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In 1998, Newhart told Terry Gross that his signature stammer was not an affect. ","publishDate":1722010983,"modified":1722028502,"format":"standard","content":"\u003cp> \u003cdiv class=\"fullattribution\">Copyright 2024 NPR\u003c/div>\u003c/p>","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003cdiv class=\"fullattribution\">Copyright 2024 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"authors":["npr_2100593","npr_2101612"]},"npr_nx-s1-5048109":{"type":"posts","id":"npr_nx-s1-5048109","meta":{"site":"npr","id":"nx-s1-5048109"},"slug":"deadpool-and-wolverine-is-a-self-cannibalizing-slog","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/07/20240726_fa_02.mp3?d=414000&e=nx-s1-5048109","audioDuration":414000,"title":"'Deadpool & Wolverine' is a self-cannibalizing slog","excerpt":"Ryan Reynolds and Hugh Jackman have good, thorny chemistry in this odd-couple action hero flick. But brand extension disguised as a satire of brand extension is still just ... brand extension.","publishDate":1721991600,"modified":1722028505,"format":"standard","content":"\u003cp>When Fox Studios released the first \u003ca href=\"https://www.npr.org/2016/02/11/466323922/deadpool-is-a-potty-mouthed-splatterfest-a-really-funny-one\">Deadpool\u003c/a> movie back in 2016, it played like an irreverently funny antidote to our collective comic-book-movie fatigue. Wade Wilson, or Deadpool, was a foul-mouthed mercenary who obliterated his enemies and the fourth wall with the same gonzo energy. \u003c/p>\u003cp>Again and again, Deadpool turned to the camera and mocked the clichés of the superhero movie with such deadpan wit, you \u003cem>almost\u003c/em> forgot you were watching a superhero movie. And \u003ca href=\"https://www.npr.org/2022/09/19/1123661163/ryan-reynolds-colon-cancer-colonoscopy-awareness-rob-mcelhenney\">Ryan Reynolds\u003c/a>, Hollywood’s snarkiest leading man, might have been engineered in a lab to play this vulgar vigilante. I liked the movie well enough, though one was plenty; by the time \u003ca href=\"https://www.npr.org/2018/05/15/610448339/grim-n-gritty-is-out-glib-n-smarmy-is-in-deadpool-2\">Deadpool 2\u003c/a> rolled around in 2018, all that self-aware humor had started to seem awfully self-satisfied.\u003c/p>\u003cp>Now we have a third movie, \u003cem>Deadpool & Wolverine, \u003c/em>which\u003cem> \u003c/em>came about through some recent movie-industry machinations. When \u003ca href=\"https://www.npr.org/2019/03/20/705009029/disney-officially-owns-21st-century-fox\">Disney bought Fox\u003c/a> a few years ago, Deadpool, along with other mutant characters from the \u003cem>X-Men\u003c/em> series, officially joined the franchise juggernaut known as the Marvel Cinematic Universe. \u003c/p>\u003cp>That puts the new movie in an almost interesting bind. It tries to poke fun at its tortured corporate parentage; one of the first things Deadpool says is “Marvel’s so stupid.” But now the movie also has to fit into the narrative parameters of the MCU. It tries to have it both ways: brand extension disguised as a satire of brand extension.\u003c/p>\u003cp>It’s also an odd-couple comedy, pairing Deadpool with the most famous of the X-Men: Logan, or Wolverine, the mutant with the unbreakable bones and the retractable metal claws, played as ever by a bulked-up \u003ca href=\"https://www.npr.org/2008/11/26/97535550/hugh-jackman-boy-from-oz-is-australia-hero\">Hugh Jackman\u003c/a>. \u003c/p>\u003cp>The combo makes sense, and not just because both characters are Canadian. In earlier movies, Deadpool often made Wolverine the off-screen butt of his jokes. Both Deadpool and Wolverine are essentially immortal, their bodies capable of self-regenerating after being wounded. Both are tormented by past failures and are trying to redeem themselves. Onscreen, the two have a good, thorny chemistry, with Jackman’s brooding silences contrasting nicely with Reynolds’ mile-a-minute delivery.\u003c/p>\u003cp>I could tell you more about the story, but only at the risk of incurring the wrath of studio publicists who have asked critics not to discuss the plot or the movie’s many, many cameos. Let’s just say that the director Shawn Levy and his army of screenwriters bring the two leads together through various rifts in the multiverse. Yes, the multiverse, that ever-elastic comic-book conceit, with numerous Deadpools and Wolverines from various alternate realities popping up along the way.\u003c/p>\u003cp>I suppose it’s safe to mention that \u003ca href=\"https://www.npr.org/2022/01/26/1075741669/succession-actor-matthew-macfadyen\">Matthew Macfadyen\u003c/a>, lately of \u003ca href=\"https://www.npr.org/2023/05/27/1178170468/succession-series-finale-hbo\">Succession\u003c/a>, plays some kind of sinister multiverse bureaucrat, while Emma Corrin, of \u003ca href=\"https://www.npr.org/2020/11/11/933785969/season-4-of-the-crown-introduces-princess-diana-and-more-juicy-drama\">The Crown\u003c/a>, plays a nasty villain in exile. It’s all thin, derivative stuff, and the script’s various wink-wink nods to other shows and movies, from \u003cem>Back to the Future\u003c/em> to \u003ca href=\"https://www.npr.org/2024/05/23/1252689430/furiosa-a-mad-max-saga-review\">Furiosa\u003c/a> to \u003ca href=\"https://www.npr.org/2023/10/21/1207494375/great-british-baking-show-bake-off-netflix\">The Great British Bake Off\u003c/a>, don’t make it feel much fresher. And Levy, who previously directed Reynolds in the sci-fi comedies \u003cem>Free Guy \u003c/em>and\u003cem> \u003c/em>\u003ca href=\"https://www.npr.org/2022/03/11/1085150544/netflix-the-adam-project-ryan-reynolds\">The Adam Project\u003c/a>, doesn’t have much feel for the splattery violence that is a staple of the \u003cem>Deadpool\u003c/em> movies. There’s more tedium than excitement in the characters’ bone-crunching, crotch-stabbing killing sprees, complete with corn-syrupy geysers of blood.\u003c/p>\u003cp>For all its carnage, its strenuous meta-humor and an R-rated sensibility that tests the generally PG-13 confines of the MCU, \u003cem>Deadpool & Wolverine\u003c/em> does strive for sincerity at times. Some of its cameos and plot turns are clearly designed to pay tribute to Fox’s \u003cem>X-Men \u003c/em>films from the early 2000s. \u003c/p>\u003cp>As a longtime \u003cem>X-Men\u003c/em> fan myself, I’m not entirely immune to the charms of this approach; there’s one casting choice, in particular, that made me smile, almost in spite of myself. It’s not enough to make the movie feel like less of a self-cannibalizing slog, though I suspect that many in the audience, who live for this kind of glib fan service, won’t mind. Say what you will about Marvel — I certainly have — but it isn’t nearly as stupid as Deadpool says it is. \u003cdiv class=\"fullattribution\">Copyright 2024 NPR\u003c/div>\u003c/p>","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Fox Studios released the first \u003ca href=\"https://www.npr.org/2016/02/11/466323922/deadpool-is-a-potty-mouthed-splatterfest-a-really-funny-one\">Deadpool\u003c/a> movie back in 2016, it played like an irreverently funny antidote to our collective comic-book-movie fatigue. Wade Wilson, or Deadpool, was a foul-mouthed mercenary who obliterated his enemies and the fourth wall with the same gonzo energy. \u003c/p>\u003cp>Again and again, Deadpool turned to the camera and mocked the clichés of the superhero movie with such deadpan wit, you \u003cem>almost\u003c/em> forgot you were watching a superhero movie. And \u003ca href=\"https://www.npr.org/2022/09/19/1123661163/ryan-reynolds-colon-cancer-colonoscopy-awareness-rob-mcelhenney\">Ryan Reynolds\u003c/a>, Hollywood’s snarkiest leading man, might have been engineered in a lab to play this vulgar vigilante. I liked the movie well enough, though one was plenty; by the time \u003ca href=\"https://www.npr.org/2018/05/15/610448339/grim-n-gritty-is-out-glib-n-smarmy-is-in-deadpool-2\">Deadpool 2\u003c/a> rolled around in 2018, all that self-aware humor had started to seem awfully self-satisfied.\u003c/p>\u003cp>Now we have a third movie, \u003cem>Deadpool & Wolverine, \u003c/em>which\u003cem> \u003c/em>came about through some recent movie-industry machinations. When \u003ca href=\"https://www.npr.org/2019/03/20/705009029/disney-officially-owns-21st-century-fox\">Disney bought Fox\u003c/a> a few years ago, Deadpool, along with other mutant characters from the \u003cem>X-Men\u003c/em> series, officially joined the franchise juggernaut known as the Marvel Cinematic Universe. \u003c/p>\u003cp>That puts the new movie in an almost interesting bind. It tries to poke fun at its tortured corporate parentage; one of the first things Deadpool says is “Marvel’s so stupid.” But now the movie also has to fit into the narrative parameters of the MCU. It tries to have it both ways: brand extension disguised as a satire of brand extension.\u003c/p>\u003cp>It’s also an odd-couple comedy, pairing Deadpool with the most famous of the X-Men: Logan, or Wolverine, the mutant with the unbreakable bones and the retractable metal claws, played as ever by a bulked-up \u003ca href=\"https://www.npr.org/2008/11/26/97535550/hugh-jackman-boy-from-oz-is-australia-hero\">Hugh Jackman\u003c/a>. \u003c/p>\u003cp>The combo makes sense, and not just because both characters are Canadian. In earlier movies, Deadpool often made Wolverine the off-screen butt of his jokes. Both Deadpool and Wolverine are essentially immortal, their bodies capable of self-regenerating after being wounded. Both are tormented by past failures and are trying to redeem themselves. Onscreen, the two have a good, thorny chemistry, with Jackman’s brooding silences contrasting nicely with Reynolds’ mile-a-minute delivery.