects the Kennedys' troubled marriage to Jackie acting out in a way that spurred Elizabeth to defy her government and take action in Ghana — is exactly the kind of storytelling that turns \u003cem>The Crown\u003c/em> into transcendent drama.\u003c/p>\n\u003cp>The best episodes here are layered and complex; they juggle questions of whether a good marriage is possible among people in this orbit, how a family's history can shape children and their parents and how forgiveness has its limits. Occasionally, they end with photos showing the actual events and people fictionalized in the series, often with poignant effect.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, at long last, I understand just how amazing a triumph \u003cem>The Crown \u003c/em>is, at least in its second season — exposing the fitful evolution of a family which continues to represent one of the most compelling institutions in the world.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Season+2+Of+%27The+Crown%27+Exposes+The+Royal+Family%27s+Fitful+Evolution+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I never really understood why so many people saw \u003cem>The Crown\u003c/em> as a superior TV show last season.\u003c/p>\n\u003cp>Yes, the Netflix drama has the production values and ambition of an epic motion picture, tracing the long reign of Queen Elizabeth II. And for those who miss the aristocratic soap opera of \u003cem>Downton Abbey\u003c/em>, a big-budget recounting of the royal family's turmoil over marriages and abdications is quite a replacement. Who can argue with 13 Emmy nominations?\u003c/p>\n\u003cp>Still, to me, there was always a problem. \u003cem>The Crown\u003c/em> too often felt like a show telling two disconnected stories — one focused on world-shaking events which shaped the face of modern England, and the other on the palace intrigue of a royal family distanced from those big events.\u003c/p>\n\u003cp>Admittedly, it's the perspective of a cheeky Yank who doesn't quite get the British monarchy: If they don't actually run the country, why is every moment of their lives treated with such importance by the show?\u003c/p>\n\u003cp>Fortunately, the second season of \u003cem>The Crown\u003c/em> — covering events from the mid-1950s to the mid-1960s — answers that question. But not without first returning to its old tricks.\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/ME2umFQ_xBA'\n title='//www.youtube.com/embed/ME2umFQ_xBA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first three episodes of the new season focus on turmoil in the royal marriage between Elizabeth, played by Claire Foy, and her husband Philip. It's an elaborate story, showcasing \u003cem>Doctor Who\u003c/em> alum Matt Smith's amazing ability to play Philip as both a sympathetic figure trapped by the rigid demands of royal life and a blithely selfish jerk blinded by entitlement and childish petulance.\u003c/p>\n\u003cp>When rumors of infidelity emerge during a five-month diplomatic trip Philip takes without the queen, he can only focus on how the officials who run the royal household boss him around.\u003c/p>\n\u003cp>\"Giving me lists. Sending me instructions. Can you imagine anything more humiliating?\" Philip whines to Elizabeth.\u003c/p>\n\u003cp>\"Yes,\" she says, as reporters surround the royal yacht, speculating about cheating and divorce. \"As a matter of fact, I can.\"\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-97892\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46-520x293.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/the-crown-small_wide-753ec4bece5dfb0cf359aeb7f2da242404c4da46.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>This is all taking place while Britain is fighting over the Suez Canal and the prime minister is dealing with health problems that force him to leave the country for three weeks. So the royal marriage, which we already know survives this crisis, seems a little less important.\u003c/p>\n\u003cp>But \u003cem>The Crown\u003c/em> soon takes a turn toward a powerful run of episodes. In one, a British aristocrat and magazine publisher named Lord Altrincham challenges Elizabeth to prove the monarchy remains relevant in a post-war world by being more accessible and modern.\u003c/p>\n\u003cp>\"Spend time with normal people... average people, \u003cem>working \u003c/em>people,\" urges Altrincham, who would later renounce his own title in a challenge to England's class system. \"Make it more inclusive and egalitarian. Let normal people get to know you, too.\"\u003c/p>\n\u003cp>It feels as if you could draw a straight line of progress from the ideas in that scene, to the current moment: When a member of the royal family is engaged to marry a divorced, biracial woman from America.\u003c/p>\n\u003cp>Another episode features the Duke of Windsor, who had to abdicate the throne in 1936 to marry a divorced American woman (how times have changed!). When the duke asks to return to a job in the English government as part of the royal family, Elizabeth must decide whether to allow it.\u003c/p>\n\u003cp>As the episode progresses, Elizabeth slowly discovers just how close the duke was to the Nazis and Hitler during the war. I won't drop spoilers by detailing it all here, but it is a chilling moment when she learns the full truth. The entire story is bracketed by Elizabeth pondering the limits of forgiveness as demanded by her faith, eventually consulting evangelist Billy Graham to sort through her feelings.\u003c/p>\n\u003cp>\u003cem>Dexter\u003c/em> alum Michael C. Hall pops up as John F. Kennedy in a wonderful episode. It shows how international acclaim for Jackie Kennedy intimidated — and eventually angered — Elizabeth so much that she flew to Ghana, determined to prove her relevance by persuading that country's ruler to reject communism.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-97894\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/12/Screen-Shot-2017-08-10-at-2.06.48-PM-e1502392345894-800x398.png\" alt=\"\" width=\"800\" height=\"398\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/12/Screen-Shot-2017-08-10-at-2.06.48-PM-e1502392345894-800x398.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/Screen-Shot-2017-08-10-at-2.06.48-PM-e1502392345894-160x80.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/Screen-Shot-2017-08-10-at-2.06.48-PM-e1502392345894-768x382.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/Screen-Shot-2017-08-10-at-2.06.48-PM-e1502392345894-1020x507.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/Screen-Shot-2017-08-10-at-2.06.48-PM-e1502392345894-1200x596.png 1200w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/Screen-Shot-2017-08-10-at-2.06.48-PM-e1502392345894-1180x586.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/Screen-Shot-2017-08-10-at-2.06.48-PM-e1502392345894-960x477.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/Screen-Shot-2017-08-10-at-2.06.48-PM-e1502392345894-240x119.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/Screen-Shot-2017-08-10-at-2.06.48-PM-e1502392345894-375x186.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/Screen-Shot-2017-08-10-at-2.06.48-PM-e1502392345894-520x258.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/12/Screen-Shot-2017-08-10-at-2.06.48-PM-e1502392345894.png 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Hall's take on Kennedy's trademark Boston accent is kinda horrible. But the episode — which connects the Kennedys' troubled marriage to Jackie acting out in a way that spurred Elizabeth to defy her government and take action in Ghana — is exactly the kind of storytelling that turns \u003cem>The Crown\u003c/em> into transcendent drama.\u003c/p>\n\u003cp>The best episodes here are layered and complex; they juggle questions of whether a good marriage is possible among people in this orbit, how a family's history can shape children and their parents and how forgiveness has its limits. Occasionally, they end with photos showing the actual events and people fictionalized in the series, often with poignant effect.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, at long last, I understand just how amazing a triumph \u003cem>The Crown \u003c/em>is, at least in its second season — exposing the fitful evolution of a family which continues to represent one of the most compelling institutions in the world.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Season+2+Of+%27The+Crown%27+Exposes+The+Royal+Family%27s+Fitful+Evolution+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "If You Think 'American Vandal' is Too Silly to Watch, Think Again",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>There is a moment about fifteen minutes into the premiere of the eight-episode Netflix series \u003cem>\u003ca href=\"http://www.imdb.com/title/tt6877772/?ref_=nv_sr_1\">American Vanda\u003c/a>l\u003c/em> when I knew it had its hooks in me.\u003c/p>\n\u003cp>It's a scene in which two student documentary filmmakers — Peter (Tyler Alvarez) and Sam (Griffin Gluck) — are examining evidence.\u003c/p>\n\u003cp>They're comparing photographs. One set of photos captures the 27 penises that were spray-painted on 27 cars in their high school's faculty parking lot (the crime that's the subject of their documentary). The other set of photos are examples of the penises that chief suspect Dylan (Jimmy Tatro, turning mouth-breathing into high art) is known for scrawling, every morning, on the whiteboard in the classroom of a hated teacher.\u003c/p>\n\u003cp>There is much discussion, assisted by a litany of narrative techniques we've seen in true crime documentaries like \u003ca href=\"http://www.imdb.com/title/tt4299972/?ref_=nv_sr_1\">\u003cem>The Jinx \u003c/em>\u003c/a>and \u003ca href=\"http://www.imdb.com/title/tt5189670/?ref_=fn_al_tt_1\">\u003cem>Making a Murderer\u003c/em>\u003c/a> — slow pans and zooms, animation, the spare and ominous plunking of low notes on some unseen Piano of Doom — about the stylistic and, um, anatomical differences between the car-graffiti penises and the school-whiteboard penises. Peter and Sam suggest that said differences may prove that Dylan is not the culprit.\u003c/p>\n\u003cp>\"Okay well that's \u003cem>hardly \u003c/em>exculpatory,\" I found myself thinking, \"they're rendered in different media, on a different scale, and anyway it's been established that the spray-painter hit all the cars in only a few minutes, meaning that each penis was rushed, and that could easily account for such --\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That was it. That was when I knew.\u003c/p>\n\u003cp>The whole joke of the show, of course, is how deadpan, how gravid, how rigorously \u003cem>precise \u003c/em>it remains as, episode by episode, it documents the investigation of an act of phallus-themed vandalism. That's the goof: All that effort, all that sober attention, all those technical resources that we've grown used to seeing employed to examine a heinous act of violence instead devoted to something so small, so dumb, so juvenile.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=m3tkFOtM6go\u003c/p>\n\u003cp>And it took mere minutes — minutes! — for me to manage to \u003cem>completely forget all that\u003c/em>, and become entirely enmeshed, and stay up until 3:00 a.m. to finish all eight episodes. I desperately needed to find out the answer to the show's central mystery, which if there's any damn justice in the world, will join the ranks of such zeitgeist-defining questions as \"Who Shot J.R.?,\" Where's the Beef?\" and \"Who Put the Bop In The Bop Shoo Bop?\" namely:\u003c/p>\n\u003cp>\"Who Did the D***s?\"\u003c/p>\n\u003cp>The day after I'd glutted myself on the show, I recorded an episode of Pop Culture Happy Hour on which I recommended it to listeners, noting that it was a lot less broad than its premise — and its trailer — would suggest. I talked about its devotion to the familiar trappings of serialized long-form true crime narrative, and how that devotion — and the relative absence of clearly defined, \u003cem>This Is Spinal Tap\u003c/em>-esque \"gags,\" meant it didn't feel anything like what we've come to call a mockumentary.\u003c/p>\n\u003cp>I've since heard from several people who wondered just exactly what it was that I was smoking. How could I not see how hilarious it is? How brilliantly funny? How sharp its satire?\u003c/p>\n\u003cp>To them I say: It doesn't \u003cem>feel \u003c/em>like satire, to me. It doesn't possess the kind of ruthless, lacerating, elbow-in-the-ribs sensibility that define the satiric impulse. Its humor isn't arch or crisp or brittle. And what it does to shows like \u003cem>Making a Murder\u003c/em> isn't anything so simple as lampoon them — it \u003cem>reveres \u003c/em>them.\u003c/p>\n\u003cp>Consider the sequence, in episode 2, in which a possible dockside tryst is recreated like it's \u003cem>CSI: Camp Miniwanka\u003c/em>: Sight lines! Witness statements! A CGI mini wanka!\u003c/p>\n\u003cp>Or the scene in episode 5 that meticulously traces the movement of a can of red spray paint through a high school party, using images from camera phones and social media feeds.\u003c/p>\n\u003cp>I could have laughed at the absurdity of it all. Probably should have. Instead, I leaned closer to the television, frowning, attempting to piece together the narrative, weighing theories, evaluating suspects.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8Fdg4xpQZCg\u003c/p>\n\u003cp>That's what \u003cem>American Vandal\u003c/em>'s producers know very well: How thoroughly we've internalized the way that true crime series are presented. The techniques they use with such reverence and restraint have become the way we do True Crime now: a messy life-event gets a narrative structure imposed over it which starts doling out the revelations slowly, steering us down dead-ends, doubling back to review, and re-review, and re-re-review, some piece of evidence whose inviolate truth we've taken for granted. It's the steady, implacable rhythm of this kind of storytelling that works on us.\u003c/p>\n\u003cp>Turns out? It doesn't matter if that infrastructure's built around the grisly extinguishing of a human life or a defaced Prius.\u003c/p>\n\u003cp>Of course, none of it would work if we didn't care about that central mystery, and the reason we do care is how meticulously they've built the high school setting. Imagine \u003cem>10 Things I Hate About You\u003c/em> directed by Errol Morris: beneath all the camera moves and moody music, the students and faculty seem familiar, believable, and rigorously real.\u003c/p>\n\u003cp>It can't be overstated how much of this is down to the performances. Playing \"real people\" of the kind we're used to seeing on reality television — or in true crime documentaries — is one of the toughest acting challenges there is. To work, it's got to vibrate at a different frequency than the one we're used to seeing; it's got to be stripped of the thin layer of artificiality we unthinkingly accept in scripted work. When you aim a camera at non-actors, the result is ... messy. Their self-consciousness colors how they hold themselves, how they talk. In \u003cem>American Vandal,\u003c/em> actors who've been trained to dispense with self-consciousness have to remember what it feels like, and reintroduce it to their every move.\u003c/p>\n\u003cp>So we grow to care for these high school kids. We get drawn into their conflicts and secrets, we worry over their fates. Dylan's fate, in particular.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I went into \u003cem>American Vandal\u003c/em>'s premiere expecting to laugh; I didn't, much. But by the time I got to the sneaks-up-on-you-poignant closing scene of its finale, I was moved.