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"title": "Fresh Air Weekend: 'Sinners' actor Delroy Lindo; Novelist Tayari Jones",
"excerpt": "No matter what happens at the Oscars, Lindo says he's embracing \"the joy of this moment.\"\u003cstrong> \u003c/strong>Jones' novel \u003cem>Kin\u003c/em> tells the story of two young women who grow up next door to each other without their mothers.",
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"content": "\u003cp>Fresh Air Weekend \u003cem>highlights some of the best interviews and reviews from past weeks, as well as new program elements specially paced for weekends. Our weekend show emphasizes interviews with writers, filmmakers, actors and musicians, and it often includes excerpts from live in-studio concerts. This week:\u003c/em>\u003c/p>\u003cp>\u003cstrong>No matter what happens at the Oscars, Delroy Lindo embraces \"the joy of this moment\": \u003c/strong>Lindo is nominated for best supporting actor for his role in \u003cem>Sinners\u003c/em>. At the BAFTA awards, Lindo was presenting when a man with Tourette syndrome in the audience yelled out a racial slur.\u003c/p>\u003cp>\u003cstrong>Years ago, novelist Tayari Jones snuck into a writing class. It changed her life: \u003c/strong>Jones' new novel, \u003cem>Kin\u003c/em>, is set in 1950s Louisiana and Atlanta, and tells the story of two young women who grow up next door to each other without their mothers.\u003c/p>\u003cp>\u003cem>You can listen to the original interviews here:\u003c/em> \u003cdiv class=\"fullattribution\">Copyright 2026 NPR\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fresh Air Weekend \u003cem>highlights some of the best interviews and reviews from past weeks, as well as new program elements specially paced for weekends. Our weekend show emphasizes interviews with writers, filmmakers, actors and musicians, and it often includes excerpts from live in-studio concerts. This week:\u003c/em>\u003c/p>\u003cp>\u003cstrong>No matter what happens at the Oscars, Delroy Lindo embraces \"the joy of this moment\": \u003c/strong>Lindo is nominated for best supporting actor for his role in \u003cem>Sinners\u003c/em>. At the BAFTA awards, Lindo was presenting when a man with Tourette syndrome in the audience yelled out a racial slur.\u003c/p>\u003cp>\u003cstrong>Years ago, novelist Tayari Jones snuck into a writing class. It changed her life: \u003c/strong>Jones' new novel, \u003cem>Kin\u003c/em>, is set in 1950s Louisiana and Atlanta, and tells the story of two young women who grow up next door to each other without their mothers.\u003c/p>\u003cp>\u003cem>You can listen to the original interviews here:\u003c/em> \u003cdiv class=\"fullattribution\">Copyright 2026 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>",
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"slug": "scarpetta-is-a-captivating-murder-mystery-and-a-high-wire-balancing-act",
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"title": "'Scarpetta' is a captivating murder mystery — and a high-wire balancing act",
"excerpt": "Based on a series of novels by best-selling author Patricia Cornwell, \u003cem>Scarpetta\u003c/em> follows two different mysteries from two different timelines. It's structurally complicated — but it all holds up.",
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"content": "\u003cp>In \u003cem>Scarpetta\u003c/em>, the new mystery series now streaming on Prime Video, \u003ca href=\"https://www.npr.org/2022/01/12/1072060147/nicole-kidman-being-the-ricardos\" target=\"_blank\">Nicole Kidman\u003c/a> plays medical examiner Kay Scarpetta — but she isn't the only one portraying the character. \u003c/p>\u003cp>The narrative in \u003cem>Scarpetta \u003c/em>unfolds as two different mysteries from two different timelines, and shifts between them like cards being shuffled in a deck. One timeline, in the present, has Kidman as Kay, returning to her old job after a long time off, and instantly faced with a baffling set of murders. The other timeline, from 1998, shows a younger Kay taking the job as chief medical examiner for the first time — and being hit with a serial murder case then, too. \u003c/p>\u003cp>In scenes from the past, Kay is played by a different actress, Rosy McEwen, who matches Kidman's mannerisms and demeanor perfectly. It's a high-wire balancing act, also required of almost all the other young actors, who manage to mirror their more mature counterparts convincingly and entertainingly. \u003c/p>\u003cp>That's not an easy task, because the actors in the current timeline are major players, delivering excellent, wide-ranging performances. \u003ca href=\"https://www.npr.org/2025/12/11/nx-s1-5640030/jamie-lee-curtis-ella-mckay-janet-leigh-sobriety-beauty-standards-hollywood\" target=\"_blank\">Jamie Lee Curtis\u003c/a> plays Kay's flamboyant sister, Dorothy, author of a popular series of children's books. \u003ca href=\"https://www.npr.org/2013/01/09/167470435/bobby-cannavale-at-home-on-broadway\" target=\"_blank\">Bobby Cannavale\u003c/a> plays plain-speaking, quick-tempered homicide detective Pete Marino, and Simon Baker plays cerebral FBI profiler Benton Wesley.