\u003c/p>\u003cp>I could tell you more about the story, but only at the risk of incurring the wrath of studio publicists who have asked critics not to discuss the plot or the movie’s many, many cameos. Let’s just say that the director Shawn Levy and his army of screenwriters bring the two leads together through various rifts in the multiverse. Yes, the multiverse, that ever-elastic comic-book conceit, with numerous Deadpools and Wolverines from various alternate realities popping up along the way.\u003c/p>\u003cp>I suppose it’s safe to mention that \u003ca href=\"https://www.npr.org/2022/01/26/1075741669/succession-actor-matthew-macfadyen\">Matthew Macfadyen\u003c/a>, lately of \u003ca href=\"https://www.npr.org/2023/05/27/1178170468/succession-series-finale-hbo\">Succession\u003c/a>, plays some kind of sinister multiverse bureaucrat, while Emma Corrin, of \u003ca href=\"https://www.npr.org/2020/11/11/933785969/season-4-of-the-crown-introduces-princess-diana-and-more-juicy-drama\">The Crown\u003c/a>, plays a nasty villain in exile. It’s all thin, derivative stuff, and the script’s various wink-wink nods to other shows and movies, from \u003cem>Back to the Future\u003c/em> to \u003ca href=\"https://www.npr.org/2024/05/23/1252689430/furiosa-a-mad-max-saga-review\">Furiosa\u003c/a> to \u003ca href=\"https://www.npr.org/2023/10/21/1207494375/great-british-baking-show-bake-off-netflix\">The Great British Bake Off\u003c/a>, don’t make it feel much fresher. And Levy, who previously directed Reynolds in the sci-fi comedies \u003cem>Free Guy \u003c/em>and\u003cem> \u003c/em>\u003ca href=\"https://www.npr.org/2022/03/11/1085150544/netflix-the-adam-project-ryan-reynolds\">The Adam Project\u003c/a>, doesn’t have much feel for the splattery violence that is a staple of the \u003cem>Deadpool\u003c/em> movies. There’s more tedium than excitement in the characters’ bone-crunching, crotch-stabbing killing sprees, complete with corn-syrupy geysers of blood.\u003c/p>\u003cp>For all its carnage, its strenuous meta-humor and an R-rated sensibility that tests the generally PG-13 confines of the MCU, \u003cem>Deadpool & Wolverine\u003c/em> does strive for sincerity at times. Some of its cameos and plot turns are clearly designed to pay tribute to Fox’s \u003cem>X-Men \u003c/em>films from the early 2000s. \u003c/p>\u003cp>As a longtime \u003cem>X-Men\u003c/em> fan myself, I’m not entirely immune to the charms of this approach; there’s one casting choice, in particular, that made me smile, almost in spite of myself. It’s not enough to make the movie feel like less of a self-cannibalizing slog, though I suspect that many in the audience, who live for this kind of glib fan service, won’t mind. Say what you will about Marvel — I certainly have — but it isn’t nearly as stupid as Deadpool says it is. \u003cdiv class=\"fullattribution\">Copyright 2024 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"authors":["npr_536029475"],"featImg":"npr_g-s1-13340"},"npr_g-s1-13320":{"type":"posts","id":"npr_g-s1-13320","meta":{"site":"npr","id":"g-s1-13320"},"slug":"israel-and-hezbollah-have-escalated-attacks-on-each-other-how-likely-is-war","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/07/20240725_fa_01.mp3?d=2601000&e=g-s1-13320","audioDuration":2601000,"title":"Israel and Hezbollah have escalated attacks on each other. How likely is war?","excerpt":"Hezbollah, the militant group based in Lebanon, shares Hamas’ goal of destroying the state of Israel. \u003cem>New Yorker\u003c/em> writer Dexter Filkins talks about his reporting trip to the Lebanese/Israeli border.\u003cbr>","publishDate":1721929561,"modified":1721938202,"format":"standard","content":"\u003cp> \u003cdiv class=\"fullattribution\">Copyright 2024 NPR\u003c/div>\u003c/p>","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003cdiv class=\"fullattribution\">Copyright 2024 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"authors":["npr_2100593"]},"npr_nx-s1-5049022":{"type":"posts","id":"npr_nx-s1-5049022","meta":{"site":"npr","id":"nx-s1-5049022"},"slug":"wicked-director-jon-m-chu-says-creativity-isnt-magic-its-hard-work","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/07/20240724_fa_e47b54a3-cb5b-46ab-bc33-1a29db35f981.mp3?d=2133000&e=nx-s1-5049022","audioDuration":2133000,"title":"'Wicked' director Jon M. Chu says creativity isn't magic — it's hard work","excerpt":"Chu takes his inspiration from his dad, a Chinese immigrant who worked both the front room and the kitchen of their family-run restaurant: \"The guy that in the back of the kitchen, that was my hero.\"","publishDate":1721841981,"modified":1721855402,"format":"standard","content":"\u003cp>Filmmaker Jon M. Chu says one his most enduring childhood memories is of his father, a Chinese immigrant, bustling about the family-run restaurant in California. One moment, Chu's dad would be in the dining area, suavely greeting guests and making jokes. The next, he'd be \"greasy in the back of the kitchen, sweating,\" Chu remembers.\u003c/p>\u003cp>\"The guy that in the back of the kitchen, that was my hero,\" Chu says. \"Not the guy who's making the jokes, but the guy in the back working his butt off. ... I think about that often in my own life: I want to be the guy in the kitchen.\"\u003c/p>\u003cp>Growing up in Silicon Valley at the dawn of the start-up era, Chu was surrounded by technology. Apple founder Steve Jobs was a regular at the family restaurant and George Lucas was in the city filming his special-effects heavy \u003cem>Star Wars\u003c/em> films. Chu was an early adapter — which helped lead him to filmmaking. \u003c/p>\u003cp>\"Technology for me has been such a game changer,\" he says. \"It literally gave me the voice that I didn't know I had. Without a camera, without editing equipment, I wouldn't know that I had this storytelling bug in me.\"\u003c/p>\u003cp>Chu's film credits include \u003cem>Now You See Me 2, \u003c/em>\u003ca href=\"https://www.npr.org/2021/06/10/1004346682/in-the-heights-review-lin-manuel-miranda-musical-movie\">In the Heights\u003c/a> and \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/14/637168347/opinion-dont-sweat-the-repsweats-and-let-crazy-rich-asians-be-what-it-is\">Crazy Rich Asians\u003c/a>\u003cem>, \u003c/em>which he's currently adapting into a Broadway musical. His film adaptation of the musical \u003cem>Wicked\u003c/em> is expected to open in November. Though he's clearly found a place for himself in Hollywood, Chu says he's not motivated by glitz and glamour.\u003c/p>\u003cp>\"It's not about the red carpet. It's not about this press tour,\" he says. \"It's about doing the work. And it's hard. ... The secret is it's not magic. It's work.\"\u003c/p>\u003cp>Chu looks back on his life and career in the memoir \u003cem>Viewfinder.\u003c/em> \u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>Interview highlights\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On seeing the stage production of \u003cem>Wicked \u003c/em>years ago\u003c/strong>\u003c/p>\u003cp>As part of our \"Americanization\" [my parents] would take us to a show every weekend — ballet season, opera season, musical season. And all five kids, we'd be in our little polo shirts, tucked in and trying to stay quiet, even though we were very restless. ... And years later, when I was just starting college, my mom said, \"Hey, there's another show coming in. It's a new show, and no one's seen it, by Stephen Schwartz.\" ...\u003c/p>\u003cp>I was blown away by [\u003cem>Wicked\u003c/em>]. This idea that this American story could be flipped, and you could see it from the perspective of the Wicked Witch of the West, and that she wasn't so bad. ... That was very compelling to me. And the production was so big. ... It stayed with me. I never thought I would be so lucky to be able to direct it one day, but it always stayed with me.\u003c/p>\u003cp>\u003cstrong>On what he loves about the story of \u003cem>Wicked\u003c/em>\u003c/strong>\u003c/p>\u003cp>This idea of looking at the American story, flipping it. … Maybe the yellow brick road isn't the way to go. Maybe you need to go on your own path, and maybe there is no wizard on the other side waiting to give you your heart's desire. Maybe you have to figure it out yourself, and maybe there's no real such thing as happy endings, that the path just keeps going and you just have to keep walking. \u003c/p>\u003cp>\u003cstrong>On the criticism of his musical \u003cem>In the Heights\u003c/em> for not having enough dark-skinned Afro Latino representation\u003c/strong>\u003c/p>\u003cp>It's hard to hear those things. … I wasn't going to push back and take down some argument from these people who are speaking out. Again, there's plenty of other complaints you can make about any of my movies, but I wanted to show compassion and that's not easy sometimes. And sometimes it's at the risk of your own art that you've spent years on. That said, I hope people really do discover \u003cem>In the Heights\u003c/em>, because I think it's a beautiful movie and it has a great message. And at the same time, I hope we have grace for each other, because if we're changing, everybody's going to have blind spots or things they need to learn along the way.\u003c/p>\u003cp>\u003cstrong>On his decision to direct the 2018 film\u003cem> Crazy Rich Asians\u003c/em>\u003c/strong>\u003c/p>\u003cp>The last thing I wanted to do was put myself in a category of “that's the Asian director.” I just wanted to be a director. And so I was very resistant. After 10 years, maybe more, of that in the business and feeling like I made it, there's a point where I was working on \u003cem>Now You See Me 2\u003c/em>, with some of the biggest actors out there: Morgan Freeman, Michael Caine, Mark Ruffalo, Woody Harrelson, and we were flowing, and it felt really good. And I felt like I hit my 10,000 hours. I was like, \"OK, I belong here, I can do this.