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27American+Vandal%27%3A+True+Crime+That%27s+Fake%2C+But+No+Less+True&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a moment about fifteen minutes into the premiere of the eight-episode Netflix series \u003cem>\u003ca href=\"http://www.imdb.com/title/tt6877772/?ref_=nv_sr_1\">American Vanda\u003c/a>l\u003c/em> when I knew it had its hooks in me.\u003c/p>\n\u003cp>It's a scene in which two student documentary filmmakers — Peter (Tyler Alvarez) and Sam (Griffin Gluck) — are examining evidence.\u003c/p>\n\u003cp>They're comparing photographs. One set of photos captures the 27 penises that were spray-painted on 27 cars in their high school's faculty parking lot (the crime that's the subject of their documentary). The other set of photos are examples of the penises that chief suspect Dylan (Jimmy Tatro, turning mouth-breathing into high art) is known for scrawling, every morning, on the whiteboard in the classroom of a hated teacher.\u003c/p>\n\u003cp>There is much discussion, assisted by a litany of narrative techniques we've seen in true crime documentaries like \u003ca href=\"http://www.imdb.com/title/tt4299972/?ref_=nv_sr_1\">\u003cem>The Jinx \u003c/em>\u003c/a>and \u003ca href=\"http://www.imdb.com/title/tt5189670/?ref_=fn_al_tt_1\">\u003cem>Making a Murderer\u003c/em>\u003c/a> — slow pans and zooms, animation, the spare and ominous plunking of low notes on some unseen Piano of Doom — about the stylistic and, um, anatomical differences between the car-graffiti penises and the school-whiteboard penises. Peter and Sam suggest that said differences may prove that Dylan is not the culprit.\u003c/p>\n\u003cp>\"Okay well that's \u003cem>hardly \u003c/em>exculpatory,\" I found myself thinking, \"they're rendered in different media, on a different scale, and anyway it's been established that the spray-painter hit all the cars in only a few minutes, meaning that each penis was rushed, and that could easily account for such --\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That was it. That was when I knew.\u003c/p>\n\u003cp>The whole joke of the show, of course, is how deadpan, how gravid, how rigorously \u003cem>precise \u003c/em>it remains as, episode by episode, it documents the investigation of an act of phallus-themed vandalism. That's the goof: All that effort, all that sober attention, all those technical resources that we've grown used to seeing employed to examine a heinous act of violence instead devoted to something so small, so dumb, so juvenile.\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/m3tkFOtM6go'\n title='//www.youtube.com/embed/m3tkFOtM6go'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And it took mere minutes — minutes! — for me to manage to \u003cem>completely forget all that\u003c/em>, and become entirely enmeshed, and stay up until 3:00 a.m. to finish all eight episodes. I desperately needed to find out the answer to the show's central mystery, which if there's any damn justice in the world, will join the ranks of such zeitgeist-defining questions as \"Who Shot J.R.?,\" Where's the Beef?\" and \"Who Put the Bop In The Bop Shoo Bop?\" namely:\u003c/p>\n\u003cp>\"Who Did the D***s?\"\u003c/p>\n\u003cp>The day after I'd glutted myself on the show, I recorded an episode of Pop Culture Happy Hour on which I recommended it to listeners, noting that it was a lot less broad than its premise — and its trailer — would suggest. I talked about its devotion to the familiar trappings of serialized long-form true crime narrative, and how that devotion — and the relative absence of clearly defined, \u003cem>This Is Spinal Tap\u003c/em>-esque \"gags,\" meant it didn't feel anything like what we've come to call a mockumentary.\u003c/p>\n\u003cp>I've since heard from several people who wondered just exactly what it was that I was smoking. How could I not see how hilarious it is? How brilliantly funny? How sharp its satire?\u003c/p>\n\u003cp>To them I say: It doesn't \u003cem>feel \u003c/em>like satire, to me. It doesn't possess the kind of ruthless, lacerating, elbow-in-the-ribs sensibility that define the satiric impulse. Its humor isn't arch or crisp or brittle. And what it does to shows like \u003cem>Making a Murder\u003c/em> isn't anything so simple as lampoon them — it \u003cem>reveres \u003c/em>them.\u003c/p>\n\u003cp>Consider the sequence, in episode 2, in which a possible dockside tryst is recreated like it's \u003cem>CSI: Camp Miniwanka\u003c/em>: Sight lines! Witness statements! A CGI mini wanka!\u003c/p>\n\u003cp>Or the scene in episode 5 that meticulously traces the movement of a can of red spray paint through a high school party, using images from camera phones and social media feeds.\u003c/p>\n\u003cp>I could have laughed at the absurdity of it all. Probably should have. Instead, I leaned closer to the television, frowning, attempting to piece together the narrative, weighing theories, evaluating suspects.\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/8Fdg4xpQZCg'\n title='//www.youtube.com/embed/8Fdg4xpQZCg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That's what \u003cem>American Vandal\u003c/em>'s producers know very well: How thoroughly we've internalized the way that true crime series are presented. The techniques they use with such reverence and restraint have become the way we do True Crime now: a messy life-event gets a narrative structure imposed over it which starts doling out the revelations slowly, steering us down dead-ends, doubling back to review, and re-review, and re-re-review, some piece of evidence whose inviolate truth we've taken for granted. It's the steady, implacable rhythm of this kind of storytelling that works on us.\u003c/p>\n\u003cp>Turns out? It doesn't matter if that infrastructure's built around the grisly extinguishing of a human life or a defaced Prius.\u003c/p>\n\u003cp>Of course, none of it would work if we didn't care about that central mystery, and the reason we do care is how meticulously they've built the high school setting. Imagine \u003cem>10 Things I Hate About You\u003c/em> directed by Errol Morris: beneath all the camera moves and moody music, the students and faculty seem familiar, believable, and rigorously real.\u003c/p>\n\u003cp>It can't be overstated how much of this is down to the performances. Playing \"real people\" of the kind we're used to seeing on reality television — or in true crime documentaries — is one of the toughest acting challenges there is. To work, it's got to vibrate at a different frequency than the one we're used to seeing; it's got to be stripped of the thin layer of artificiality we unthinkingly accept in scripted work. When you aim a camera at non-actors, the result is ... messy. Their self-consciousness colors how they hold themselves, how they talk. In \u003cem>American Vandal,\u003c/em> actors who've been trained to dispense with self-consciousness have to remember what it feels like, and reintroduce it to their every move.\u003c/p>\n\u003cp>So we grow to care for these high school kids. We get drawn into their conflicts and secrets, we worry over their fates. Dylan's fate, in particular.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I went into \u003cem>American Vandal\u003c/em>'s premiere expecting to laugh; I didn't, much. But by the time I got to the sneaks-up-on-you-poignant closing scene of its finale, I was moved.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27American+Vandal%27%3A+True+Crime+That%27s+Fake%2C+But+No+Less+True&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Beyond ‘Rain Man’: Two New Shows Offer Fresh Takes on Autism",
"title": "Beyond ‘Rain Man’: Two New Shows Offer Fresh Takes on Autism",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Like a lot of kids in high school, Sam worries that he doesn't fit in.\u003c/p>\n\u003cp>\"I'm a weirdo. That's what everyone says,\" declares the 18-year-old character at the center of Netflix's new dramatic comedy series \u003ca href=\"https://www.youtube.com/watch?v=ieHh4U-QYwU\">\u003cem>Atypical\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>One reason Sam struggles to fit in: He has autism.\u003c/p>\n\u003cp>As his character explains at the start of the first episode, sometimes he doesn't understand what people mean when they say things. And that makes him feel alone, even when he's not.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ieHh4U-QYwU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sam's family in \u003cem>Atypical \u003c/em>is thrown in all sorts of new directions by his quest to date and find a girlfriend. Creator \u003ca href=\"http://www.imdb.com/name/nm1968720/\">Robia Rashid\u003c/a> says she wanted to tell a different kind of coming-of-age story, inspired by recent increases in autism diagnoses.\u003c/p>\n\u003cp>\"There are all these young people now who are on the \u003ca href=\"https://medlineplus.gov/autismspectrumdisorder.html\">spectrum\u003c/a>, who know ... they're on the spectrum,\" she says. \"And [they] are interested in things that every young person is interested in ... independence and finding connections and finding love.\"\u003c/p>\n\u003cp>On-screen depictions of autism have come a long way since Dustin Hoffman's portrayal of Raymond Babbitt in the 1988 Oscar-winning film \u003ca href=\"https://www.youtube.com/watch?v=mlNwXuHUA8I&list=PLisCa6uoS1slRD9vwNw4I7wqEgmItLzLt&index=134\">Rain Man\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Hoffman's Babbitt focused obsessively on watching \u003cem>The People's Court\u003c/em> and getting served maple syrup before his pancakes. He could also memorize half the names in a phone book in one reading and count the number of toothpicks on the floor, moments after they spilled out of the box.\u003c/p>\n\u003cfigure id=\"attachment_95694\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-95694\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/08/downloadasset2_enl-1b6845c2fc89e6cd1318bee8e45d543c7f33f734-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/08/downloadasset2_enl-1b6845c2fc89e6cd1318bee8e45d543c7f33f734-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/downloadasset2_enl-1b6845c2fc89e6cd1318bee8e45d543c7f33f734-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/downloadasset2_enl-1b6845c2fc89e6cd1318bee8e45d543c7f33f734-768x513.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/downloadasset2_enl-1b6845c2fc89e6cd1318bee8e45d543c7f33f734-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/downloadasset2_enl-1b6845c2fc89e6cd1318bee8e45d543c7f33f734-1920x1282.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/downloadasset2_enl-1b6845c2fc89e6cd1318bee8e45d543c7f33f734-1180x788.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/downloadasset2_enl-1b6845c2fc89e6cd1318bee8e45d543c7f33f734-960x641.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/downloadasset2_enl-1b6845c2fc89e6cd1318bee8e45d543c7f33f734-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/downloadasset2_enl-1b6845c2fc89e6cd1318bee8e45d543c7f33f734-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/downloadasset2_enl-1b6845c2fc89e6cd1318bee8e45d543c7f33f734-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sam sometimes wears headphones to cut down on sensory overload — but critics have taken issue when the show has played the practice for laughs.\u003cbr>Greg Gayne/Netflix\u003c/figcaption>\u003c/figure>\n\u003cp>For \u003cem>Atypical\u003c/em>, Rashid says she researched accounts of adults with autism, has several parents of autistic children working in her crew and hired an actor with autism to play a minor role.\u003c/p>\n\u003cp>Still, some critics say \u003cem>Atypical\u003c/em> presents some troubling images despite its good intentions. Mickey Rowe, an actor who has autism, says that because the show doesn't have any writers, producers or actors in major roles with the disorder, it can feel like the series is allowing people without autism to make fun of people with it.\u003c/p>\n\u003cp>\"The motto of the autistic community is 'Nothing about us, without us,' \" Rowe says. \"There is such a long history of other people making decisions of behalf of autistic people and deciding what's best for their well-being and how to represent them to the world.\"\u003c/p>\n\u003cp>Rowe, who \u003ca href=\"http://www.teenvogue.com/story/netflix-atypical-autism-representation\">has written about the show\u003c/a> for \u003cem>Teen Vogue\u003c/em> magazine, was troubled by a scene played for laughs, where Sam wears headphones in public to cut down on sensory overload. He also criticized another moment when Sam is shown frightening a girl because he doesn't quite know how to smile comfortably.\u003c/p>\n\u003cp>And he's not the only critic with concerns.\u003c/p>\n\u003cp>\"The audience is basically laughing at [Sam] being autistic,\" says Elizabeth Bartmess, a writer and editor with autism who has written often about \u003ca href=\"http://disabilityinkidlit.com/2015/04/14/writing-autistic-characters-behaviorizing-vs-humanizing-approaches/\">how autistic characters are depicted in literature\u003c/a>.\u003c/p>\n\u003cp>\"That's partly a problem because in real life, autistic people ... get laughed at a lot for showing autistic traits,\" she says. \"He's trying to make a facial expression that will look like the facial expressions that other people expect him to have... It's stressful, and it takes up a lot of energy and attention. And you're always at risk of getting it wrong.\"\u003c/p>\n\u003cp>Another show that Bartmess finds troubling is a new series debuting this fall on ABC called \u003ca href=\"https://www.youtube.com/watch?v=fYlZDTru55g\">\u003cem>The Good Doctor\u003c/em>\u003c/a>. It's centered on a surgical resident named Shawn Murphy who has autism and \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2677584/\">savant syndrome\u003c/a>. He's highly skilled at medicine but struggles with social skills.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fYlZDTru55g\u003c/p>\n\u003cp>\u003cem>West Wing \u003c/em>alum Richard Schiff plays the hospital president, fighting to convince a skeptical hospital board to hire Murphy.\u003c/p>\n\u003cp>\"We hire Shawn, and we give hope to those people with limitations that those limitations are not what they think they are,\" the character shouts during a board meeting as inspiring music rises in the background. \"They do have a shot!\"\u003c/p>\n\u003cp>Still, because not all people with autism are savants like the character Hoffman portrayed in \u003cem>Rain Man\u003c/em>, Bartmess takes a different message from that moment.\u003c/p>\n\u003cp>\"That's basically saying the only way that you can get to have a job and keep a job is to be this incredible, super-powered autistic person that you can't be, because almost no one is,\" she says. \"That's kind of the opposite of inspiring.\"\u003c/p>\n\u003cp>David Shore, executive producer of \u003cem>The Good Doctor\u003c/em>, says the show argues against attitudes which keep people with disabilities from employment.\u003c/p>\n\u003cp>\"People look at them and make judgments,\" Shore says. \"I hope this is part of a dialogue that gives rise to simply reducing prejudices right across the board and [being] open to ... [the question of] what does it mean to be qualified? What does it mean to be a good doctor?\"\u003c/p>\n\u003cp>Both Shore and Rashid say their characters aren't meant to be symbols for every person with autism.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But with so few autistic characters on TV, the few who do appear on-screen often become symbols, whether the creators intend it or not.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Netflix%2C+ABC+Portrayals+Of+Autism+Still+Fall+Short%2C+Critics+Say&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like a lot of kids in high school, Sam worries that he doesn't fit in.