\" And then the big question came that landed on my head basically was like, if you can do this, what story do you need to tell that no one else can tell? And what are you trying to say with your movies? \u003c/p>\u003cp>And so I told my agent and my managers and my whole team, \"I don't know what's happening with me, but I need to get off of any movie I'm doing right now. And I need to start fresh with something that scares me the most.\" So I went on a search for something that felt like it was going to deal with the scariest thing in my life, which was my cultural identity crisis. And that's when my sister and my mom sent me \u003cem>Crazy Rich Asians\u003c/em>. \u003c/p>\u003cp>\u003cstrong>On growing up in Silicon Valley and being taught to blend in\u003c/strong>\u003c/p>\u003cp>My mom and dad came from Taiwan and China. And so they always wanted us kids — I'm the youngest of five kids — to have an experience that was different than theirs. So they put us in dance classes. I took tap dance for 12 years. Piano, drums, saxophone, violin. I was terrible at all of those. I did sports camps, basketball, tennis. We did etiquette classes where they taught us how to sit at a table and greet people. … And my mom really wanted us to be the Kennedys. So she would even call me John-John sometimes. So it was very much like we are ambassadors and some of the people who come into the restaurant is the first time they're going to interact with a Chinese family, so we have to show them that we can hang just as well as they can.\u003c/p>\u003cp>\u003cstrong>On how meeting Steven Spielberg changed his life\u003c/strong>\u003c/p>\u003cp>I got to go to the Dreamworks office, which is, you know, overwhelming when you're 22 years old. I was prepared to tell him how much I loved him. And all he did was tell me what he loved about my short [film]. … He invited me to his set to visit him and watch him direct. And it was the most encouraging, beautiful thing that someone could do. … \u003c/p>\u003cp>It was a masterclass for me to watch. ... He gave me a seat next to him. I'm sharing candy with him and this musical number that he was shooting, it wasn't happening. … I saw him totally calm, never panic, and he just said, “No, we're going to switch this camera. Forget that whole thing. We're going to switch the camera here, do this, do that.” And the whole machine moved. And he was just right back at the seat with me, and it kept going. And there was a lot of tension right before that. So to see that and to see the kindness that he would give in those directions and the confidence, made me want that, like, \"Oh, you can be at that level and be that kind and giving.\"\u003c/p>\u003cp>\u003cem>Sam Briger and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.\u003c/em> \u003cdiv class=\"fullattribution\">Copyright 2024 NPR\u003c/div>\u003c/p>","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Filmmaker Jon M. Chu says one his most enduring childhood memories is of his father, a Chinese immigrant, bustling about the family-run restaurant in California. One moment, Chu's dad would be in the dining area, suavely greeting guests and making jokes. The next, he'd be \"greasy in the back of the kitchen, sweating,\" Chu remembers.\u003c/p>\u003cp>\"The guy that in the back of the kitchen, that was my hero,\" Chu says. \"Not the guy who's making the jokes, but the guy in the back working his butt off. ... I think about that often in my own life: I want to be the guy in the kitchen.\"\u003c/p>\u003cp>Growing up in Silicon Valley at the dawn of the start-up era, Chu was surrounded by technology. Apple founder Steve Jobs was a regular at the family restaurant and George Lucas was in the city filming his special-effects heavy \u003cem>Star Wars\u003c/em> films. Chu was an early adapter — which helped lead him to filmmaking. \u003c/p>\u003cp>\"Technology for me has been such a game changer,\" he says. \"It literally gave me the voice that I didn't know I had. Without a camera, without editing equipment, I wouldn't know that I had this storytelling bug in me.\"\u003c/p>\u003cp>Chu's film credits include \u003cem>Now You See Me 2, \u003c/em>\u003ca href=\"https://www.npr.org/2021/06/10/1004346682/in-the-heights-review-lin-manuel-miranda-musical-movie\">In the Heights\u003c/a> and \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/14/637168347/opinion-dont-sweat-the-repsweats-and-let-crazy-rich-asians-be-what-it-is\">Crazy Rich Asians\u003c/a>\u003cem>, \u003c/em>which he's currently adapting into a Broadway musical. His film adaptation of the musical \u003cem>Wicked\u003c/em> is expected to open in November. Though he's clearly found a place for himself in Hollywood, Chu says he's not motivated by glitz and glamour.\u003c/p>\u003cp>\"It's not about the red carpet. It's not about this press tour,\" he says. \"It's about doing the work. And it's hard. ... The secret is it's not magic. It's work.\"\u003c/p>\u003cp>Chu looks back on his life and career in the memoir \u003cem>Viewfinder.\u003c/em> \u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>Interview highlights\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On seeing the stage production of \u003cem>Wicked \u003c/em>years ago\u003c/strong>\u003c/p>\u003cp>As part of our \"Americanization\" [my parents] would take us to a show every weekend — ballet season, opera season, musical season. And all five kids, we'd be in our little polo shirts, tucked in and trying to stay quiet, even though we were very restless. ... And years later, when I was just starting college, my mom said, \"Hey, there's another show coming in. It's a new show, and no one's seen it, by Stephen Schwartz.\" ...\u003c/p>\u003cp>I was blown away by [\u003cem>Wicked\u003c/em>]. This idea that this American story could be flipped, and you could see it from the perspective of the Wicked Witch of the West, and that she wasn't so bad. ... That was very compelling to me. And the production was so big. ... It stayed with me. I never thought I would be so lucky to be able to direct it one day, but it always stayed with me.\u003c/p>\u003cp>\u003cstrong>On what he loves about the story of \u003cem>Wicked\u003c/em>\u003c/strong>\u003c/p>\u003cp>This idea of looking at the American story, flipping it. … Maybe the yellow brick road isn't the way to go. Maybe you need to go on your own path, and maybe there is no wizard on the other side waiting to give you your heart's desire. Maybe you have to figure it out yourself, and maybe there's no real such thing as happy endings, that the path just keeps going and you just have to keep walking. \u003c/p>\u003cp>\u003cstrong>On the criticism of his musical \u003cem>In the Heights\u003c/em> for not having enough dark-skinned Afro Latino representation\u003c/strong>\u003c/p>\u003cp>It's hard to hear those things. … I wasn't going to push back and take down some argument from these people who are speaking out. Again, there's plenty of other complaints you can make about any of my movies, but I wanted to show compassion and that's not easy sometimes. And sometimes it's at the risk of your own art that you've spent years on. That said, I hope people really do discover \u003cem>In the Heights\u003c/em>, because I think it's a beautiful movie and it has a great message. And at the same time, I hope we have grace for each other, because if we're changing, everybody's going to have blind spots or things they need to learn along the way.\u003c/p>\u003cp>\u003cstrong>On his decision to direct the 2018 film\u003cem> Crazy Rich Asians\u003c/em>\u003c/strong>\u003c/p>\u003cp>The last thing I wanted to do was put myself in a category of “that's the Asian director.” I just wanted to be a director. And so I was very resistant. After 10 years, maybe more, of that in the business and feeling like I made it, there's a point where I was working on \u003cem>Now You See Me 2\u003c/em>, with some of the biggest actors out there: Morgan Freeman, Michael Caine, Mark Ruffalo, Woody Harrelson, and we were flowing, and it felt really good. And I felt like I hit my 10,000 hours. I was like, \"OK, I belong here, I can do this.\" And then the big question came that landed on my head basically was like, if you can do this, what story do you need to tell that no one else can tell? And what are you trying to say with your movies? \u003c/p>\u003cp>And so I told my agent and my managers and my whole team, \"I don't know what's happening with me, but I need to get off of any movie I'm doing right now. And I need to start fresh with something that scares me the most.\" So I went on a search for something that felt like it was going to deal with the scariest thing in my life, which was my cultural identity crisis. And that's when my sister and my mom sent me \u003cem>Crazy Rich Asians\u003c/em>. \u003c/p>\u003cp>\u003cstrong>On growing up in Silicon Valley and being taught to blend in\u003c/strong>\u003c/p>\u003cp>My mom and dad came from Taiwan and China. And so they always wanted us kids — I'm the youngest of five kids — to have an experience that was different than theirs. So they put us in dance classes. I took tap dance for 12 years. Piano, drums, saxophone, violin. I was terrible at all of those. I did sports camps, basketball, tennis. We did etiquette classes where they taught us how to sit at a table and greet people. … And my mom really wanted us to be the Kennedys. So she would even call me John-John sometimes. So it was very much like we are ambassadors and some of the people who come into the restaurant is the first time they're going to interact with a Chinese family, so we have to show them that we can hang just as well as they can.\u003c/p>\u003cp>\u003cstrong>On how meeting Steven Spielberg changed his life\u003c/strong>\u003c/p>\u003cp>I got to go to the Dreamworks office, which is, you know, overwhelming when you're 22 years old. I was prepared to tell him how much I loved him. And all he did was tell me what he loved about my short [film]. … He invited me to his set to visit him and watch him direct. And it was the most encouraging, beautiful thing that someone could do. … \u003c/p>\u003cp>It was a masterclass for me to watch. ... He gave me a seat next to him. I'm sharing candy with him and this musical number that he was shooting, it wasn't happening. … I saw him totally calm, never panic, and he just said, “No, we're going to switch this camera. Forget that whole thing. We're going to switch the camera here, do this, do that.” And the whole machine moved. And he was just right back at the seat with me, and it kept going. And there was a lot of tension right before that. So to see that and to see the kindness that he would give in those directions and the confidence, made me want that, like, \"Oh, you can be at that level and be that kind and giving.\"\u003c/p>\u003cp>\u003cem>Sam Briger and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.\u003c/em> \u003cdiv class=\"fullattribution\">Copyright 2024 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"authors":["npr_2100593"],"featImg":"npr_g-s1-13106"},"npr_nx-s1-5050536":{"type":"posts","id":"npr_nx-s1-5050536","meta":{"site":"npr","id":"nx-s1-5050536"},"slug":"someone-like-us-is-a-fresh-idiosyncratic-novel-about-immigrating-to-the-us","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/07/20240724_fa_ca9ba405-ac8e-45dd-80c0-a6db5a3287eb.mp3?d=478000&e=nx-s1-5050536","audioDuration":478000,"title":"'Someone Like Us' is a fresh, idiosyncratic novel about immigrating to the U.S.","excerpt":"Dinaw Mengestu's ingenuity and eloquence as a writer are on display in this novel about an Ethiopian American man who returns home only to learn that his father has just died.","publishDate":1721839467,"modified":1721855408,"format":"standard","content":"\u003cp>There’s a recurring fantasy running through Dinaw Mengestu’s new novel, \u003cem>Someone Like Us\u003c/em>: It’s a fantasy about a word-of-mouth, nation-wide network of taxi cabs that would come to the aid of \"immigrants, migrants, refugees, anyone who was in the wrong place and needed to be somewhere else but didn’t know how to get there.” The drivers would be immigrants themselves and, therefore, more trustworthy to their nervous passengers.\u003c/p>\u003cp>The character who cooks up the idea for this taxi service is named Samuel: He’s a taxi driver and an immigrant from Ethiopia who lived, most recently, in the suburbs of Washington, D.C. Samuel is also the absent center of this story, given that he’s just died when the novel opens. \u003c/p>\u003cp>Our narrator, an Ethiopian American journalist named Mamush, has flown in from his home in Paris to visit Samuel. Mamush tells us, “I’d known for years that Samuel was my father, [but] neither he nor my mother had ever expected me to treat him as such.” \u003c/p>\u003cp>Mamush’s mother and Samuel grew up together in Ethiopia and share a long history, most of it muffled in silence. Given that Mamush missed his reunion with Samuel by only a few hours, a melancholy atmosphere of “too lateness” hangs over this novel like exhaust fumes from that imaginary rescue fleet of taxi cabs.\u003c/p>\u003cp>I love the way Mengestu writes. Beginning with his stunning 2007 debut novel, \u003ca href=\"https://www.npr.org/2008/02/19/18932579/dinaw-mengestu-captures-immigrant-life\">The Beautiful Things That Heaven Bears\u003c/a>\u003cem>,\u003c/em> he’s given voice to characters engulfed in their own solitude. \u003c/p>\u003cp>I also sometimes feel frustrated with how Mengestu writes: specifically, with how this novel keeps reminding readers of the near-impossibility of breaking out of the same old mold when it comes to telling immigrant stories. Ironically, Mengestu’s own ingenuity and eloquence as a writer show at least one way to do so.\u003c/p>\u003cp>In \u003cem>Someone Like Us\u003c/em>, Mengestu has wedded his signature postmodern musings about the imprisoning limits of narrative to a chronologically scrambled, but traditional, searching-for-origins tale. After Mamush arrives at his mother’s home and learns that Samuel, whom he hasn’t seen in almost five years, has died, Mamush begins doing what journalists do: interviewing people and digging up court records. There’s even a moment — a kind of tongue-in-cheek homage to many a mystery novel — when Mamush discovers a secret room of sorts where Samuel has left behind an autobiographical manuscript for Mamush’s eyes only.\u003c/p>\u003cp>Why all this urgency to uncover Samuel’s history?\u003c/p>\u003cp>Like his characters, Mengestu prefers silence over explanations; oblique, rather than direct talk, but we readers can draw some inferences. Mamush, as his wife, Hannah, tells him, is “drifting” and, like Samuel, he’s struggled with the demons of addiction. Perhaps knowing more about the backstory his mother and Samuel share would help anchor him.\u003c/p>\u003cp>Fear and grief may also be propelling Mamush’s desire for reconnection: He and Hannah have a young son who’s developed severe disabilities. Here’s how Mamush describes their life in Paris:\u003c/p>\u003cp>\u003cblockquote>\u003cdiv>\u003cp>Hannah and I had only recently come to the table of adult-sized problems laid out specifically for us. In doing so, we had learned to stop asking ourselves if we were living the lives we had imagined, if we were happy with who we had become, whom we had married. Our jobs grew dull, our rent went up, but it was only after our son was born that we understood the possible scale of things to worry about lying in wait.\u003c/p>\u003c/div>\u003c/blockquote>\u003c/p>\u003cp>At one point early in the story, Mamush recalls how Samuel used to signal the start of conversations by saying the word “play” in Amharic, “an invitation to play with words.” That’s what Mengestu does here, slipping from present to past; reality to dream within the space of single sentences. \u003c/p>\u003cp>Mengestu also “plays” with other forms, most strikingly with photographs included in these pages that he’s taken from his own life, suggesting there may be a trace of autofiction in this novel.\u003c/p>\u003cp>In \u003cem>Someone Like Us, \u003c/em>Mengestu has written a most idiosyncratic American immigrant novel, a genre that’s been available to generations and to recent arrivals from every point on the globe. All the resonant tropes are here — the crowded apartments and the random acts of nativist violence — but, by altering the reader’s vantage points, Mengestu ultimately turns the story back onto us and the control we think we have over the story of our own lives. \u003cdiv class=\"fullattribution\">Copyright 2024 NPR\u003c/div>\u003c/p>","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a recurring fantasy running through Dinaw Mengestu’s new novel, \u003cem>Someone Like Us\u003c/em>: It’s a fantasy about a word-of-mouth, nation-wide network of taxi cabs that would come to the aid of \"immigrants, migrants, refugees, anyone who was in the wrong place and needed to be somewhere else but didn’t know how to get there.” The drivers would be immigrants themselves and, therefore, more trustworthy to their nervous passengers.\u003c/p>\u003cp>The character who cooks up the idea for this taxi service is named Samuel: He’s a taxi driver and an immigrant from Ethiopia who lived, most recently, in the suburbs of Washington, D.C. Samuel is also the absent center of this story, given that he’s just died when the novel opens. \u003c/p>\u003cp>Our narrator, an Ethiopian American journalist named Mamush, has flown in from his home in Paris to visit Samuel. Mamush tells us, “I’d known for years that Samuel was my father, [but] neither he nor my mother had ever expected me to treat him as such.” \u003c/p>\u003cp>Mamush’s mother and Samuel grew up together in Ethiopia and share a long history, most of it muffled in silence. Given that Mamush missed his reunion with Samuel by only a few hours, a melancholy atmosphere of “too lateness” hangs over this novel like exhaust fumes from that imaginary rescue fleet of taxi cabs.\u003c/p>\u003cp>I love the way Mengestu writes. Beginning with his stunning 2007 debut novel, \u003ca href=\"https://www.npr.org/2008/02/19/18932579/dinaw-mengestu-captures-immigrant-life\">The Beautiful Things That Heaven Bears\u003c/a>\u003cem>,\u003c/em> he’s given voice to characters engulfed in their own solitude. \u003c/p>\u003cp>I also sometimes feel frustrated with how Mengestu writes: specifically, with how this novel keeps reminding readers of the near-impossibility of breaking out of the same old mold when it comes to telling immigrant stories. Ironically, Mengestu’s own ingenuity and eloquence as a writer show at least one way to do so.\u003c/p>\u003cp>In \u003cem>Someone Like Us\u003c/em>, Mengestu has wedded his signature postmodern musings about the imprisoning limits of narrative to a chronologically scrambled, but traditional, searching-for-origins tale. After Mamush arrives at his mother’s home and learns that Samuel, whom he hasn’t seen in almost five years, has died, Mamush begins doing what journalists do: interviewing people and digging up court records. There’s even a moment — a kind of tongue-in-cheek homage to many a mystery novel — when Mamush discovers a secret room of sorts where Samuel has left behind an autobiographical manuscript for Mamush’s eyes only.\u003c/p>\u003cp>Why all this urgency to uncover Samuel’s history?\u003c/p>\u003cp>Like his characters, Mengestu prefers silence over explanations; oblique, rather than direct talk, but we readers can draw some inferences. Mamush, as his wife, Hannah, tells him, is “drifting” and, like Samuel, he’s struggled with the demons of addiction. Perhaps knowing more about the backstory his mother and Samuel share would help anchor him.