\u003c/p>\n\u003cp>\"I'm a weirdo. That's what everyone says,\" declares the 18-year-old character at the center of Netflix's new dramatic comedy series \u003ca href=\"https://www.youtube.com/watch?v=ieHh4U-QYwU\">\u003cem>Atypical\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>One reason Sam struggles to fit in: He has autism.\u003c/p>\n\u003cp>As his character explains at the start of the first episode, sometimes he doesn't understand what people mean when they say things. And that makes him feel alone, even when he's not.\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/ieHh4U-QYwU'\n title='//www.youtube.com/embed/ieHh4U-QYwU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sam's family in \u003cem>Atypical \u003c/em>is thrown in all sorts of new directions by his quest to date and find a girlfriend. Creator \u003ca href=\"http://www.imdb.com/name/nm1968720/\">Robia Rashid\u003c/a> says she wanted to tell a different kind of coming-of-age story, inspired by recent increases in autism diagnoses.\u003c/p>\n\u003cp>\"There are all these young people now who are on the \u003ca href=\"https://medlineplus.gov/autismspectrumdisorder.html\">spectrum\u003c/a>, who know ... they're on the spectrum,\" she says. \"And [they] are interested in things that every young person is interested in ... independence and finding connections and finding love.\"\u003c/p>\n\u003cp>On-screen depictions of autism have come a long way since Dustin Hoffman's portrayal of Raymond Babbitt in the 1988 Oscar-winning film \u003ca href=\"https://www.youtube.com/watch?v=mlNwXuHUA8I&list=PLisCa6uoS1slRD9vwNw4I7wqEgmItLzLt&index=134\">Rain Man\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Hoffman's Babbitt focused obsessively on watching \u003cem>The People's Court\u003c/em> and getting served maple syrup before his pancakes. He could also memorize half the names in a phone book in one reading and count the number of toothpicks on the floor, moments after they spilled out of the box.\u003c/p>\n\u003cfigure id=\"attachment_95694\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-95694\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/08/downloadasset2_enl-1b6845c2fc89e6cd1318bee8e45d543c7f33f734-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/08/downloadasset2_enl-1b6845c2fc89e6cd1318bee8e45d543c7f33f734-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/downloadasset2_enl-1b6845c2fc89e6cd1318bee8e45d543c7f33f734-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/downloadasset2_enl-1b6845c2fc89e6cd1318bee8e45d543c7f33f734-768x513.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/downloadasset2_enl-1b6845c2fc89e6cd1318bee8e45d543c7f33f734-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/downloadasset2_enl-1b6845c2fc89e6cd1318bee8e45d543c7f33f734-1920x1282.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/downloadasset2_enl-1b6845c2fc89e6cd1318bee8e45d543c7f33f734-1180x788.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/downloadasset2_enl-1b6845c2fc89e6cd1318bee8e45d543c7f33f734-960x641.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/downloadasset2_enl-1b6845c2fc89e6cd1318bee8e45d543c7f33f734-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/downloadasset2_enl-1b6845c2fc89e6cd1318bee8e45d543c7f33f734-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/downloadasset2_enl-1b6845c2fc89e6cd1318bee8e45d543c7f33f734-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sam sometimes wears headphones to cut down on sensory overload — but critics have taken issue when the show has played the practice for laughs.\u003cbr>Greg Gayne/Netflix\u003c/figcaption>\u003c/figure>\n\u003cp>For \u003cem>Atypical\u003c/em>, Rashid says she researched accounts of adults with autism, has several parents of autistic children working in her crew and hired an actor with autism to play a minor role.\u003c/p>\n\u003cp>Still, some critics say \u003cem>Atypical\u003c/em> presents some troubling images despite its good intentions. Mickey Rowe, an actor who has autism, says that because the show doesn't have any writers, producers or actors in major roles with the disorder, it can feel like the series is allowing people without autism to make fun of people with it.\u003c/p>\n\u003cp>\"The motto of the autistic community is 'Nothing about us, without us,' \" Rowe says. \"There is such a long history of other people making decisions of behalf of autistic people and deciding what's best for their well-being and how to represent them to the world.\"\u003c/p>\n\u003cp>Rowe, who \u003ca href=\"http://www.teenvogue.com/story/netflix-atypical-autism-representation\">has written about the show\u003c/a> for \u003cem>Teen Vogue\u003c/em> magazine, was troubled by a scene played for laughs, where Sam wears headphones in public to cut down on sensory overload. He also criticized another moment when Sam is shown frightening a girl because he doesn't quite know how to smile comfortably.\u003c/p>\n\u003cp>And he's not the only critic with concerns.\u003c/p>\n\u003cp>\"The audience is basically laughing at [Sam] being autistic,\" says Elizabeth Bartmess, a writer and editor with autism who has written often about \u003ca href=\"http://disabilityinkidlit.com/2015/04/14/writing-autistic-characters-behaviorizing-vs-humanizing-approaches/\">how autistic characters are depicted in literature\u003c/a>.\u003c/p>\n\u003cp>\"That's partly a problem because in real life, autistic people ... get laughed at a lot for showing autistic traits,\" she says. \"He's trying to make a facial expression that will look like the facial expressions that other people expect him to have... It's stressful, and it takes up a lot of energy and attention. And you're always at risk of getting it wrong.\"\u003c/p>\n\u003cp>Another show that Bartmess finds troubling is a new series debuting this fall on ABC called \u003ca href=\"https://www.youtube.com/watch?v=fYlZDTru55g\">\u003cem>The Good Doctor\u003c/em>\u003c/a>. It's centered on a surgical resident named Shawn Murphy who has autism and \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2677584/\">savant syndrome\u003c/a>. He's highly skilled at medicine but struggles with social skills.\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/fYlZDTru55g'\n title='//www.youtube.com/embed/fYlZDTru55g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>West Wing \u003c/em>alum Richard Schiff plays the hospital president, fighting to convince a skeptical hospital board to hire Murphy.\u003c/p>\n\u003cp>\"We hire Shawn, and we give hope to those people with limitations that those limitations are not what they think they are,\" the character shouts during a board meeting as inspiring music rises in the background. \"They do have a shot!\"\u003c/p>\n\u003cp>Still, because not all people with autism are savants like the character Hoffman portrayed in \u003cem>Rain Man\u003c/em>, Bartmess takes a different message from that moment.\u003c/p>\n\u003cp>\"That's basically saying the only way that you can get to have a job and keep a job is to be this incredible, super-powered autistic person that you can't be, because almost no one is,\" she says. \"That's kind of the opposite of inspiring.\"\u003c/p>\n\u003cp>David Shore, executive producer of \u003cem>The Good Doctor\u003c/em>, says the show argues against attitudes which keep people with disabilities from employment.\u003c/p>\n\u003cp>\"People look at them and make judgments,\" Shore says. \"I hope this is part of a dialogue that gives rise to simply reducing prejudices right across the board and [being] open to ... [the question of] what does it mean to be qualified? What does it mean to be a good doctor?\"\u003c/p>\n\u003cp>Both Shore and Rashid say their characters aren't meant to be symbols for every person with autism.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But with so few autistic characters on TV, the few who do appear on-screen often become symbols, whether the creators intend it or not.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Netflix%2C+ABC+Portrayals+Of+Autism+Still+Fall+Short%2C+Critics+Say&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A new trailer offers a first taste of the second season of \u003cem>The Crown\u003c/em> — coming to Netflix this December. And that taste is ... so veddy, veddy \u003cem>tasteful\u003c/em>.\u003c/p>\n\u003cp>As one might imagine.\u003c/p>\n\u003cp>The first season was all about Elizabeth's first steps into the role of monarch, as she learned to navigate turbid political waters both public and private.\u003c/p>\n\u003cp>For a time, the only thing she could count on, as the horizon pinwheeled around her, the single sticking-place to which she could screw her courage, had everything to do with the perfect, posh, plumminess of her accent. It seemed to put steel in her spine — and in her jaw.\u003c/p>\n\u003cp>Again and again, Claire Foy's expressive eyes showed us the many emotions that buffeted young Liz about, but those emotions never managed to make it down to the set of her iron jaw. Words passed through that jaw, but only barely, their ends bitten neatly off, their passion dutifully strangled.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Crown\u003c/em> isn't the sort of show to employ anything so gauche and \u003cem>déclassé\u003c/em> as a catchphrase, of course. But if anything could be said to have come close in that first season, it would be the way Elizabeth expresses her polite gratitude to those around her.\u003c/p>\n\u003cp>The world of rigid etiquette that surrounds her is fueled by the routine exchange of such tiny pleasantries; family, servants, prime ministers, even the occasional member of the \u003cem>hoi pollo\u003c/em>i routinely find themselves on the receiving end of an Elizabethan \"thank you,\" dry and quiet as a politely muted cough.\u003c/p>\n\u003cp>The accent is what makes it, though. Because it's not so much a \"Thank you.\" Not really.\u003c/p>\n\u003cp>It's more a \"\u003cem>THEHNkyew\u003c/em>.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k15O_eBfUuk\u003c/p>\n\u003cp>The new trailer, which follows the second decade of Elizabeth's reign, dutifully supplies more of everything that came layered into the first season like a berry trifle:\u003c/p>\n\u003cp>0:12 — Liz clenching that magnificent jaw — this time at the ballet!\u003c/p>\n\u003cp>0:17 — Liz being advised, by a man, yet again, to turn a blind eye to Prince Philip's wandering one!\u003c/p>\n\u003cp>0:29 — Liz picking out a gown!\u003c/p>\n\u003cp>0:35 — Liz expressing disappointment in the men in her life! Again, some more!\u003c/p>\n\u003cp>(0:37 — Matthew Goode, lookin' goode.)\u003c/p>\n\u003cp>0:40 - 1:03 — The show working hard to convince us that petty squabbles between pampered elites who never have to worry about anything more immediate than the correct dispensation of their pudding-spoons could possibly constitute gripping drama!\u003c/p>\n\u003cp>1:05 — A Pale Man in a Natty Jumper Offering Passive-Aggressive Support While Standing Stiffly, at a Distance, with his Hands in his Pockets! (This should be a Netflix category.)\u003c/p>\n\u003cp>1:09 — The money shot! The crux around which season two will surely revolve! The new not-catchphrase! The \"THEHNkew\" of 2017!\u003c/p>\n\u003cp>Elizabeth says ... \"If only.\"\u003c/p>\n\u003cp>But it's not so much an \"If only.\" Not really.\u003c/p>\n\u003cp>It's more an \"eefOHENlay,\" in fact.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And I am \u003cem>here for it\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Let%27s+Rush+To+Judgment%3A+%27The+Crown%2C%27+Season+2&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>If you didn’t watch the entirety of new Netflix series \u003ca href=\"http://www.imdb.com/title/tt5770786/episodes?season=1&ref_=tt_eps_sn_1\">\u003cem>GLOW\u003c/em>\u003c/a> over the weekend, chances are you were simply too busy doing a plethora of amazing Pride-related stuff. That’s okay. You can casually start watching this show about women’s wrestling next weekend, only to find that you can’t step away from your TV. Truly, this is the most addictive show to hit screens since \u003ca href=\"https://ww2.kqed.org/pop/tag/stranger-things/\">\u003cem>Stranger Things \u003c/em>\u003c/a>(the ’80s — and \u003ca href=\"https://www.kqed.org/arts/tag/netflix\">Netflix\u003c/a> — is clearly having a moment right now).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wnKEoXbBTEw\u003c/p>\n\u003cp>Amidst all of the leotards, compelling drama, and genuinely heart-felt humor, it took me a couple of episodes to really notice Rhonda Richardson, a.k.a. Britannica (the smartest of all of the wrestling personas in the show, she clobbers her opponents with a text book).\u003c/p>\n\u003cp>Rhonda’s character has so far been noticed online for her \u003ca href=\"http://www.refinery29.com/2017/06/160673/kate-nash-glow-robyn-lively-teen-witch\">resemblance to Robyn Lively\u003c/a> in 1989’s \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0098453/?ref_=nv_sr_1\">Teen Witch\u003c/a>, \u003c/em>and not much else. This is a reflection of how many amazing characters there are in this thing, rather than an indictment of her character. Rhonda is a beautiful and outspoken live wire with a sweet nature and unfiltered sexuality.\u003c/p>\n\u003cfigure id=\"attachment_88615\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-88615\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480.jpg\" alt=\"\" width=\"700\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-520x357.jpg 520w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Netflix\u003c/figcaption>\u003c/figure>\n\u003cp>It was in \u003cem>GLOW\u003c/em>‘s third episode (the hilariously titled “Wrath of Kuntar”) that it clicked.\u003cbr>\n“Hang on, that’s Kate Nash!” I said.\u003cbr>\n“Who the hell is Kate Nash?” my perplexed binge-watching companion asked.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I hit pause and put this on:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ryH5cga0yUI\u003c/p>\n\u003cp>Nash has been an indie music darling in the UK for a decade — something quite evident by the 13 million views the “Foundations” video has wracked up on YouTube thus far. Her first album, \u003ca href=\"https://en.wikipedia.org/wiki/Made_of_Bricks\">\u003cem>Made of Bricks\u003c/em>\u003c/a>, was full of jaunty piano-based tunes about unrequited crushes, bad relationships, and childhood friendships. Nash unselfconsciously sang the entire thing in her broad London accent. Legend has it, the album was only written to kill boredom, after the singer \u003ca href=\"http://www.bbc.co.uk/music/reviews/nbvr/\">broke her foot\u003c/a> in a panic induced by getting rejected from the theater school of her choice. On her home soil, the twist of fate catapulted her into actual, \u003ca href=\"https://www.youtube.com/watch?v=KBWudCTDKEI\">BRIT-Award-winning\u003c/a> stardom (she beat PJ Harvey and Bat For Lashes in the 2008 Best British Female category).\u003c/p>\n\u003cp>At the start of her music career, the then-20-year-old Nash combined wholesome, traditionally feminine aesthetics with a penchant for cursing and unfiltered opinion-giving. It was an intoxicating combination, but one that didn’t really speak to the more punk rock aspects of Nash’s character. On the side, away from all the adoration, she played bass part-time in a punk band called \u003ca href=\"https://www.youtube.com/watch?v=LJspXDQRdjk\">the Receeders\u003c/a>. She also fully embraced underground, DIY culture with her own fanzine and blog, \u003ca href=\"http://myignorantyouth.blogspot.com/\">\u003cem>My Ignorant Youth\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Nash’s second album, 2010’s \u003ca href=\"https://www.youtube.com/watch?v=GNPxAOQbIpM&list=PLeYteSIQR-Q--so3wG1DGoLmxHeTL8sEx\">\u003cem>My Best Friend is You\u003c/em>\u003c/a>, had elements of her earlier sweetness — even incorporating ’60s girl group vibes on lead single, \u003ca href=\"https://www.youtube.com/watch?v=OqV-embx_tA\">“Do-Wah-Doo”\u003c/a> — but her on-stage image got spikier and the album tracks were far dirtier and more caustic than anyone had expected. By the time 2013’s \u003ca href=\"https://www.youtube.com/watch?v=bfBoxX64d6I\">\u003cem>Girl Talk\u003c/em> \u003c/a>came out, it was widely noted that Nash had \u003ca href=\"https://consequenceofsound.net/2012/06/video-kate-nash-under-estimate-the-girl/\">“gone full riot grrrl.”\u003c/a> Reviews were a little mixed, but Nash doubled down, creating a YouTube channel called \u003ca href=\"https://www.youtube.com/watch?v=quNE_r79qMk\">Girl Gang TV\u003c/a>, that \u003ca href=\"https://www.theguardian.com/music/2015/feb/06/kate-nashs-girl-gang-the-online-community-for-todays-riot-grrrls\">\u003cem>The Guardian\u003c/em>\u003c/a> dubbed “a meeting place for a new generation of likeminded feminists.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=quNE_r79qMk\u003c/p>\n\u003cp>Suffice it to say, Kate Nash ending up on a show about sexism, female empowerment, community amongst women, and DIY determination shouldn’t be in the least bit surprising, especially since, before that pesky broken foot, she had been more interested in a career in acting than in music. (Fun fact: she attended the same London \u003ca href=\"https://en.wikipedia.org/wiki/BRIT_School\">school for performing arts\u003c/a> that Amy Winehouse and Adele did.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kate Nash’s fourth album is due out sometime before February 2018, but it’s hard to imagine \u003cem>GLOW\u003c/em> not taking over her life for the forseeable future. The cool thing is, this second leap into the limelight comes with its own in-built girl gang — something she’s been trying to cultivate on her own for years.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you didn’t watch the entirety of new Netflix series \u003ca href=\"http://www.imdb.com/title/tt5770786/episodes?season=1&ref_=tt_eps_sn_1\">\u003cem>GLOW\u003c/em>\u003c/a> over the weekend, chances are you were simply too busy doing a plethora of amazing Pride-related stuff. That’s okay. You can casually start watching this show about women’s wrestling next weekend, only to find that you can’t step away from your TV. Truly, this is the most addictive show to hit screens since \u003ca href=\"https://ww2.kqed.org/pop/tag/stranger-things/\">\u003cem>Stranger Things \u003c/em>\u003c/a>(the ’80s — and \u003ca href=\"https://www.kqed.org/arts/tag/netflix\">Netflix\u003c/a> — is clearly having a moment right now).\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wnKEoXbBTEw'\n title='//www.youtube.com/embed/wnKEoXbBTEw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Amidst all of the leotards, compelling drama, and genuinely heart-felt humor, it took me a couple of episodes to really notice Rhonda Richardson, a.k.a. Britannica (the smartest of all of the wrestling personas in the show, she clobbers her opponents with a text book).\u003c/p>\n\u003cp>Rhonda’s character has so far been noticed online for her \u003ca href=\"http://www.refinery29.com/2017/06/160673/kate-nash-glow-robyn-lively-teen-witch\">resemblance to Robyn Lively\u003c/a> in 1989’s \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0098453/?ref_=nv_sr_1\">Teen Witch\u003c/a>, \u003c/em>and not much else. This is a reflection of how many amazing characters there are in this thing, rather than an indictment of her character. Rhonda is a beautiful and outspoken live wire with a sweet nature and unfiltered sexuality.\u003c/p>\n\u003cfigure id=\"attachment_88615\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-88615\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480.jpg\" alt=\"\" width=\"700\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-520x357.jpg 520w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Netflix\u003c/figcaption>\u003c/figure>\n\u003cp>It was in \u003cem>GLOW\u003c/em>‘s third episode (the hilariously titled “Wrath of Kuntar”) that it clicked.\u003cbr>\n“Hang on, that’s Kate Nash!” I said.\u003cbr>\n“Who the hell is Kate Nash?” my perplexed binge-watching companion asked.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I hit pause and put this on:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ryH5cga0yUI'\n title='//www.youtube.com/embed/ryH5cga0yUI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nash has been an indie music darling in the UK for a decade — something quite evident by the 13 million views the “Foundations” video has wracked up on YouTube thus far. Her first album, \u003ca href=\"https://en.wikipedia.org/wiki/Made_of_Bricks\">\u003cem>Made of Bricks\u003c/em>\u003c/a>, was full of jaunty piano-based tunes about unrequited crushes, bad relationships, and childhood friendships. Nash unselfconsciously sang the entire thing in her broad London accent. Legend has it, the album was only written to kill boredom, after the singer \u003ca href=\"http://www.bbc.co.uk/music/reviews/nbvr/\">broke her foot\u003c/a> in a panic induced by getting rejected from the theater school of her choice. On her home soil, the twist of fate catapulted her into actual, \u003ca href=\"https://www.youtube.com/watch?v=KBWudCTDKEI\">BRIT-Award-winning\u003c/a> stardom (she beat PJ Harvey and Bat For Lashes in the 2008 Best British Female category).\u003c/p>\n\u003cp>At the start of her music career, the then-20-year-old Nash combined wholesome, traditionally feminine aesthetics with a penchant for cursing and unfiltered opinion-giving. It was an intoxicating combination, but one that didn’t really speak to the more punk rock aspects of Nash’s character. On the side, away from all the adoration, she played bass part-time in a punk band called \u003ca href=\"https://www.youtube.com/watch?v=LJspXDQRdjk\">the Receeders\u003c/a>. She also fully embraced underground, DIY culture with her own fanzine and blog, \u003ca href=\"http://myignorantyouth.blogspot.com/\">\u003cem>My Ignorant Youth\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Nash’s second album, 2010’s \u003ca href=\"https://www.youtube.com/watch?v=GNPxAOQbIpM&list=PLeYteSIQR-Q--so3wG1DGoLmxHeTL8sEx\">\u003cem>My Best Friend is You\u003c/em>\u003c/a>, had elements of her earlier sweetness — even incorporating ’60s girl group vibes on lead single, \u003ca href=\"https://www.youtube.com/watch?v=OqV-embx_tA\">“Do-Wah-Doo”\u003c/a> — but her on-stage image got spikier and the album tracks were far dirtier and more caustic than anyone had expected. By the time 2013’s \u003ca href=\"https://www.youtube.com/watch?v=bfBoxX64d6I\">\u003cem>Girl Talk\u003c/em> \u003c/a>came out, it was widely noted that Nash had \u003ca href=\"https://consequenceofsound.net/2012/06/video-kate-nash-under-estimate-the-girl/\">“gone full riot grrrl.”\u003c/a> Reviews were a little mixed, but Nash doubled down, creating a YouTube channel called \u003ca href=\"https://www.youtube.com/watch?v=quNE_r79qMk\">Girl Gang TV\u003c/a>, that \u003ca href=\"https://www.theguardian.com/music/2015/feb/06/kate-nashs-girl-gang-the-online-community-for-todays-riot-grrrls\">\u003cem>The Guardian\u003c/em>\u003c/a> dubbed “a meeting place for a new generation of likeminded feminists.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/quNE_r79qMk'\n title='//www.youtube.com/embed/quNE_r79qMk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Suffice it to say, Kate Nash ending up on a show about sexism, female empowerment, community amongst women, and DIY determination shouldn’t be in the least bit surprising, especially since, before that pesky broken foot, she had been more interested in a career in acting than in music. (Fun fact: she attended the same London \u003ca href=\"https://en.wikipedia.org/wiki/BRIT_School\">school for performing arts\u003c/a> that Amy Winehouse and Adele did.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kate Nash’s fourth album is due out sometime before February 2018, but it’s hard to imagine \u003cem>GLOW\u003c/em> not taking over her life for the forseeable future. The cool thing is, this second leap into the limelight comes with its own in-built girl gang — something she’s been trying to cultivate on her own for years.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Netflix jeeping, texting pet peeves, the worst award show upsets, and why we should be keep it cute like Norway and Finland.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2017/02/NetflixandCheating.mp3\" title=\"When Netflix and Chill Turns into Netflix and Cheating\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp> \u003c/p>\n\u003cp>We start things off by welcoming guest host \u003ca href=\"http://irenetu.com/shows\">Irene Tu\u003c/a>, a local comedian and \u003ca href=\"https://ww2.kqed.org/arts/2016/07/11/women-to-watch-irene-tu/\">one of KQED's Women to Watch\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=91HRfJwOuWo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We get into her love of Taylor Swift and... Mussolini?\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/Taylor-Swift-Confused-look.gif\">\u003cimg class=\"size-full wp-image-65965 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/Taylor-Swift-Confused-look.gif\" alt=\"Taylor-Swift-Confused-look\" width=\"500\" height=\"251\">\u003c/a>\u003c/p>\n\u003cp>We talk about what kind of texts piss Nicki Minaj off, and share our own texting pet peeves.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/20-im-so-mad.gif\">\u003cimg class=\"size-full wp-image-66005 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/20-im-so-mad.gif\" alt=\"20-im-so-mad\" width=\"400\" height=\"225\">\u003c/a>\u003c/p>\n\u003cp>In light of Beyoncé's snubs at the Grammys, we look at the most egregious upsets in award show history.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-14.gif\">\u003cimg class=\"size-full wp-image-66006 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-14.gif\" alt=\"giphy (14)\" width=\"500\" height=\"200\">\u003c/a>\u003c/p>\n\u003cp>Is your boo jeeping? Netflix thinks so!\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/5227984_a-clueless-glossary-the-2015-edition_t17454d78.gif\">\u003cimg class=\"aligncenter size-full wp-image-66007\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/5227984_a-clueless-glossary-the-2015-edition_t17454d78.gif\" alt=\"5227984_a-clueless-glossary-the-2015-edition_t17454d78\" width=\"500\" height=\"281\">\u003c/a>\u003c/p>\n\u003cp>We process our feelings over Carlos Santana's verbal diarrhea comments on Beyoncé.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/51dl3.gif\">\u003cimg class=\"aligncenter size-full wp-image-66008\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/51dl3.gif\" alt=\"51dl3\" width=\"245\" height=\"186\">\u003c/a>\u003c/p>\n\u003cp>We commend Norway and Finland for keeping it cute on the border.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/tumblr_no964j01hh1qiohboo7_r1_400.gif\">\u003cimg class=\"aligncenter size-full wp-image-66017\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/tumblr_no964j01hh1qiohboo7_r1_400.gif\" alt=\"tumblr_no964j01hh1qiohboo7_r1_400\" width=\"400\" height=\"231\">\u003c/a>\u003c/p>\n\u003cp>And we ride out with a song of Irene's choosing, \u003ca href=\"https://ww2.kqed.org/pop/2017/01/27/missy-elliott-and-taylor-swift-zayn-drop-new-music-videos-as-a-reward-for-surviving-this-week/\">Taylor Swift and ZAYN's \"I Don't Wanna Live Forever\"\u003c/a>:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7F37r50VUTQ\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Until next week! \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We get into her love of Taylor Swift and... Mussolini?\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/Taylor-Swift-Confused-look.gif\">\u003cimg class=\"size-full wp-image-65965 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/Taylor-Swift-Confused-look.gif\" alt=\"Taylor-Swift-Confused-look\" width=\"500\" height=\"251\">\u003c/a>\u003c/p>\n\u003cp>We talk about what kind of texts piss Nicki Minaj off, and share our own texting pet peeves.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/20-im-so-mad.gif\">\u003cimg class=\"size-full wp-image-66005 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/20-im-so-mad.gif\" alt=\"20-im-so-mad\" width=\"400\" height=\"225\">\u003c/a>\u003c/p>\n\u003cp>In light of Beyoncé's snubs at the Grammys, we look at the most egregious upsets in award show history.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-14.gif\">\u003cimg class=\"size-full wp-image-66006 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-14.gif\" alt=\"giphy (14)\" width=\"500\" height=\"200\">\u003c/a>\u003c/p>\n\u003cp>Is your boo jeeping? Netflix thinks so!\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/5227984_a-clueless-glossary-the-2015-edition_t17454d78.gif\">\u003cimg class=\"aligncenter size-full wp-image-66007\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/5227984_a-clueless-glossary-the-2015-edition_t17454d78.gif\" alt=\"5227984_a-clueless-glossary-the-2015-edition_t17454d78\" width=\"500\" height=\"281\">\u003c/a>\u003c/p>\n\u003cp>We process our feelings over Carlos Santana's verbal diarrhea comments on Beyoncé.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/51dl3.gif\">\u003cimg class=\"aligncenter size-full wp-image-66008\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/51dl3.gif\" alt=\"51dl3\" width=\"245\" height=\"186\">\u003c/a>\u003c/p>\n\u003cp>We commend Norway and Finland for keeping it cute on the border.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/tumblr_no964j01hh1qiohboo7_r1_400.gif\">\u003cimg class=\"aligncenter size-full wp-image-66017\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/tumblr_no964j01hh1qiohboo7_r1_400.gif\" alt=\"tumblr_no964j01hh1qiohboo7_r1_400\" width=\"400\" height=\"231\">\u003c/a>\u003c/p>\n\u003cp>And we ride out with a song of Irene's choosing, \u003ca href=\"https://ww2.kqed.org/pop/2017/01/27/missy-elliott-and-taylor-swift-zayn-drop-new-music-videos-as-a-reward-for-surviving-this-week/\">Taylor Swift and ZAYN's \"I Don't Wanna Live Forever\"\u003c/a>:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7F37r50VUTQ'\n title='//www.youtube.com/embed/7F37r50VUTQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Until next week! \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "10 Shows Netflix Needs to Add ASAP",
"title": "10 Shows Netflix Needs to Add ASAP",