\u003c/p>\u003cp>Fear and grief may also be propelling Mamush’s desire for reconnection: He and Hannah have a young son who’s developed severe disabilities. Here’s how Mamush describes their life in Paris:\u003c/p>\u003cp>\u003cblockquote>\u003cdiv>\u003cp>Hannah and I had only recently come to the table of adult-sized problems laid out specifically for us. In doing so, we had learned to stop asking ourselves if we were living the lives we had imagined, if we were happy with who we had become, whom we had married. Our jobs grew dull, our rent went up, but it was only after our son was born that we understood the possible scale of things to worry about lying in wait.\u003c/p>\u003c/div>\u003c/blockquote>\u003c/p>\u003cp>At one point early in the story, Mamush recalls how Samuel used to signal the start of conversations by saying the word “play” in Amharic, “an invitation to play with words.” That’s what Mengestu does here, slipping from present to past; reality to dream within the space of single sentences. \u003c/p>\u003cp>Mengestu also “plays” with other forms, most strikingly with photographs included in these pages that he’s taken from his own life, suggesting there may be a trace of autofiction in this novel.\u003c/p>\u003cp>In \u003cem>Someone Like Us, \u003c/em>Mengestu has written a most idiosyncratic American immigrant novel, a genre that’s been available to generations and to recent arrivals from every point on the globe. All the resonant tropes are here — the crowded apartments and the random acts of nativist violence — but, by altering the reader’s vantage points, Mengestu ultimately turns the story back onto us and the control we think we have over the story of our own lives. \u003cdiv class=\"fullattribution\">Copyright 2024 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"authors":["npr_4529709"],"featImg":"npr_g-s1-13067"},"npr_nx-s1-5049021":{"type":"posts","id":"npr_nx-s1-5049021","meta":{"site":"npr","id":"nx-s1-5049021"},"slug":"expert-on-dictators-warns-dont-lose-hope-thats-what-they-want","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/07/20240723_fa_611531e1-0fa7-4b9f-bf1e-5ff0d56d5546.mp3?d=2137000&e=nx-s1-5049021","audioDuration":2137000,"title":"Expert on dictators warns: Don't lose hope -- that's what they want","excerpt":"\u003cem>Autocracy, Inc. \u003c/em>author Anne Applebaum says that today’s dictators — including Putin and Xi — are working together in a global fight to dismantle democracy, and Trump is borrowing from their playbook. ","publishDate":1721754390,"modified":1722022579,"format":"standard","content":"\u003cp>When we think of dictators, often the image that comes to mind is of a lone strongman, whose main concern is holding power within his own borders. But Pulitzer Prize-winning journalist Anne Applebaum says today’s dictators are actually working together in a global fight to dismantle democracy.\u003c/p>\u003cp>In her new book,\u003cem> Autocracy, Inc.: The Dictators Who Want to Run the World\u003c/em>, Applebaum describes a \"network of convenience\" that exists among various autocratic states, including Russia, China, North Korea, Turkey, Hungary and Venezuela among others. \u003c/p>\u003cp>\"There isn't a secret room like in a James Bond movie where all the leaders meet; it's not like that,\" she says. \"It's like a big corporation that has different companies, and each company does its own thing, but they have loose ties, and they cooperate when it's convenient.\"\u003c/p>\u003cp>Applebaum says alliances among the global autocracy center on issues of military influence, kleptocracy and defeating democracy — and she sees a link between former President Donald Trump these concerns.\u003c/p>\u003cp>\"Simply being someone who's interested in using foreign policy to make money for oneself. I mean, that already makes Trump similar to a lot of Central Asian leaders or Africans, not to mention Putin,\" she says.\u003c/p>\u003cp>Looking forward, Applebaum says she hopes her book helps re-engage people who may have become cynical by the political process. \"What the autocrats — whether they're in American politics or in Russian politics or in Chinese politics — what they want is for you to be disengaged. They want you to drop out,\" she says. \"I want people to be convinced that ideas matter, that we're going to have to defend and protect our political system if we want to keep it.\" \u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>Interview highlights\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On how the Russian war in Ukraine is a war between autocracy and democratic world\u003c/strong>\u003c/p>\u003cp>In the last few years, [Putin] had begun talking about the end of the democratic world or the end of Democratic dominance. … The war was an attempt to show that he doesn't care anymore about the world that was created in 1945. He doesn't care about the UN charter. He doesn't care about UN documents and organizations that use the language of human rights. He doesn't care about the so-called unspoken rule or unwritten rule that we don't change borders in Europe by force. ... He's going to show that NATO is powerless, that it's a paper tiger, and that none of the international institutions can control him because he stands for a new order and a new future. And he has used that language. And his foreign minister, \u003ca href=\"https://www.npr.org/2023/03/04/1161128415/russia-foreign-minister-lavrov-laughed-at\">Sergey Lavrov\u003c/a>, specifically said this war is about a new world order. \u003c/p>\u003cp>\u003cstrong>On how Putin set the example for leaders to use money to gain power\u003c/strong>\u003c/p>\u003cp>In my view, the rise of these new forms of autocracy were made possible by the nature of modern financial transactions. If you look closely at the rise of Putin … he began essentially by stealing money. He stole money from the city of St. Petersburg. He took it out of the country. He laundered it through Western institutions, brought it back in, and he and others, mostly in the former KGB who were doing this, eventually enrich themselves. And they enrich themselves using Western partners, Western companies, connections to the Frankfurt Stock Exchange. \u003c/p>\u003cp>They were enabled in this process by Western financial institutions — German, European, American. And, first of all, that gave them a certain cynicism about the Western world. So, \"OK, you guys talk about democracy and transparency, but you're perfectly willing to help us steal.\" … You can see modern dictators also beginning to learn this, also beginning to understand they can use tax havens or they can filter their money through Western banks so that there are different ways of stealing and hiding money. And it's become something that people imitate really around the world. \u003c/p>\u003cp>\u003cstrong>On what she calls “information laundering”\u003c/strong>\u003c/p>\u003cp>I should start by saying that the autocratic world takes ideas very seriously and takes information seriously, and thinks a lot about how to get their message not just to us, but to Africa, to Latin America, to other countries around the world. They invest in it heavily. The Chinese have invested in a huge network of television and radio and website and newspaper and other forms of broadcasting in Africa, in Latin America, in Asia and elsewhere. They have content-sharing agreements with different newspapers around the world. Their wire service, Xinhua, is very cheap and easy to get hold of, very often cheaper than AP or Reuters. And they also think about how they can get information to people, in a way that they accept. \u003c/p>\u003cp>They have an idea that you want information to seem native, that it will seem local. And so they would rather have an African newspaper write something positive about China or write something negative about America, rather than it coming from a Chinese source. And the Russians in particular, have enthusiastically run with that idea. And they have also begun pretty systematically to create websites, newspapers and other forms of media that look like they are Ecuadorian or Peruvian or they're in Arabic, or they're in French. … And they look native. They're using local languages, but they rely on, as I said, on Russian narratives and especially on these authoritarian narratives about how about the degeneracy and decline of America in the West, about the superiority of autocratic states. \u003c/p>\u003cp>\u003cstrong>On an autocratic strategy that relies on lies to control the political narrative\u003c/strong>\u003c/p>\u003cp>Trump began his presidency with a lie about how many people had appeared on the National Mall for his inauguration. ...\u003cstrong> \u003c/strong>It was a very stupid lie. I mean, who cares how many people were in the National Mall? But he wanted the U.S. Park Service to lie about it, and he wanted his press spokesman to lie about it. And again, that was partly to show who's in control here? I'm in control, and I get to decide what the truth is. And it's also to confuse people and alienate them from politics. I mean, during the Trump administration, we spent a lot of time arguing about what was true and what wasn't. ... \u003c/p>\u003cp>Constant lies also create this kind of cynicism and apathy. It's a way of keeping people out of politics and preventing civic engagement. I mean, a lot of these authoritarian states know that ... [the] biggest threat to their power is their own people. And so their goal is to prevent people from ever organizing, from ever being engaged, from ever caring at all. And one of the ways they do that is through this constant stream of lies that make people feel like they're simply unable to know anymore what's true and what's not. \u003c/p>\u003cp>\u003cstrong>On how political arguments went from policy to culture wars\u003c/strong>\u003c/p>\u003cp>The way we did politics even 10 years ago, which was we argued about real things. Right? We argued about health care. We argued about infrastructure investment. … So that was the stuff that politics was supposed to be about once. Politics isn't about that anymore. Once it's about existential questions and identity, and once it's only culture wars which are easily exaggerated …. then you're in the realm where it's much easier for demagogues and for people who are good at evoking and creating emotion to win arguments. And I think it just took a long time for the opposition forces to understand how this works.