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"content": "\u003cp>\u003cstrong>By Maria Judnick\u003c/strong>\u003c/p>\n\u003cp>Before Netflix and all those other streaming video options, I was obsessed with TV shows on DVD. As soon as I’d hear that my favorite show had added another season to DVD, off I’d search, ready to plunk down any amount of money for a chance to spend another few hours engrossed in my favorite worlds. From \u003cem>M*A*S*H \u003c/em>to \u003cem>West Wing \u003c/em>to \u003cem>Psych\u003c/em>, I owned them all.\u003c/p>\n\u003cp>More and more beloved TV shows like \u003cem>Veronica Mars,\u003c/em> \u003cem>Gilmore Girls,\u003c/em> and now \u003cem>Friends \u003c/em>(the latter \u003ca href=\"https://www.youtube.com/watch?v=048SNZIP40I\">debuts \u003c/a>in January) have made the jump to Netflix, but there are still so many greats – both famous and obscure – that deserve a second chance to be watched and loved. Here are 10 suggestions:\u003c/p>\n\u003cfigure id=\"attachment_13969\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/tumblr_inline_mq80tk4w4j1qb1pkp.jpg\">\u003cimg class=\"wp-image-13969\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/tumblr_inline_mq80tk4w4j1qb1pkp.jpg\" alt=\"Photo: NBC\" width=\"250\" height=\"333\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: NBC\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>Ed\u003c/strong>\u003c/p>\n\u003cp>Sure, the premise is a bit weird (a New York lawyer Ed Stevens --played by Tom Cavanaugh -- buys a bowling alley in his hometown of Stuckeyville, Ohio and tries to woo the woman of his high school dreams), but the show embraced its quirkiness, quickly amassing a legion of fans obsessed with the weekly $10 bets and random “Godfrey” characters. While the show featured such talent as Michael Ian Black, Julie Bowen, and Justin Long (and was co-produced by David Letterman), NBC pulled the plug in 2004 after just four seasons. Problems with music rights have delayed DVD production, so most fans (including myself) have had to watch their fuzzy VCR copies until they tore in the machine.\u003c/p>\n\u003cfigure id=\"attachment_13971\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/039_41045.jpg\">\u003cimg class=\"wp-image-13971\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/039_41045.jpg\" alt=\"Photo: ABC\" width=\"250\" height=\"313\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: ABC\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>Three’s Company\u003c/strong>\u003cem> \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Almost immediately after the show’s debut in 1977, \u003cem>Three’s Company \u003c/em>proved to be wildly popular. Starring John Ritter, Joyce De Witt, and Suzanne Summers as the original three platonic roommates involved in crazy hijinks centered around a Santa Monica apartment, these eight seasons have only continued to find fans through reruns, inspiring hope that Netflix will “come and knock” on their door.\u003c/p>\n\u003cfigure id=\"attachment_13972\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/Home-Improvement-tv-04.jpg\">\u003cimg class=\"wp-image-13972\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/Home-Improvement-tv-04-400x499.jpg\" alt=\"Photo: ABC\" width=\"250\" height=\"312\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/Home-Improvement-tv-04-400x499.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/Home-Improvement-tv-04.jpg 445w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: ABC\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>Home Improvement\u003c/strong>\u003c/p>\n\u003cp>If you were a girl in the 1990s, it was assumed you were in love with J.T.T. (Jonathan Taylor Thomas), who played the middle son on the show \u003cem>Home Improvement. \u003c/em>But J.T.T couldn’t have been the only appeal of the show; it was one of the highest ranked sitcoms for all eight seasons. Loosely based on Tim Allen’s stand-up routine, the story of a local tool-show host and his family and friends (including the partially-hidden neighbor Wilson) is arguably still one of the funniest shows on TV.\u003c/p>\n\u003cfigure id=\"attachment_13973\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/rbk-full-house-de.jpg\">\u003cimg class=\"wp-image-13973 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/rbk-full-house-de-400x334.jpg\" alt=\"rbk-full-house-de\" width=\"400\" height=\"334\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/rbk-full-house-de-400x334.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/rbk-full-house-de.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: ABC\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>Full House \u003c/strong>\u003c/p>\n\u003cp>There was so much to love in this show: Uncle Jesse’s good looks, Uncle Joey’s funny voices, little Michelle's adorable catchphrases, Stephanie's killer dance moves, everything Kimmy Gibbler said or did, and on and on. With \u003ca href=\"http://ww2.kqed.org/pop/2013/11/04/full-house-sequel-just-a-hoax-survive-the-disappointment-with-these-animated-gifs/\">the often hinted news that there’s a potential reboot in the works\u003c/a>, it doesn’t hurt to start watching the show all over again!\u003c/p>\n\u003cfigure id=\"attachment_13975\" class=\"wp-caption alignright\" style=\"max-width: 307px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/nexp_cast.jpg\">\u003cimg class=\"size-full wp-image-13975\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/nexp_cast.jpg\" alt=\"Photo: CBS\" width=\"307\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/nexp_cast.jpg 307w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/nexp_cast-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/nexp_cast-64x64.jpg 64w\" sizes=\"(max-width: 307px) 100vw, 307px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: CBS\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>Northern Exposure\u003c/strong>\u003cem> \u003c/em>\u003c/p>\n\u003cp style=\"text-align: left\">From 1990 to 1995, the story of Joel Fleishman (played by Rob Morrow), a Jewish New York City physician sent to the eccentric small town of Cicely, Alaska as remuneration for his student loans was nominated for more 57 awards and won 27 of them. But it’s not the awards that matter to fans – it’s the monologues of ex-con-turned-radio-deejay Chris Stevens (John Corbett), the grand schemes from former astronaut Maurice Minnifield (Barry Corbin), the off-hand comments from local wannabe film director Ed Chigliak (Darren E. Burrows) and the stories at the local bar, the Brick, that keep people watching their DVDs and traveling to show reunions.\u003c/p>\n\u003cfigure id=\"attachment_13976\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/NBC-Community.jpg\">\u003cimg class=\"wp-image-13976\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/NBC-Community-400x300.jpg\" alt=\"NBC-Community\" width=\"300\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/NBC-Community-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/NBC-Community-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/NBC-Community.jpg 1024w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: NBC\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>Community \u003c/strong>\u003c/p>\n\u003cp>“Six seasons and a movie” has been the slogan of fans devoted to the friendships between Greendale Community College students. While the show has endured multiple casting / production changes, cancellation, and a recent move to Yahoo Screen for the sixth season, fans still haven’t given up on this ensemble comedy. Rewatching it all over again on Netflix would remind us why.\u003c/p>\n\u003cfigure id=\"attachment_13988\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/will-and-grace.jpg\">\u003cimg class=\"wp-image-13988\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/will-and-grace-400x400.jpg\" alt=\"Photo: NBC\" width=\"250\" height=\"250\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/will-and-grace-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/will-and-grace-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/will-and-grace-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/will-and-grace-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/will-and-grace-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/will-and-grace-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/will-and-grace.jpg 614w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: NBC\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>Will & Grace\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">With \u003cem>Friends\u003c/em> being added to Netflix, it seems like a no-brainer to add some of the other insanely popular shows from the “Must-See TV” NBC lineup. \u003cem>Will & Grace\u003c/em>’s eight seasons starring Eric McCormack, Debra Messing, Megan Mullally, and Sean Hayes were more than just great TV though; even Vice President Joe Biden has acknowledged that the show helped improve the American public opinion of the LGBT community.\u003c/p>\n\u003cfigure id=\"attachment_13978\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/The_Simpson__s_Family_by_Simpsonix.png\">\u003cimg class=\"size-thumbnail wp-image-13978\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/The_Simpson__s_Family_by_Simpsonix-400x300.png\" alt=\"Photo: Fox\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/The_Simpson__s_Family_by_Simpsonix-400x300.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/The_Simpson__s_Family_by_Simpsonix-800x600.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/The_Simpson__s_Family_by_Simpsonix-1440x1080.png 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Fox\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>The Simpsons \u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">It’s a simple question: Why shouldn’t America’s longest-running sitcom, longest-running animated program, and longest-running scripted primetime television show be on Netflix? For a show that has inspired countless others and even warranted entries in the Oxford English Dictionary, there’s just never enough Homer, Marge, Bart, Lisa, and Maggie to go around. While FXX recently aired a 12 day marathon of all 552 previously broadcast episodes (and film) in chronological order, many fans argue there’s still a need to re-watch the antics of the town of Springfield on one's own timetable.\u003c/p>\n\u003cfigure id=\"attachment_13979\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/goldengirls.jpg\">\u003cimg class=\"wp-image-13979 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/goldengirls-400x266.jpg\" alt=\"goldengirls\" width=\"400\" height=\"266\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/goldengirls-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/goldengirls-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/goldengirls-1440x959.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: NBC\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>The Golden Girls\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">In 1985, \u003cem>The Golden Girls \u003c/em>debuted and, by the end of the show’s run in 1992, the show was truly “golden” having earned 11 Emmy awards (including one for each cast member) and the love of millions of fans worldwide. 30 years later, viewers still can’t get enough of the warm friendship of these four unusual roommates – Blanche, Rose, Dorothy, and Sophia. Borrowing a favorite phrase from Sophia, “Picture This: Netflix, 2015” has a particularly good ring to it.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Seinfeld\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13980\" class=\"wp-caption aligncenter\" style=\"max-width: 374px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/21d8a23363056d719a4aa1d6806eacac50c07ff1.jpg\">\u003cimg class=\"wp-image-13980 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/21d8a23363056d719a4aa1d6806eacac50c07ff1.jpg\" alt=\"Photo: NBC\" width=\"374\" height=\"222\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: NBC\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: left\">All I really need to say is this: everyone loves this show. The rest, as George’s girlfriend Marcy would say, is just “yada-yada.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp style=\"text-align: left\">\u003cem>Which shows do you wish you could watch on Netflix?\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Maria Judnick\u003c/strong>\u003c/p>\n\u003cp>Before Netflix and all those other streaming video options, I was obsessed with TV shows on DVD. As soon as I’d hear that my favorite show had added another season to DVD, off I’d search, ready to plunk down any amount of money for a chance to spend another few hours engrossed in my favorite worlds. From \u003cem>M*A*S*H \u003c/em>to \u003cem>West Wing \u003c/em>to \u003cem>Psych\u003c/em>, I owned them all.\u003c/p>\n\u003cp>More and more beloved TV shows like \u003cem>Veronica Mars,\u003c/em> \u003cem>Gilmore Girls,\u003c/em> and now \u003cem>Friends \u003c/em>(the latter \u003ca href=\"https://www.youtube.com/watch?v=048SNZIP40I\">debuts \u003c/a>in January) have made the jump to Netflix, but there are still so many greats – both famous and obscure – that deserve a second chance to be watched and loved. Here are 10 suggestions:\u003c/p>\n\u003cfigure id=\"attachment_13969\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/tumblr_inline_mq80tk4w4j1qb1pkp.jpg\">\u003cimg class=\"wp-image-13969\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/tumblr_inline_mq80tk4w4j1qb1pkp.jpg\" alt=\"Photo: NBC\" width=\"250\" height=\"333\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: NBC\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>Ed\u003c/strong>\u003c/p>\n\u003cp>Sure, the premise is a bit weird (a New York lawyer Ed Stevens --played by Tom Cavanaugh -- buys a bowling alley in his hometown of Stuckeyville, Ohio and tries to woo the woman of his high school dreams), but the show embraced its quirkiness, quickly amassing a legion of fans obsessed with the weekly $10 bets and random “Godfrey” characters. While the show featured such talent as Michael Ian Black, Julie Bowen, and Justin Long (and was co-produced by David Letterman), NBC pulled the plug in 2004 after just four seasons. Problems with music rights have delayed DVD production, so most fans (including myself) have had to watch their fuzzy VCR copies until they tore in the machine.\u003c/p>\n\u003cfigure id=\"attachment_13971\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/039_41045.jpg\">\u003cimg class=\"wp-image-13971\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/039_41045.jpg\" alt=\"Photo: ABC\" width=\"250\" height=\"313\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: ABC\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>Three’s Company\u003c/strong>\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Almost immediately after the show’s debut in 1977, \u003cem>Three’s Company \u003c/em>proved to be wildly popular. Starring John Ritter, Joyce De Witt, and Suzanne Summers as the original three platonic roommates involved in crazy hijinks centered around a Santa Monica apartment, these eight seasons have only continued to find fans through reruns, inspiring hope that Netflix will “come and knock” on their door.\u003c/p>\n\u003cfigure id=\"attachment_13972\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/Home-Improvement-tv-04.jpg\">\u003cimg class=\"wp-image-13972\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/Home-Improvement-tv-04-400x499.jpg\" alt=\"Photo: ABC\" width=\"250\" height=\"312\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/Home-Improvement-tv-04-400x499.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/Home-Improvement-tv-04.jpg 445w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: ABC\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>Home Improvement\u003c/strong>\u003c/p>\n\u003cp>If you were a girl in the 1990s, it was assumed you were in love with J.T.T. (Jonathan Taylor Thomas), who played the middle son on the show \u003cem>Home Improvement. \u003c/em>But J.T.T couldn’t have been the only appeal of the show; it was one of the highest ranked sitcoms for all eight seasons. Loosely based on Tim Allen’s stand-up routine, the story of a local tool-show host and his family and friends (including the partially-hidden neighbor Wilson) is arguably still one of the funniest shows on TV.\u003c/p>\n\u003cfigure id=\"attachment_13973\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/rbk-full-house-de.jpg\">\u003cimg class=\"wp-image-13973 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/rbk-full-house-de-400x334.jpg\" alt=\"rbk-full-house-de\" width=\"400\" height=\"334\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/rbk-full-house-de-400x334.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/rbk-full-house-de.