\u003c/p>\u003cp>\u003cem>Sam Briger and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz and Molly Seavy-Nesper adapted it for the web.\u003c/em>\u003cbr> \u003cdiv class=\"fullattribution\">Copyright 2024 NPR\u003c/div>\u003c/p>","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When we think of dictators, often the image that comes to mind is of a lone strongman, whose main concern is holding power within his own borders. But Pulitzer Prize-winning journalist Anne Applebaum says today’s dictators are actually working together in a global fight to dismantle democracy.\u003c/p>\u003cp>In her new book,\u003cem> Autocracy, Inc.: The Dictators Who Want to Run the World\u003c/em>, Applebaum describes a \"network of convenience\" that exists among various autocratic states, including Russia, China, North Korea, Turkey, Hungary and Venezuela among others. \u003c/p>\u003cp>\"There isn't a secret room like in a James Bond movie where all the leaders meet; it's not like that,\" she says. \"It's like a big corporation that has different companies, and each company does its own thing, but they have loose ties, and they cooperate when it's convenient.\"\u003c/p>\u003cp>Applebaum says alliances among the global autocracy center on issues of military influence, kleptocracy and defeating democracy — and she sees a link between former President Donald Trump these concerns.\u003c/p>\u003cp>\"Simply being someone who's interested in using foreign policy to make money for oneself. I mean, that already makes Trump similar to a lot of Central Asian leaders or Africans, not to mention Putin,\" she says.\u003c/p>\u003cp>Looking forward, Applebaum says she hopes her book helps re-engage people who may have become cynical by the political process. \"What the autocrats — whether they're in American politics or in Russian politics or in Chinese politics — what they want is for you to be disengaged. They want you to drop out,\" she says. \"I want people to be convinced that ideas matter, that we're going to have to defend and protect our political system if we want to keep it.\" \u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>Interview highlights\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On how the Russian war in Ukraine is a war between autocracy and democratic world\u003c/strong>\u003c/p>\u003cp>In the last few years, [Putin] had begun talking about the end of the democratic world or the end of Democratic dominance. … The war was an attempt to show that he doesn't care anymore about the world that was created in 1945. He doesn't care about the UN charter. He doesn't care about UN documents and organizations that use the language of human rights. He doesn't care about the so-called unspoken rule or unwritten rule that we don't change borders in Europe by force. ... He's going to show that NATO is powerless, that it's a paper tiger, and that none of the international institutions can control him because he stands for a new order and a new future. And he has used that language. And his foreign minister, \u003ca href=\"https://www.npr.org/2023/03/04/1161128415/russia-foreign-minister-lavrov-laughed-at\">Sergey Lavrov\u003c/a>, specifically said this war is about a new world order. \u003c/p>\u003cp>\u003cstrong>On how Putin set the example for leaders to use money to gain power\u003c/strong>\u003c/p>\u003cp>In my view, the rise of these new forms of autocracy were made possible by the nature of modern financial transactions. If you look closely at the rise of Putin … he began essentially by stealing money. He stole money from the city of St. Petersburg. He took it out of the country. He laundered it through Western institutions, brought it back in, and he and others, mostly in the former KGB who were doing this, eventually enrich themselves. And they enrich themselves using Western partners, Western companies, connections to the Frankfurt Stock Exchange. \u003c/p>\u003cp>They were enabled in this process by Western financial institutions — German, European, American. And, first of all, that gave them a certain cynicism about the Western world. So, \"OK, you guys talk about democracy and transparency, but you're perfectly willing to help us steal.\" … You can see modern dictators also beginning to learn this, also beginning to understand they can use tax havens or they can filter their money through Western banks so that there are different ways of stealing and hiding money. And it's become something that people imitate really around the world. \u003c/p>\u003cp>\u003cstrong>On what she calls “information laundering”\u003c/strong>\u003c/p>\u003cp>I should start by saying that the autocratic world takes ideas very seriously and takes information seriously, and thinks a lot about how to get their message not just to us, but to Africa, to Latin America, to other countries around the world. They invest in it heavily. The Chinese have invested in a huge network of television and radio and website and newspaper and other forms of broadcasting in Africa, in Latin America, in Asia and elsewhere. They have content-sharing agreements with different newspapers around the world. Their wire service, Xinhua, is very cheap and easy to get hold of, very often cheaper than AP or Reuters. And they also think about how they can get information to people, in a way that they accept. \u003c/p>\u003cp>They have an idea that you want information to seem native, that it will seem local. And so they would rather have an African newspaper write something positive about China or write something negative about America, rather than it coming from a Chinese source. And the Russians in particular, have enthusiastically run with that idea. And they have also begun pretty systematically to create websites, newspapers and other forms of media that look like they are Ecuadorian or Peruvian or they're in Arabic, or they're in French. … And they look native. They're using local languages, but they rely on, as I said, on Russian narratives and especially on these authoritarian narratives about how about the degeneracy and decline of America in the West, about the superiority of autocratic states. \u003c/p>\u003cp>\u003cstrong>On an autocratic strategy that relies on lies to control the political narrative\u003c/strong>\u003c/p>\u003cp>Trump began his presidency with a lie about how many people had appeared on the National Mall for his inauguration. ...\u003cstrong> \u003c/strong>It was a very stupid lie. I mean, who cares how many people were in the National Mall? But he wanted the U.S. Park Service to lie about it, and he wanted his press spokesman to lie about it. And again, that was partly to show who's in control here? I'm in control, and I get to decide what the truth is. And it's also to confuse people and alienate them from politics. I mean, during the Trump administration, we spent a lot of time arguing about what was true and what wasn't. ... \u003c/p>\u003cp>Constant lies also create this kind of cynicism and apathy. It's a way of keeping people out of politics and preventing civic engagement. I mean, a lot of these authoritarian states know that ... [the] biggest threat to their power is their own people. And so their goal is to prevent people from ever organizing, from ever being engaged, from ever caring at all. And one of the ways they do that is through this constant stream of lies that make people feel like they're simply unable to know anymore what's true and what's not. \u003c/p>\u003cp>\u003cstrong>On how political arguments went from policy to culture wars\u003c/strong>\u003c/p>\u003cp>The way we did politics even 10 years ago, which was we argued about real things. Right? We argued about health care. We argued about infrastructure investment. … So that was the stuff that politics was supposed to be about once. Politics isn't about that anymore. Once it's about existential questions and identity, and once it's only culture wars which are easily exaggerated …. then you're in the realm where it's much easier for demagogues and for people who are good at evoking and creating emotion to win arguments. And I think it just took a long time for the opposition forces to understand how this works.\u003c/p>\u003cp>\u003cem>Sam Briger and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz and Molly Seavy-Nesper adapted it for the web.\u003c/em>\u003cbr> \u003cdiv class=\"fullattribution\">Copyright 2024 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"authors":["npr_856763118"],"featImg":"npr_g-s1-12865"},"npr_g-s1-12879":{"type":"posts","id":"npr_g-s1-12879","meta":{"site":"npr","id":"g-s1-12879"},"slug":"apple-tvs-delightful-time-bandits-is-much-better-than-the-film-that-inspired-it","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/07/20240723_fa_e804d405-a59f-4102-b8aa-5843efc96143.mp3?d=522000&e=g-s1-12879","audioDuration":522000,"title":"Apple TV+'s delightful 'Time Bandits' is much better than the film that inspired it","excerpt":"Time really does fly in this fun and charming adventure series, based on Terry Gilliam's 1981 film about a gang of thieves who steal treasures at different points in history. ","publishDate":1721753679,"modified":1722022584,"format":"standard","content":"\u003cp> \u003cdiv class=\"fullattribution\">Copyright 2024 NPR\u003c/div>\u003c/p>","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003cdiv class=\"fullattribution\">Copyright 2024 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"authors":["npr_2101612"]},"npr_nx-s1-5048108":{"type":"posts","id":"npr_nx-s1-5048108","meta":{"site":"npr","id":"nx-s1-5048108"},"slug":"stunt-performer-turned-director-walks-away-mostly-unscathed-from-fights-flipped-cars","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/07/20240722_fa_3de66edf-8bdf-4628-a69b-99f60dc43bfe.mp3?d=2228000&e=nx-s1-5048108","audioDuration":2228000,"title":"Stunt performer turned director walks away mostly unscathed from fights, flipped cars","excerpt":"Filmmaker David Leitch says it's easier to do stunts himself than direct his stunt performer friends. \"You are responsible for their safety,\" he explains. \"Your heart goes through your chest.