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: ABC\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>Full House \u003c/strong>\u003c/p>\n\u003cp>There was so much to love in this show: Uncle Jesse’s good looks, Uncle Joey’s funny voices, little Michelle's adorable catchphrases, Stephanie's killer dance moves, everything Kimmy Gibbler said or did, and on and on. With \u003ca href=\"http://ww2.kqed.org/pop/2013/11/04/full-house-sequel-just-a-hoax-survive-the-disappointment-with-these-animated-gifs/\">the often hinted news that there’s a potential reboot in the works\u003c/a>, it doesn’t hurt to start watching the show all over again!\u003c/p>\n\u003cfigure id=\"attachment_13975\" class=\"wp-caption alignright\" style=\"max-width: 307px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/nexp_cast.jpg\">\u003cimg class=\"size-full wp-image-13975\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/nexp_cast.jpg\" alt=\"Photo: CBS\" width=\"307\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/nexp_cast.jpg 307w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/nexp_cast-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/nexp_cast-64x64.jpg 64w\" sizes=\"(max-width: 307px) 100vw, 307px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: CBS\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>Northern Exposure\u003c/strong>\u003cem> \u003c/em>\u003c/p>\n\u003cp style=\"text-align: left\">From 1990 to 1995, the story of Joel Fleishman (played by Rob Morrow), a Jewish New York City physician sent to the eccentric small town of Cicely, Alaska as remuneration for his student loans was nominated for more 57 awards and won 27 of them. But it’s not the awards that matter to fans – it’s the monologues of ex-con-turned-radio-deejay Chris Stevens (John Corbett), the grand schemes from former astronaut Maurice Minnifield (Barry Corbin), the off-hand comments from local wannabe film director Ed Chigliak (Darren E. Burrows) and the stories at the local bar, the Brick, that keep people watching their DVDs and traveling to show reunions.\u003c/p>\n\u003cfigure id=\"attachment_13976\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/NBC-Community.jpg\">\u003cimg class=\"wp-image-13976\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/NBC-Community-400x300.jpg\" alt=\"NBC-Community\" width=\"300\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/NBC-Community-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/NBC-Community-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/NBC-Community.jpg 1024w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: NBC\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>Community \u003c/strong>\u003c/p>\n\u003cp>“Six seasons and a movie” has been the slogan of fans devoted to the friendships between Greendale Community College students. While the show has endured multiple casting / production changes, cancellation, and a recent move to Yahoo Screen for the sixth season, fans still haven’t given up on this ensemble comedy. Rewatching it all over again on Netflix would remind us why.\u003c/p>\n\u003cfigure id=\"attachment_13988\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/will-and-grace.jpg\">\u003cimg class=\"wp-image-13988\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/will-and-grace-400x400.jpg\" alt=\"Photo: NBC\" width=\"250\" height=\"250\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/will-and-grace-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/will-and-grace-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/will-and-grace-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/will-and-grace-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/will-and-grace-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/will-and-grace-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/will-and-grace.jpg 614w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: NBC\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>Will & Grace\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">With \u003cem>Friends\u003c/em> being added to Netflix, it seems like a no-brainer to add some of the other insanely popular shows from the “Must-See TV” NBC lineup. \u003cem>Will & Grace\u003c/em>’s eight seasons starring Eric McCormack, Debra Messing, Megan Mullally, and Sean Hayes were more than just great TV though; even Vice President Joe Biden has acknowledged that the show helped improve the American public opinion of the LGBT community.\u003c/p>\n\u003cfigure id=\"attachment_13978\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/The_Simpson__s_Family_by_Simpsonix.png\">\u003cimg class=\"size-thumbnail wp-image-13978\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/The_Simpson__s_Family_by_Simpsonix-400x300.png\" alt=\"Photo: Fox\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/The_Simpson__s_Family_by_Simpsonix-400x300.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/The_Simpson__s_Family_by_Simpsonix-800x600.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/The_Simpson__s_Family_by_Simpsonix-1440x1080.png 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Fox\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>The Simpsons \u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">It’s a simple question: Why shouldn’t America’s longest-running sitcom, longest-running animated program, and longest-running scripted primetime television show be on Netflix? For a show that has inspired countless others and even warranted entries in the Oxford English Dictionary, there’s just never enough Homer, Marge, Bart, Lisa, and Maggie to go around. While FXX recently aired a 12 day marathon of all 552 previously broadcast episodes (and film) in chronological order, many fans argue there’s still a need to re-watch the antics of the town of Springfield on one's own timetable.\u003c/p>\n\u003cfigure id=\"attachment_13979\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/goldengirls.jpg\">\u003cimg class=\"wp-image-13979 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/goldengirls-400x266.jpg\" alt=\"goldengirls\" width=\"400\" height=\"266\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/goldengirls-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/goldengirls-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/goldengirls-1440x959.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: NBC\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>The Golden Girls\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">In 1985, \u003cem>The Golden Girls \u003c/em>debuted and, by the end of the show’s run in 1992, the show was truly “golden” having earned 11 Emmy awards (including one for each cast member) and the love of millions of fans worldwide. 30 years later, viewers still can’t get enough of the warm friendship of these four unusual roommates – Blanche, Rose, Dorothy, and Sophia. Borrowing a favorite phrase from Sophia, “Picture This: Netflix, 2015” has a particularly good ring to it.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Seinfeld\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13980\" class=\"wp-caption aligncenter\" style=\"max-width: 374px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/21d8a23363056d719a4aa1d6806eacac50c07ff1.jpg\">\u003cimg class=\"wp-image-13980 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/21d8a23363056d719a4aa1d6806eacac50c07ff1.jpg\" alt=\"Photo: NBC\" width=\"374\" height=\"222\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: NBC\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: left\">All I really need to say is this: everyone loves this show. The rest, as George’s girlfriend Marcy would say, is just “yada-yada.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp style=\"text-align: left\">\u003cem>Which shows do you wish you could watch on Netflix?\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "10 of the Strangest Finds on Netflix",
"title": "10 of the Strangest Finds on Netflix",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\u003cimg class=\"aligncenter size-full wp-image-12931\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/strange-movies-netflix.jpg\" alt=\"strange-movies-netflix\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/07/strange-movies-netflix.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/07/strange-movies-netflix-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp class=\"normal\">\u003cstrong>By Robin Hardwick\u003c/strong>\u003c/p>\n\u003cp class=\"normal\">The way we watch movies and television has undergone a major change in recent years, thanks to Netflix. Older films not appreciated in their time get a chance at becoming cult classics, indie films without wide theater release find their audience, and documentaries get the popularity they deserve. But for every great film or television show, there is a puzzling low-budget genre film, outdated rom-com, or someone's indie pet project that never saw the light of day. Here are some of the strangest finds from the deep well of generated recommendations.\u003c/p>\n\u003cp class=\"normal\" style=\"text-align: center\">\u003ca href=\"http://www.netflix.com/WiMovie/70009636?trkid=439131\">\u003cstrong>\u003ci>\u003cspan style=\"color: #1155cc\">Sacred Flesh \u003c/span>\u003c/i>\u003cspan style=\"color: #1155cc\">(2000)\u003c/span>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>http://youtu.be/ns5imcW0Tlk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"normal\">This film is the most prominent example of the “nunsploitation” genre, which yes, does exist. Shot on a minimal background, these nuns wear heavy eye makeup and have graphic, holy communions (sorry for the pun) with each other, all in the name of defying religious conventions. The nontraditional narrative that switches back and forth between reality and fantasy may make it seem like there’s a deep metaphorical message about religion and the nature of female desire, but you could also just call it a senior film thesis from a women’s studies/film double major from Sarah Lawrence that somehow accidentally ended up on Netflix.\u003c/p>\n\u003cp class=\"normal\" style=\"text-align: center\">\u003ca href=\"http://www.netflix.com/WiMovie/70068660?trkid=2361637\">\u003cstrong>\u003ci>\u003cspan style=\"color: #1155cc\">Be My Baby\u003c/span>\u003c/i>\u003cspan style=\"color: #1155cc\"> (2006)\u003c/span>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>http://youtu.be/haLtkGogYjg\u003c/p>\n\u003cp class=\"normal\">You’d think that there are no original ways for characters to “meet cute\" anymore, but the creators of \u003cem>Be My Baby\u003c/em> weren’t discouraged. In this film, the protagonist is fed up with getting involved with married men who pretend to be single, so she cooks up the perfect revenge plan. She “borrows” a child from the daycare where she works and pays a visit to all her exes, scamming them into giving her money when she convinces them the child is theirs. Luckily, one guy doesn’t fall for this trick...but he certainly falls for her!\u003c/p>\n\u003cp class=\"normal\" style=\"text-align: center\">\u003ca href=\"http://www.netflix.com/WiMovie/70270394?trkid=2361637\">\u003cstrong>\u003ci>\u003cspan style=\"color: #1155cc\">Crazy Enough\u003c/span>\u003c/i>\u003cspan style=\"color: #1155cc\"> (2012)\u003c/span>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>http://youtu.be/kAjAAswZxAk\u003c/p>\n\u003cp class=\"normal\">\u003cem>Saturday Night Live\u003c/em> alums have gone on to create zeitgeist-defining films, become legendary comedians, and even win Academy Awards. Others, like, say, Chris Kattan, have gone on to star in a direct-to-video film, in which they play twin brothers with mistaken identities. No, this film is not one of the fake films featured in \u003ci>Funny People\u003c/i> or \u003ci>Tropic Thunder\u003c/i>, it’s an actual 90 minutes of Chris Kattan playing both a man stuck in a mental facility and his twin brother. I guess people take different paths.\u003c/p>\n\u003cp class=\"normal\" style=\"text-align: center\">\u003ca href=\"http://www.netflix.com/WiMovie/70051464?trkid=439131\">\u003cstrong>\u003ci>\u003cspan style=\"color: #1155cc\">The Sex Thief\u003c/span>\u003c/i>\u003cspan style=\"color: #1155cc\"> (1974)\u003c/span>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp class=\"normal\" style=\"text-align: center\">\u003cimg class=\"aligncenter wp-image-12923\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/SexThief_Bluray-844x1024.jpg\" alt=\"SexThief_Bluray\" width=\"350\" height=\"424\">\u003c/p>\n\u003cp class=\"normal\">A career cat burglar breaks into ladies’ apartments (but only pretty ladies who sleep naked). Lady wakes up, confronts the thief, threatens to call the police. Thief uses his power of seduction to convince her otherwise. Oh, the '70s and its ambiguous ideas about sexual consent (so kitschy)! The ladies report the theft, but leave out the part where they boned the thief, causing a major investigation by two plucky detectives who can’t seem to ever do their job correctly. “Cheeky British sex comedies” were a popular genre from the '70s and, if this is any representation of the genre, they seem to be neither funny nor sexy. Fun fact: one of the police officers is a dead ringer for Dave Foley.\u003c/p>\n\u003cp class=\"normal\" style=\"text-align: center\">\u003ca href=\"http://www.netflix.com/WiMovie/70084150?trkid=439131\">\u003cstrong>\u003ci>\u003cspan style=\"color: #1155cc\">The Last Word\u003c/span>\u003c/i>\u003cspan style=\"color: #1155cc\"> (2008)\u003c/span>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>http://youtu.be/r7SJyrKX64I\u003c/p>\n\u003cp class=\"normal\">How could a film about suicide notes, starring Winona Ryder, Ray Romano, and Wes Bentley’s brow, not be a hit? This film is like a rehab center for falling superstars.\u003c/p>\n\u003cp class=\"normal\" style=\"text-align: center\">\u003ca href=\"http://www.netflix.com/WiMovie/70236197?trkid=439131\">\u003cstrong>\u003ci>\u003cspan style=\"color: #1155cc\">Brother White\u003c/span>\u003c/i>\u003cspan style=\"color: #1155cc\"> (2012)\u003c/span>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>http://youtu.be/U_eJofHCTOE\u003c/p>\n\u003cp class=\"normal\">Although they are not for me, I can support films targeted at Christian viewers, unless they're absurd and offensive like this one. In \u003cem>Brother White\u003c/em>, Pastor White (get it?) reluctantly takes on a black church in Atlanta. I’ll bet he feels like a fish out of water! I’ll bet there are plenty of sassy black women to sass him up! Perhaps there are several scenes showing how he can’t dance. At least the movie stars the dad from \u003cem>Family Matters\u003c/em> and the mom from \u003cem>Sister Sister\u003c/em>.\u003c/p>\n\u003cp class=\"normal\" style=\"text-align: center\">\u003ca href=\"http://www.netflix.com/WiMovie/70053347?strkid=711683258_0_0&trkid=222336&movieid=70053347\">\u003cstrong>\u003ci>\u003cspan style=\"color: #1155cc\">Hunk\u003c/span>\u003c/i>\u003cspan style=\"color: #1155cc\"> (1987)\u003c/span>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>http://youtu.be/iHXFpWT8cds\u003c/p>\n\u003cp class=\"normal\">“In this diverting comedy, computer geek Bradley Brinkman signs his soul over to the devil in exchange for being transformed into a strapping ladies’ man.” The '80s had a slew of “homely girl becomes pretty” films, so it’s somewhat...progressive to see the tables turned. The gratuitous shots of a hunky muscled man in the shower during the opening credits turns out to just be lip service to the ladies of the '80s; everything else about \u003cem>Hunk\u003c/em> seems to read like a parody of '80s films: red sports cars, feathered hair, Valley girls, materialism, a brainless script, and sexism.\u003c/p>\n\u003cp class=\"normal\" style=\"text-align: center\">\u003ca href=\"http://www.netflix.com/WiMovie/70215465?trkid=439131\">\u003cstrong>\u003ci>\u003cspan style=\"color: #1155cc\">Holiday in Handcuffs\u003c/span>\u003c/i>\u003cspan style=\"color: #1155cc\"> (2007)\u003c/span>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>http://youtu.be/I24mL7Ax1aw\u003c/p>\n\u003cp class=\"normal\">We no longer have to wait until Christmas to see what holiday fare ABC Family has spewed out for us because Netflix allows us to experience their Christmas movies on demand year-round. This family farce has Melissa Joan Hart kidnapping Mario Lopez at gunpoint and forcing him to pose as her boyfriend in front of her family for the holidays. A film about Stockholm Syndrome is perfect for cozying up to the fire next to the tree! As one astute commenter pointed out, this is essentially a remake of \u003ci>Buffalo 66\u003c/i>. I am sure Vincent Gallo will never find out.\u003c/p>\n\u003cp class=\"normal\" style=\"text-align: center\">\u003ca href=\"http://www.netflix.com/WiMovie/70147345?trkid=13466331\">\u003cstrong>\u003ci>\u003cspan style=\"color: #1155cc\">...At First Sight (Two Guys Talkin’ About Girls)\u003c/span>\u003c/i>\u003cspan style=\"color: #1155cc\"> (1995)\u003c/span>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>http://youtu.be/KpsPdzXWOQA\u003c/p>\n\u003cp class=\"normal\">Remember that brief period in the '90s when the world was in love with \u003ci>MTV Sports\u003c/i>’ Dan Cortese? Here’s a chance to bring back that feeling.\u003c/p>\n\u003cp class=\"normal\" style=\"text-align: center\">\u003ca href=\"http://www.netflix.com/WiMovie/70208255?trkid=439131\">\u003cstrong>\u003ci>\u003cspan style=\"color: #1155cc\">Delhi Safari\u003c/span>\u003c/i>\u003cspan style=\"color: #1155cc\"> (2012)\u003c/span>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>http://youtu.be/y9oljIvNEHo\u003c/p>\n\u003cp class=\"normal\">This animated film features the voices of Jason Alexander, Carey Elwes, Brad Garrett and Jane Lynch, and is NOT for children! From the comments: “everyone is mentioning the father tiger getting shot. that did shock me, but what made me ultimately cut this off was the half naked female character!!! She was in a scantily clad outfit almost showing her nipples. I don’t want me son exposed to that” Still, that reviewer gave it three stars...\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp class=\"normal\">Leave your weirdest Netflix finds in the comments!\u003c/p>\n\n",