\"","publishDate":1721669379,"modified":1721741800,"format":"standard","content":"\u003cp>Two concussions. A broken ankle and wrist. A torn meniscus (... actually make that two). A lost front tooth. Former Hollywood stunt performer David Leitch is no stranger to on-the-job injury. He says pain tolerance and being \"a little bit tough\" can come in handy when you get thrown out of windows for a living.\u003c/p>\u003cp>Leitch has since shifted into filmmaking. His latest, \u003ca href=\"https://www.npr.org/2024/05/03/1248654644/the-fall-guy-review-ryan-gosling-emily-blunt\">The Fall Guy\u003c/a>\u003cem>,\u003c/em> starring \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2024/05/10/1250431818/ryan-gosling-stephen-colbert-mosquito\">Ryan Gosling\u003c/a>, is a tribute to stunt performers and the often unrecognized risks they take.\u003c/p>\u003cp>The film begins with a montage of action sequences: A man tumbles down a rocky cliff, rides a motorcycle over the roofs of several cars, gets thrown through a bus window and runs through a battlefield surrounded by explosions.\u003cem> \u003c/em>Leitch says coordinating the stunts from behind the camera was actually more harrowing than executing them himself. \u003c/p>\u003cp>\"It's harder because you have your friends that are doing the stunts and you're designing them and you are responsible for their safety,\" he explains. \"Your heart goes through your chest.\"\u003c/p>\u003cp>As a stunt performer, Leitch doubled for Brad Pitt in\u003cem> Fight Club, Mr. & Mrs. Smith \u003c/em>and \u003cem>Ocean's Eleven, \u003c/em>and for Matt Damon\u003cem> \u003c/em>in\u003cem> The Bourne Ultimatum. \u003c/em>His directorial credits include \u003ca href=\"https://www.npr.org/2022/07/27/1114058387/bullet-train-a-high-speed-fail\">Bullet Train,\u003c/a>\u003ca href=\"https://www.npr.org/2019/07/31/745729767/better-stunts-actors-just-as-derivative-fast-furious-presents-hobbs-shaw\">Fast & Furious Presents: Hobbs & Shaw\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://www.npr.org/2018/05/15/610448339/grim-n-gritty-is-out-glib-n-smarmy-is-in-deadpool-2\">Deadpool 2\u003c/a> and\u003cem> \u003c/em>\u003ca href=\"https://www.npr.org/2017/07/27/539213483/-atomic-blonde-is-a-blast\">Atomic Blonde\u003c/a>\u003cem>. \u003c/em>\u003c/p>\u003cp>\"You have to evolve,\" Leitch says of his transition from stunts to directing. \"Being the physical double that's getting ratcheted back from explosions or falling down the stairs or taking the big hits — I'm so grateful I was able to transition out of it, because you don't want to be doing that at a certain age.\"\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>Interview highlights\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On not wanting to reveal too many industry secrets in\u003cem> The Fall Guy\u003c/em>\u003c/strong>\u003c/p>\u003cp>It is a little bit like magic. I think we're always reinterpreting the classic gags and the classic tricks. And so that's what we did with \u003cem>Fall Guy\u003c/em>. We sort of reimagined the big car jump. We reimagined the high fall from the helicopter. And there is a little secrecy. … Because it was such a business where it was passed down. It's apprenticeships, it's passed down from family — usually to kids — and it's hard to crack in and find someone to teach you because they didn't want to share the knowledge so much. \u003c/p>\u003cp>I think in \u003cem>Fall Guy\u003c/em>, we tried to pull the veil back just enough and not, give too much away. You see those fire stunts? We didn't really give the science behind that away. That's what's really amazing about stunts. I think people think it's a bunch of daredevils, and there's a little bit of that sensibility in stunt performers, but really, there's a lot of physics and math and legacy tricks that get you through the day.\u003c/p>\u003cp>\u003cstrong>On what goes through his mind right before a stunt\u003c/strong>\u003c/p>\u003cp>Ultimately a lot of stunt work is trusting your team. … You're hooked up to this machine and you're trusting the physics of it, and you've rehearsed it and you've seen the weight bags go down and up, but again, you're stepping off the ledge and you have to have this ability to calm your nerves, [to] trust in the process, [to] have the confidence that, you know, we've tested this over and over and it's going to go great. And so it's not unlike an athlete at the starting line: You really have to focus on the first step and then your body takes over. And you wait, you hear that cue \"action\" and you go.\u003c/p>\u003cp>\u003cstrong>On how his stunt work on the \u003cem>Matrix\u003c/em> changed Hollywood\u003c/strong>\u003c/p>\u003cp>I was a fan of a lot of different Asian cinema, Korean and Chinese and Japanese cinema that had martial arts in the lead characters. Everyone just knew how to fight, and they could fight with a martial art style. Whether it was a police drama or a heightened sci-fi thing, every character knew how to fight. And it wasn't until the \u003cem>Matrix\u003c/em> movies where the Wachowskis [directors Lana Wachowski and Lilly Wachowski] had sort of said, \"Hey, we want to have that same vibe in Western cinema.\" And I think after that first \u003cem>Matrix\u003c/em> film hit the ground where you saw Keanu and Laurence Fishburne fight in this dojo, and there were the actors doing the fighting, I mean, that had not happened to that level in Western cinema before that, really. So it was like a light went off for myself and a core group of us who were sort of training together at the time. …\u003c/p>\u003cp>We started to take that opportunity with a lot of different films, and we were of up-and-coming stunt coordinators and we were really specializing in fight choreography. And we did something that we learned from that Hong Kong team on the \u003cem>Matrix\u003c/em> films: We would shoot and edit our own fight scenes to present to the directors and the producers, and through that we built a name for ourselves, and we also learned how to tell stories. And we also learned how to technically direct. We were shooting and editing these sequences and presenting them as sort of finished ideas like moving storyboards. And now it's something that is like, standard.\u003c/p>\u003cp>\u003cstrong>On enduring the physical pain of stunts\u003c/strong>\u003c/p>\u003cp>The car stunts and cars and fire and things like that, they actually hurt less sometimes, I think, because you've built in all these protocols to protect the performer and there's a lot of science involved, but the meat and potatoes of stunt performing is just physical performance. And sometimes [it's] getting thrown down a set of stairs [for] multiple takes and how to protect yourself. And you know you're not going to break anything, but you're going to get a lot of bumps and bruises and twisted ankles and crooked necks, but that's just something that you accept. \u003c/p>\u003cp>\u003cstrong>On being asked to do more takes when you’re in pain\u003c/strong>\u003c/p>\u003cp>You hate it, but you're stoic about it. … The unwritten contract that you sign, like if you can get up, you should be going again. And the stunt coordinator expects you to do that too, because he's hired you and he doesn't want you to not make him look good in front of the director.\u003c/p>\u003cp>\u003cstrong>On not showing your face as a stunt performer so the audience believes it’s the actor\u003c/strong>\u003c/p>\u003cp>It was definitely part of the old-school mentality. You learned how to hit a mini trampoline and jump in the air and keep your head away from camera. … Like, I always try to give [the director] the back of your head. And you just got good at it. … It's kind of changed in the last decade or so, because the use of face replacement allows you to just let the stunt performer perform and then if it's a few frames where we see a face, we can use a digital still and wrap it around their face and with motion blur and simple visual effects, you can mask the stunt performer's profile or face or whatever. And it allows the performers more freedom in doing the action and not trying to contort their body to hide their face.\u003c/p>\u003cp>\u003cstrong>On whether visual effects will replace stunt performers\u003c/strong>\u003c/p>\u003cp>I know that that's where the world is heading, and I think that that's OK. For me, as someone who enjoys action films, I feel the difference in the stakes of what's happening on the screen with the characters when I feel that it's real.\u003cstrong> \u003c/strong>And so I think there’ll always be the want for that. I hope especially for action film lovers, but actually just really good storytelling. The visual effects and the CGI can't deliver the reality of really feeling the stakes behind it all, then it's always going to fall flat.\u003c/p>\u003cp>\u003cem>Heidi Saman and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.\u003c/em>\u003cbr> \u003cdiv class=\"fullattribution\">Copyright 2024 NPR\u003c/div>\u003c/p>","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two concussions. A broken ankle and wrist. A torn meniscus (... actually make that two). A lost front tooth. Former Hollywood stunt performer David Leitch is no stranger to on-the-job injury. He says pain tolerance and being \"a little bit tough\" can come in handy when you get thrown out of windows for a living.