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"excerpt": "For every great movie on Netflix, there is one that makes you wonder \"how does this even exist?\".",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg class=\"aligncenter size-full wp-image-12931\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/strange-movies-netflix.jpg\" alt=\"strange-movies-netflix\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/07/strange-movies-netflix.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/07/strange-movies-netflix-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp class=\"normal\">\u003cstrong>By Robin Hardwick\u003c/strong>\u003c/p>\n\u003cp class=\"normal\">The way we watch movies and television has undergone a major change in recent years, thanks to Netflix. Older films not appreciated in their time get a chance at becoming cult classics, indie films without wide theater release find their audience, and documentaries get the popularity they deserve. But for every great film or television show, there is a puzzling low-budget genre film, outdated rom-com, or someone's indie pet project that never saw the light of day. Here are some of the strangest finds from the deep well of generated recommendations.\u003c/p>\n\u003cp class=\"normal\" style=\"text-align: center\">\u003ca href=\"http://www.netflix.com/WiMovie/70009636?trkid=439131\">\u003cstrong>\u003ci>\u003cspan style=\"color: #1155cc\">Sacred Flesh \u003c/span>\u003c/i>\u003cspan style=\"color: #1155cc\">(2000)\u003c/span>\u003c/strong>\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ns5imcW0Tlk'\n title='//www.youtube.com/embed/ns5imcW0Tlk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"normal\">This film is the most prominent example of the “nunsploitation” genre, which yes, does exist. Shot on a minimal background, these nuns wear heavy eye makeup and have graphic, holy communions (sorry for the pun) with each other, all in the name of defying religious conventions. The nontraditional narrative that switches back and forth between reality and fantasy may make it seem like there’s a deep metaphorical message about religion and the nature of female desire, but you could also just call it a senior film thesis from a women’s studies/film double major from Sarah Lawrence that somehow accidentally ended up on Netflix.\u003c/p>\n\u003cp class=\"normal\" style=\"text-align: center\">\u003ca href=\"http://www.netflix.com/WiMovie/70068660?trkid=2361637\">\u003cstrong>\u003ci>\u003cspan style=\"color: #1155cc\">Be My Baby\u003c/span>\u003c/i>\u003cspan style=\"color: #1155cc\"> (2006)\u003c/span>\u003c/strong>\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/haLtkGogYjg'\n title='//www.youtube.com/embed/haLtkGogYjg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"normal\">You’d think that there are no original ways for characters to “meet cute\" anymore, but the creators of \u003cem>Be My Baby\u003c/em> weren’t discouraged. In this film, the protagonist is fed up with getting involved with married men who pretend to be single, so she cooks up the perfect revenge plan. She “borrows” a child from the daycare where she works and pays a visit to all her exes, scamming them into giving her money when she convinces them the child is theirs. Luckily, one guy doesn’t fall for this trick...but he certainly falls for her!\u003c/p>\n\u003cp class=\"normal\" style=\"text-align: center\">\u003ca href=\"http://www.netflix.com/WiMovie/70270394?trkid=2361637\">\u003cstrong>\u003ci>\u003cspan style=\"color: #1155cc\">Crazy Enough\u003c/span>\u003c/i>\u003cspan style=\"color: #1155cc\"> (2012)\u003c/span>\u003c/strong>\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kAjAAswZxAk'\n title='//www.youtube.com/embed/kAjAAswZxAk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"normal\">\u003cem>Saturday Night Live\u003c/em> alums have gone on to create zeitgeist-defining films, become legendary comedians, and even win Academy Awards. Others, like, say, Chris Kattan, have gone on to star in a direct-to-video film, in which they play twin brothers with mistaken identities. No, this film is not one of the fake films featured in \u003ci>Funny People\u003c/i> or \u003ci>Tropic Thunder\u003c/i>, it’s an actual 90 minutes of Chris Kattan playing both a man stuck in a mental facility and his twin brother. I guess people take different paths.\u003c/p>\n\u003cp class=\"normal\" style=\"text-align: center\">\u003ca href=\"http://www.netflix.com/WiMovie/70051464?trkid=439131\">\u003cstrong>\u003ci>\u003cspan style=\"color: #1155cc\">The Sex Thief\u003c/span>\u003c/i>\u003cspan style=\"color: #1155cc\"> (1974)\u003c/span>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp class=\"normal\" style=\"text-align: center\">\u003cimg class=\"aligncenter wp-image-12923\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/SexThief_Bluray-844x1024.jpg\" alt=\"SexThief_Bluray\" width=\"350\" height=\"424\">\u003c/p>\n\u003cp class=\"normal\">A career cat burglar breaks into ladies’ apartments (but only pretty ladies who sleep naked). Lady wakes up, confronts the thief, threatens to call the police. Thief uses his power of seduction to convince her otherwise. Oh, the '70s and its ambiguous ideas about sexual consent (so kitschy)! The ladies report the theft, but leave out the part where they boned the thief, causing a major investigation by two plucky detectives who can’t seem to ever do their job correctly. “Cheeky British sex comedies” were a popular genre from the '70s and, if this is any representation of the genre, they seem to be neither funny nor sexy. Fun fact: one of the police officers is a dead ringer for Dave Foley.\u003c/p>\n\u003cp class=\"normal\" style=\"text-align: center\">\u003ca href=\"http://www.netflix.com/WiMovie/70084150?trkid=439131\">\u003cstrong>\u003ci>\u003cspan style=\"color: #1155cc\">The Last Word\u003c/span>\u003c/i>\u003cspan style=\"color: #1155cc\"> (2008)\u003c/span>\u003c/strong>\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/r7SJyrKX64I'\n title='//www.youtube.com/embed/r7SJyrKX64I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"normal\">How could a film about suicide notes, starring Winona Ryder, Ray Romano, and Wes Bentley’s brow, not be a hit? This film is like a rehab center for falling superstars.\u003c/p>\n\u003cp class=\"normal\" style=\"text-align: center\">\u003ca href=\"http://www.netflix.com/WiMovie/70236197?trkid=439131\">\u003cstrong>\u003ci>\u003cspan style=\"color: #1155cc\">Brother White\u003c/span>\u003c/i>\u003cspan style=\"color: #1155cc\"> (2012)\u003c/span>\u003c/strong>\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/U_eJofHCTOE'\n title='//www.youtube.com/embed/U_eJofHCTOE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"normal\">Although they are not for me, I can support films targeted at Christian viewers, unless they're absurd and offensive like this one. In \u003cem>Brother White\u003c/em>, Pastor White (get it?) reluctantly takes on a black church in Atlanta. I’ll bet he feels like a fish out of water! I’ll bet there are plenty of sassy black women to sass him up! Perhaps there are several scenes showing how he can’t dance. At least the movie stars the dad from \u003cem>Family Matters\u003c/em> and the mom from \u003cem>Sister Sister\u003c/em>.\u003c/p>\n\u003cp class=\"normal\" style=\"text-align: center\">\u003ca href=\"http://www.netflix.com/WiMovie/70053347?strkid=711683258_0_0&trkid=222336&movieid=70053347\">\u003cstrong>\u003ci>\u003cspan style=\"color: #1155cc\">Hunk\u003c/span>\u003c/i>\u003cspan style=\"color: #1155cc\"> (1987)\u003c/span>\u003c/strong>\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iHXFpWT8cds'\n title='//www.youtube.com/embed/iHXFpWT8cds'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"normal\">“In this diverting comedy, computer geek Bradley Brinkman signs his soul over to the devil in exchange for being transformed into a strapping ladies’ man.” The '80s had a slew of “homely girl becomes pretty” films, so it’s somewhat...progressive to see the tables turned. The gratuitous shots of a hunky muscled man in the shower during the opening credits turns out to just be lip service to the ladies of the '80s; everything else about \u003cem>Hunk\u003c/em> seems to read like a parody of '80s films: red sports cars, feathered hair, Valley girls, materialism, a brainless script, and sexism.\u003c/p>\n\u003cp class=\"normal\" style=\"text-align: center\">\u003ca href=\"http://www.netflix.com/WiMovie/70215465?trkid=439131\">\u003cstrong>\u003ci>\u003cspan style=\"color: #1155cc\">Holiday in Handcuffs\u003c/span>\u003c/i>\u003cspan style=\"color: #1155cc\"> (2007)\u003c/span>\u003c/strong>\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/I24mL7Ax1aw'\n title='//www.youtube.com/embed/I24mL7Ax1aw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"normal\">We no longer have to wait until Christmas to see what holiday fare ABC Family has spewed out for us because Netflix allows us to experience their Christmas movies on demand year-round. This family farce has Melissa Joan Hart kidnapping Mario Lopez at gunpoint and forcing him to pose as her boyfriend in front of her family for the holidays. A film about Stockholm Syndrome is perfect for cozying up to the fire next to the tree! As one astute commenter pointed out, this is essentially a remake of \u003ci>Buffalo 66\u003c/i>. I am sure Vincent Gallo will never find out.\u003c/p>\n\u003cp class=\"normal\" style=\"text-align: center\">\u003ca href=\"http://www.netflix.com/WiMovie/70147345?trkid=13466331\">\u003cstrong>\u003ci>\u003cspan style=\"color: #1155cc\">...At First Sight (Two Guys Talkin’ About Girls)\u003c/span>\u003c/i>\u003cspan style=\"color: #1155cc\"> (1995)\u003c/span>\u003c/strong>\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/KpsPdzXWOQA'\n title='//www.youtube.com/embed/KpsPdzXWOQA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"normal\">Remember that brief period in the '90s when the world was in love with \u003ci>MTV Sports\u003c/i>’ Dan Cortese? Here’s a chance to bring back that feeling.\u003c/p>\n\u003cp class=\"normal\" style=\"text-align: center\">\u003ca href=\"http://www.netflix.com/WiMovie/70208255?trkid=439131\">\u003cstrong>\u003ci>\u003cspan style=\"color: #1155cc\">Delhi Safari\u003c/span>\u003c/i>\u003cspan style=\"color: #1155cc\"> (2012)\u003c/span>\u003c/strong>\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/y9oljIvNEHo'\n title='//www.youtube.com/embed/y9oljIvNEHo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"normal\">This animated film features the voices of Jason Alexander, Carey Elwes, Brad Garrett and Jane Lynch, and is NOT for children! From the comments: “everyone is mentioning the father tiger getting shot. that did shock me, but what made me ultimately cut this off was the half naked female character!!! She was in a scantily clad outfit almost showing her nipples. I don’t want me son exposed to that” Still, that reviewer gave it three stars...\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"normal\">Leave your weirdest Netflix finds in the comments!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Why Live Television Doesn't Stand a Chance Against Binge Watching",