\u003c/p>\u003cp>Leitch has since shifted into filmmaking. His latest, \u003ca href=\"https://www.npr.org/2024/05/03/1248654644/the-fall-guy-review-ryan-gosling-emily-blunt\">The Fall Guy\u003c/a>\u003cem>,\u003c/em> starring \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2024/05/10/1250431818/ryan-gosling-stephen-colbert-mosquito\">Ryan Gosling\u003c/a>, is a tribute to stunt performers and the often unrecognized risks they take.\u003c/p>\u003cp>The film begins with a montage of action sequences: A man tumbles down a rocky cliff, rides a motorcycle over the roofs of several cars, gets thrown through a bus window and runs through a battlefield surrounded by explosions.\u003cem> \u003c/em>Leitch says coordinating the stunts from behind the camera was actually more harrowing than executing them himself. \u003c/p>\u003cp>\"It's harder because you have your friends that are doing the stunts and you're designing them and you are responsible for their safety,\" he explains. \"Your heart goes through your chest.\"\u003c/p>\u003cp>As a stunt performer, Leitch doubled for Brad Pitt in\u003cem> Fight Club, Mr. & Mrs. Smith \u003c/em>and \u003cem>Ocean's Eleven, \u003c/em>and for Matt Damon\u003cem> \u003c/em>in\u003cem> The Bourne Ultimatum. \u003c/em>His directorial credits include \u003ca href=\"https://www.npr.org/2022/07/27/1114058387/bullet-train-a-high-speed-fail\">Bullet Train,\u003c/a>\u003ca href=\"https://www.npr.org/2019/07/31/745729767/better-stunts-actors-just-as-derivative-fast-furious-presents-hobbs-shaw\">Fast & Furious Presents: Hobbs & Shaw\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://www.npr.org/2018/05/15/610448339/grim-n-gritty-is-out-glib-n-smarmy-is-in-deadpool-2\">Deadpool 2\u003c/a> and\u003cem> \u003c/em>\u003ca href=\"https://www.npr.org/2017/07/27/539213483/-atomic-blonde-is-a-blast\">Atomic Blonde\u003c/a>\u003cem>. \u003c/em>\u003c/p>\u003cp>\"You have to evolve,\" Leitch says of his transition from stunts to directing. \"Being the physical double that's getting ratcheted back from explosions or falling down the stairs or taking the big hits — I'm so grateful I was able to transition out of it, because you don't want to be doing that at a certain age.\"\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>Interview highlights\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On not wanting to reveal too many industry secrets in\u003cem> The Fall Guy\u003c/em>\u003c/strong>\u003c/p>\u003cp>It is a little bit like magic. I think we're always reinterpreting the classic gags and the classic tricks. And so that's what we did with \u003cem>Fall Guy\u003c/em>. We sort of reimagined the big car jump. We reimagined the high fall from the helicopter. And there is a little secrecy. … Because it was such a business where it was passed down. It's apprenticeships, it's passed down from family — usually to kids — and it's hard to crack in and find someone to teach you because they didn't want to share the knowledge so much. \u003c/p>\u003cp>I think in \u003cem>Fall Guy\u003c/em>, we tried to pull the veil back just enough and not, give too much away. You see those fire stunts? We didn't really give the science behind that away. That's what's really amazing about stunts. I think people think it's a bunch of daredevils, and there's a little bit of that sensibility in stunt performers, but really, there's a lot of physics and math and legacy tricks that get you through the day.\u003c/p>\u003cp>\u003cstrong>On what goes through his mind right before a stunt\u003c/strong>\u003c/p>\u003cp>Ultimately a lot of stunt work is trusting your team. … You're hooked up to this machine and you're trusting the physics of it, and you've rehearsed it and you've seen the weight bags go down and up, but again, you're stepping off the ledge and you have to have this ability to calm your nerves, [to] trust in the process, [to] have the confidence that, you know, we've tested this over and over and it's going to go great. And so it's not unlike an athlete at the starting line: You really have to focus on the first step and then your body takes over. And you wait, you hear that cue \"action\" and you go.\u003c/p>\u003cp>\u003cstrong>On how his stunt work on the \u003cem>Matrix\u003c/em> changed Hollywood\u003c/strong>\u003c/p>\u003cp>I was a fan of a lot of different Asian cinema, Korean and Chinese and Japanese cinema that had martial arts in the lead characters. Everyone just knew how to fight, and they could fight with a martial art style. Whether it was a police drama or a heightened sci-fi thing, every character knew how to fight. And it wasn't until the \u003cem>Matrix\u003c/em> movies where the Wachowskis [directors Lana Wachowski and Lilly Wachowski] had sort of said, \"Hey, we want to have that same vibe in Western cinema.\" And I think after that first \u003cem>Matrix\u003c/em> film hit the ground where you saw Keanu and Laurence Fishburne fight in this dojo, and there were the actors doing the fighting, I mean, that had not happened to that level in Western cinema before that, really. So it was like a light went off for myself and a core group of us who were sort of training together at the time. …\u003c/p>\u003cp>We started to take that opportunity with a lot of different films, and we were of up-and-coming stunt coordinators and we were really specializing in fight choreography. And we did something that we learned from that Hong Kong team on the \u003cem>Matrix\u003c/em> films: We would shoot and edit our own fight scenes to present to the directors and the producers, and through that we built a name for ourselves, and we also learned how to tell stories. And we also learned how to technically direct. We were shooting and editing these sequences and presenting them as sort of finished ideas like moving storyboards. And now it's something that is like, standard.\u003c/p>\u003cp>\u003cstrong>On enduring the physical pain of stunts\u003c/strong>\u003c/p>\u003cp>The car stunts and cars and fire and things like that, they actually hurt less sometimes, I think, because you've built in all these protocols to protect the performer and there's a lot of science involved, but the meat and potatoes of stunt performing is just physical performance. And sometimes [it's] getting thrown down a set of stairs [for] multiple takes and how to protect yourself. And you know you're not going to break anything, but you're going to get a lot of bumps and bruises and twisted ankles and crooked necks, but that's just something that you accept. \u003c/p>\u003cp>\u003cstrong>On being asked to do more takes when you’re in pain\u003c/strong>\u003c/p>\u003cp>You hate it, but you're stoic about it. … The unwritten contract that you sign, like if you can get up, you should be going again. And the stunt coordinator expects you to do that too, because he's hired you and he doesn't want you to not make him look good in front of the director.\u003c/p>\u003cp>\u003cstrong>On not showing your face as a stunt performer so the audience believes it’s the actor\u003c/strong>\u003c/p>\u003cp>It was definitely part of the old-school mentality. You learned how to hit a mini trampoline and jump in the air and keep your head away from camera. … Like, I always try to give [the director] the back of your head. And you just got good at it. … It's kind of changed in the last decade or so, because the use of face replacement allows you to just let the stunt performer perform and then if it's a few frames where we see a face, we can use a digital still and wrap it around their face and with motion blur and simple visual effects, you can mask the stunt performer's profile or face or whatever. And it allows the performers more freedom in doing the action and not trying to contort their body to hide their face.\u003c/p>\u003cp>\u003cstrong>On whether visual effects will replace stunt performers\u003c/strong>\u003c/p>\u003cp>I know that that's where the world is heading, and I think that that's OK. For me, as someone who enjoys action films, I feel the difference in the stakes of what's happening on the screen with the characters when I feel that it's real.\u003cstrong> \u003c/strong>And so I think there’ll always be the want for that. I hope especially for action film lovers, but actually just really good storytelling. The visual effects and the CGI can't deliver the reality of really feeling the stakes behind it all, then it's always going to fall flat.\u003c/p>\u003cp>\u003cem>Heidi Saman and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.\u003c/em>\u003cbr> \u003cdiv class=\"fullattribution\">Copyright 2024 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"authors":["npr_2100593"],"featImg":"npr_g-s1-12677"},"npr_g-s1-12706":{"type":"posts","id":"npr_g-s1-12706","meta":{"site":"npr","id":"g-s1-12706"},"slug":"50-years-ago-country-life-solidified-roxy-musics-reputation-as-art-rockers","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/07/20240722_fa_bf97c6ab-0f5a-45a8-96c8-001adfc54c6e.mp3?d=481000&e=g-s1-12706","audioDuration":481000,"title":"50 years ago, 'Country Life' solidified Roxy Music's reputation as art-rockers","excerpt":"The British band Roxy Music, led by singer/songwriter Bryan Ferry, released their fourth album in 1974. It would go on to crack the Billboard top 40 — and it remains thrilling today.","publishDate":1721669173,"modified":1722011578,"format":"standard","content":"\u003cp> \u003cdiv class=\"fullattribution\">Copyright 2024 NPR\u003c/div>\u003c/p>","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003cdiv class=\"fullattribution\">Copyright 2024 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"authors":["npr_4473024"]}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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