"title": "Why Live Television Doesn't Stand a Chance Against Binge Watching",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cfigure id=\"attachment_11715\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/31/live-television-vs-binge-watching-what-does-the-future-hold-for-network-tv-pretty-little-liars/old-tv/\" rel=\"attachment wp-att-11715\">\u003cimg class=\"size-full wp-image-11715\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/old-tv.jpg\" alt=\"Photo: Getty Images\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/03/old-tv.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/old-tv-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Getty Images\u003c/figcaption>\u003c/figure>\n\u003cp>I hate to bring up \u003ca href=\"http://blogs.kqed.org/pop/2013/09/12/fixing-your-dating-life-with-pretty-little-liars/\">\u003cem>Pretty Little Liars\u003c/em> again\u003c/a> (just kidding, I don’t hate it at all, but you might). The season 4 finale was the \u003ca href=\"http://variety.com/2014/tv/ratings/abc-familys-pretty-little-liars-hits-2014-tweet-high-for-finale-1201139545/\">number one tweeted show\u003c/a> of the year, according to \u003ca href=\"http://www.socialguide.com/nielsentwittertvratings/weekly/\">Nielsen Twitter TV Ratings\u003c/a>, but, unlike a few months ago, I wasn’t there cheering my favorite high school girls on as they figured out the ever-baffling mysteries of Rosewood, PA. Between season 4A and season 4B, I got knocked by the mid-season blues and nothing that the Liars said or did could get me to pay attention to them again.\u003c/p>\n\u003cp dir=\"ltr\">\u003cem>Liars\u003c/em> had a break last August until October and then only aired one episode (a plot-stalling Halloween edition) until January. That is basically going for four months with no \u003cem>Liars\u003c/em> and, by the time that season 4B began at the beginning of 2014, I had no idea what was going on with them. Sure, there are recaps, but I felt completely disconnected to the four girls’ emotional states. Who were they really in love with now? Who were they kind of mad at and why? Who did they trust at this moment and who was up to something shady? In a way, following a TV show is like having a long distance relationship; your partner has to check in regularly and have a consistent personality. But for this show (and many others), the plot is too shifting and complex and the characters are too inconsistent and fickle for the show to disappear for so long in the middle of a season, which supposedly has some sort of arc.\u003c/p>\n\u003cp dir=\"ltr\">I'm not alone in this feeling. Numerous friends have lost interest in equally gripping shows during mid-season breaks: \u003cem>Nashville\u003c/em>, \u003cem>Scandal\u003c/em>, \u003cem>Glee\u003c/em>, etc. \u003ca href=\"http://blog.zap2it.com/frominsidethebox/2012/04/tv-hiatus-explained-why-your-favorite-shows-take-breaks-during-the-season.html\">There are plenty of legitimate reasons\u003c/a> why shows go on hiatus during the middle of a season (presidential debates, huge sports events like the Olympics, holidays, and more internal things like labor contracts for writers and actors). But one of the major reasons that there are breaks is because networks prefer to not air a show if the timing might affect their ratings (because viewers are doing things like spending time with their families during winter break) or this thing called \u003ca href=\"http://en.wikipedia.org/wiki/Nielsen_ratings#Sweeps\">sweep\u003c/a>\u003ca href=\"http://en.wikipedia.org/wiki/Nielsen_ratings#Sweeps\">s\u003c/a>, in which Nielsen does intensive viewer diaries every quarter that will affect overall ratings. Networks stretch out their seasons so that episodes can fall during those months of sweeps.\u003c/p>\n\u003cp>This makes sense; a TV show won’t live on if its ratings aren’t decent, but it seems that altering a TV schedule to get better ratings harms a viewer’s personal connection to the characters. Apparently, overall ratings aren’t hurt by the breaks (again, \u003cem>Pretty Little Liars\u003c/em> was the most tweeted about show of the year), but with the rise of original streaming programming from Netflix and Hulu, we’re seeing that binge watching is changing the way that we enjoy TV.\u003c/p>\n\u003cp dir=\"ltr\">To figure out how being able to stream a whole season of your favorite show affects viewing habits, Netflix employed cultural anthropologist \u003ca href=\"http://live.huffingtonpost.com/r/segment/binge-watching/52b1ca4bfe34440d780001e5\">Grant McCracken to study and interview viewers while they binged on television\u003c/a>. \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2014/02/when-exactly-does-watching-a-lot-of-netflix-become-a-binge/283844/\">The definition of binge watching differs\u003c/a>, but McCracken defines it as watching two to three episodes per night and finishing a season in a week. With this kind of approach, watching television became more deliberate, \u003ca href=\"http://www.slate.com/blogs/future_tense/2014/02/13/slate_surveymonkey_binge_watching_poll_how_do_people_gorge_on_tv.html\">more focused\u003c/a>, and a more contemplative activity. Instead of surfing channels out of boredom, binge watchers develop a more critical point of view. Now, I’m not necessarily saying that \u003ca href=\"http://www.nytimes.com/2005/04/24/magazine/24TV.html?_r=0\">watching a lot of TV at once is going to make us smarter\u003c/a>, but the form of dropping a whole season at once allows shows to be more coherent, cinematic, and meaningful.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp dir=\"ltr\">Network television might be set in its ways, but, if history is any indication, that won't be enough to stop a business model shake-up. Take the serialization of Charles Dickens’ \u003cem>Tale of Two Cities\u003c/em>, for example.\u003cem> \u003c/em>Installments of the novel appeared each week in a journal and readers had to wait to find out what happened. The serial novel was popular in those days for many reasons including low literacy rates (people paid others to read the chapters out loud to them) and the fact that it was cheaper to pay a little each week instead of paying up front for a whole novel. \u003cem>Tale of Two Cities\u003c/em> was so popular that, towards the end of the novel, the public waited impatiently at the dock for the journal to be delivered from the publisher. There were even reports that people jumped into the water to swim to the ships that were carrying the final chapter.\u003c/p>\n\u003cp dir=\"ltr\">Whether people really endangered their lives in order to be the first to read the end of a story or whether my high school English teacher, who first told me the legend, was just trying to get us to care about reading, the style of reading eventually changed. Now that literacy has grown and consumerism has taken on its current form, we rarely see serials, which have been very clearly replaced by novels (except a few exceptions by horror novelists \u003ca href=\"http://en.wikipedia.org/wiki/The_Green_Mile_(novel)\">Stephen King\u003c/a> and \u003ca href=\"http://www.randomhouse.com/features/blackstone/\">John Saul\u003c/a>). We can read a whole novel at whatever pace we choose. We are not at the mercy of the next shipment.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The change in TV is similar to the change in book publishing. Watching live TV is like waiting for that boat. Sometimes we wish we could jump in so we can get there first, but we have little control over when it will arrive. But binge watching a show is like reading a whole novel in one sitting. It allows us to get caught up and lost in a world without interruption. For the creators of television (writers, directors, actors), this is a huge advantage as well as a challenge to be better. It allows their work to open up to a larger scope and vision; it allows it to be experienced as something continuous. It also demands that a show be completely consistent and seamless, which leads to a better representation of reality with truer characters. \"There are books of which the backs and covers are by far the best parts,\" Dickens wrote in \u003cem>Oliver Twist\u003c/em>. With streaming TV, there is less focus on an engrossing pilot and a cliff-hanging finale like those books. Viewers are hooked for the whole journey.\u003c/p>\n\n",
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"excerpt": "Mid season breaks or even just waiting a week for the next episode could eventually become a thing of the past.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_11715\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/31/live-television-vs-binge-watching-what-does-the-future-hold-for-network-tv-pretty-little-liars/old-tv/\" rel=\"attachment wp-att-11715\">\u003cimg class=\"size-full wp-image-11715\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/old-tv.jpg\" alt=\"Photo: Getty Images\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/03/old-tv.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/old-tv-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Getty Images\u003c/figcaption>\u003c/figure>\n\u003cp>I hate to bring up \u003ca href=\"http://blogs.kqed.org/pop/2013/09/12/fixing-your-dating-life-with-pretty-little-liars/\">\u003cem>Pretty Little Liars\u003c/em> again\u003c/a> (just kidding, I don’t hate it at all, but you might). The season 4 finale was the \u003ca href=\"http://variety.com/2014/tv/ratings/abc-familys-pretty-little-liars-hits-2014-tweet-high-for-finale-1201139545/\">number one tweeted show\u003c/a> of the year, according to \u003ca href=\"http://www.socialguide.com/nielsentwittertvratings/weekly/\">Nielsen Twitter TV Ratings\u003c/a>, but, unlike a few months ago, I wasn’t there cheering my favorite high school girls on as they figured out the ever-baffling mysteries of Rosewood, PA. Between season 4A and season 4B, I got knocked by the mid-season blues and nothing that the Liars said or did could get me to pay attention to them again.\u003c/p>\n\u003cp dir=\"ltr\">\u003cem>Liars\u003c/em> had a break last August until October and then only aired one episode (a plot-stalling Halloween edition) until January. That is basically going for four months with no \u003cem>Liars\u003c/em> and, by the time that season 4B began at the beginning of 2014, I had no idea what was going on with them. Sure, there are recaps, but I felt completely disconnected to the four girls’ emotional states. Who were they really in love with now? Who were they kind of mad at and why? Who did they trust at this moment and who was up to something shady? In a way, following a TV show is like having a long distance relationship; your partner has to check in regularly and have a consistent personality. But for this show (and many others), the plot is too shifting and complex and the characters are too inconsistent and fickle for the show to disappear for so long in the middle of a season, which supposedly has some sort of arc.\u003c/p>\n\u003cp dir=\"ltr\">I'm not alone in this feeling. Numerous friends have lost interest in equally gripping shows during mid-season breaks: \u003cem>Nashville\u003c/em>, \u003cem>Scandal\u003c/em>, \u003cem>Glee\u003c/em>, etc. \u003ca href=\"http://blog.zap2it.com/frominsidethebox/2012/04/tv-hiatus-explained-why-your-favorite-shows-take-breaks-during-the-season.html\">There are plenty of legitimate reasons\u003c/a> why shows go on hiatus during the middle of a season (presidential debates, huge sports events like the Olympics, holidays, and more internal things like labor contracts for writers and actors). But one of the major reasons that there are breaks is because networks prefer to not air a show if the timing might affect their ratings (because viewers are doing things like spending time with their families during winter break) or this thing called \u003ca href=\"http://en.wikipedia.org/wiki/Nielsen_ratings#Sweeps\">sweep\u003c/a>\u003ca href=\"http://en.wikipedia.org/wiki/Nielsen_ratings#Sweeps\">s\u003c/a>, in which Nielsen does intensive viewer diaries every quarter that will affect overall ratings. Networks stretch out their seasons so that episodes can fall during those months of sweeps.\u003c/p>\n\u003cp>This makes sense; a TV show won’t live on if its ratings aren’t decent, but it seems that altering a TV schedule to get better ratings harms a viewer’s personal connection to the characters. Apparently, overall ratings aren’t hurt by the breaks (again, \u003cem>Pretty Little Liars\u003c/em> was the most tweeted about show of the year), but with the rise of original streaming programming from Netflix and Hulu, we’re seeing that binge watching is changing the way that we enjoy TV.\u003c/p>\n\u003cp dir=\"ltr\">To figure out how being able to stream a whole season of your favorite show affects viewing habits, Netflix employed cultural anthropologist \u003ca href=\"http://live.huffingtonpost.com/r/segment/binge-watching/52b1ca4bfe34440d780001e5\">Grant McCracken to study and interview viewers while they binged on television\u003c/a>. \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2014/02/when-exactly-does-watching-a-lot-of-netflix-become-a-binge/283844/\">The definition of binge watching differs\u003c/a>, but McCracken defines it as watching two to three episodes per night and finishing a season in a week. With this kind of approach, watching television became more deliberate, \u003ca href=\"http://www.slate.com/blogs/future_tense/2014/02/13/slate_surveymonkey_binge_watching_poll_how_do_people_gorge_on_tv.html\">more focused\u003c/a>, and a more contemplative activity. Instead of surfing channels out of boredom, binge watchers develop a more critical point of view. Now, I’m not necessarily saying that \u003ca href=\"http://www.nytimes.com/2005/04/24/magazine/24TV.html?_r=0\">watching a lot of TV at once is going to make us smarter\u003c/a>, but the form of dropping a whole season at once allows shows to be more coherent, cinematic, and meaningful.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp dir=\"ltr\">Network television might be set in its ways, but, if history is any indication, that won't be enough to stop a business model shake-up. Take the serialization of Charles Dickens’ \u003cem>Tale of Two Cities\u003c/em>, for example.\u003cem> \u003c/em>Installments of the novel appeared each week in a journal and readers had to wait to find out what happened. The serial novel was popular in those days for many reasons including low literacy rates (people paid others to read the chapters out loud to them) and the fact that it was cheaper to pay a little each week instead of paying up front for a whole novel. \u003cem>Tale of Two Cities\u003c/em> was so popular that, towards the end of the novel, the public waited impatiently at the dock for the journal to be delivered from the publisher. There were even reports that people jumped into the water to swim to the ships that were carrying the final chapter.\u003c/p>\n\u003cp dir=\"ltr\">Whether people really endangered their lives in order to be the first to read the end of a story or whether my high school English teacher, who first told me the legend, was just trying to get us to care about reading, the style of reading eventually changed. Now that literacy has grown and consumerism has taken on its current form, we rarely see serials, which have been very clearly replaced by novels (except a few exceptions by horror novelists \u003ca href=\"http://en.wikipedia.org/wiki/The_Green_Mile_(novel)\">Stephen King\u003c/a> and \u003ca href=\"http://www.randomhouse.com/features/blackstone/\">John Saul\u003c/a>). We can read a whole novel at whatever pace we choose. We are not at the mercy of the next shipment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The change in TV is similar to the change in book publishing. Watching live TV is like waiting for that boat. Sometimes we wish we could jump in so we can get there first, but we have little control over when it will arrive. But binge watching a show is like reading a whole novel in one sitting. It allows us to get caught up and lost in a world without interruption. For the creators of television (writers, directors, actors), this is a huge advantage as well as a challenge to be better. It allows their work to open up to a larger scope and vision; it allows it to be experienced as something continuous. It also demands that a show be completely consistent and seamless, which leads to a better representation of reality with truer characters. \"There are books of which the backs and covers are by far the best parts,\" Dickens wrote in \u003cem>Oliver Twist\u003c/em>. With streaming TV, there is less focus on an engrossing pilot and a cliff-hanging finale like those books. Viewers are hooked for the whole journey.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"order": 10
},
"link": "/californiareportmagazine",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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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": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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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"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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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"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
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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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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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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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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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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": {
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"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",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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