\u003c/p>\u003cp>All of these movie stars have done exceptionally well on television: Baker on \u003cem>The Mentalist,\u003c/em> Cannavale on \u003ca href=\"https://www.npr.org/2014/09/11/347552966/as-boardwalk-empire-comes-to-close-creator-reminisces-on-how-it-started\" target=\"_blank\">\u003cem>Boardwalk Empire\u003c/em>\u003c/a>, Curtis on \u003ca href=\"https://www.npr.org/2025/06/27/nx-s1-5448708/why-the-bear-is-the-best-series-on-television-right-now\" target=\"_blank\">\u003cem>The Bear\u003c/em>\u003c/a> and Kidman in a string of small-screen triumphs, including \u003ca href=\"https://www.npr.org/2021/08/16/1028101133/nine-perfect-strangers-is-the-latest-show-from-the-big-little-lies-team\" target=\"_blank\">\u003cem>Nine Perfect Strangers\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://www.npr.org/2024/09/07/nx-s1-5103908/the-perfect-couple-netflix-nicole-kidman\" target=\"_blank\">\u003cem>The Perfect Couple\u003c/em>\u003c/a>\u003cem> \u003c/em>and \u003ca href=\"https://www.npr.org/2019/06/06/730275468/with-1-huge-lie-revealed-big-little-lies-season-2-takes-a-slow-burn-strategy\" target=\"_blank\">\u003cem>Big Little Lies\u003c/em>\u003c/a>\u003cem>.\u003c/em> \u003c/p>\u003cp>When Kidman and Curtis share the screen, which is often, it's incendiary. As youngsters, Kay witnessed their father's death during a robbery — one of many differences between the two sisters.\u003c/p>\u003cp>\u003cem>Scarpetta\u003c/em> is based on a series of novels by best-selling author Patricia Cornwell, who's written 29 stories to date built around Kay Scarpetta. The modern parts of this first-season story — a follow-up second season already has been ordered — are inspired by \u003cem>Autopsy\u003c/em>, the 25th book in her series. The murder mystery set in the past is from Cornwell's very first Scarpetta novel, \u003cem>Postmortem\u003c/em>, from 1990. \u003c/p>\u003cp>Liz Sarnoff, the writer-producer who developed this for television, combines them both, in a format that demands close attention — but rewards it, too. And she has experience writing for some extremely smart TV series, including ABC's \u003ca href=\"https://www.npr.org/2009/12/16/114437922/lost-is-the-most-important-show-of-the-decade-why-because-its-doomed\" target=\"_blank\">\u003cem>Lost\u003c/em>\u003c/a> and HBO's \u003ca href=\"https://www.npr.org/2019/05/31/728586097/13-years-later-deadwood-goes-out-just-as-brilliantly-as-it-came-in\" target=\"_blank\">\u003cem>Deadwood\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2023/04/14/1169643470/barry-season-4-review-hbo-bill-hader\" target=\"_blank\">\u003cem>Barry\u003c/em>\u003c/a>.\u003c/p>\u003cp>Sarnoff, working with a pool of directors and other writers, delivers solid mysteries in both storylines, as well as an intriguing subplot involving emotional dependence on an AI-generated personality. But it's the characters, not the clues, that make \u003cem>Scarpetta\u003c/em> so captivating. The veteran actors are rock-solid — Cannavale, especially, is terrific — and so are their younger counterparts. In one bit of very effective casting, the younger version of Cannavale's detective is played by the actor's own son, Jake. \u003c/p>\u003cp>I realize this whole series structure sounds complicated. And it is. But it's rewarding, too. I've seen all eight episodes, and the plots and the characters really hold up. And I haven't even mentioned Ariana DeBose, another major name in this production, who plays Dorothy's daughter. Or Amanda Righetti, who plays Dorothy in the flashback scenes. There's a lot to applaud here, and a lot to absorb. And with Prime Video streaming the entire series at once, you can gobble it up as fast as you can, to help keep things straight, just like a good novel. Or two good novels.\u003cbr> \u003cdiv class=\"fullattribution\">Copyright 2026 NPR\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003cem>Scarpetta\u003c/em>, the new mystery series now streaming on Prime Video, \u003ca href=\"https://www.npr.org/2022/01/12/1072060147/nicole-kidman-being-the-ricardos\" target=\"_blank\">Nicole Kidman\u003c/a> plays medical examiner Kay Scarpetta — but she isn't the only one portraying the character. \u003c/p>\u003cp>The narrative in \u003cem>Scarpetta \u003c/em>unfolds as two different mysteries from two different timelines, and shifts between them like cards being shuffled in a deck. One timeline, in the present, has Kidman as Kay, returning to her old job after a long time off, and instantly faced with a baffling set of murders. The other timeline, from 1998, shows a younger Kay taking the job as chief medical examiner for the first time — and being hit with a serial murder case then, too. \u003c/p>\u003cp>In scenes from the past, Kay is played by a different actress, Rosy McEwen, who matches Kidman's mannerisms and demeanor perfectly. It's a high-wire balancing act, also required of almost all the other young actors, who manage to mirror their more mature counterparts convincingly and entertainingly. \u003c/p>\u003cp>That's not an easy task, because the actors in the current timeline are major players, delivering excellent, wide-ranging performances. \u003ca href=\"https://www.npr.org/2025/12/11/nx-s1-5640030/jamie-lee-curtis-ella-mckay-janet-leigh-sobriety-beauty-standards-hollywood\" target=\"_blank\">Jamie Lee Curtis\u003c/a> plays Kay's flamboyant sister, Dorothy, author of a popular series of children's books. \u003ca href=\"https://www.npr.org/2013/01/09/167470435/bobby-cannavale-at-home-on-broadway\" target=\"_blank\">Bobby Cannavale\u003c/a> plays plain-speaking, quick-tempered homicide detective Pete Marino, and Simon Baker plays cerebral FBI profiler Benton Wesley.\u003c/p>\u003cp>All of these movie stars have done exceptionally well on television: Baker on \u003cem>The Mentalist,\u003c/em> Cannavale on \u003ca href=\"https://www.npr.org/2014/09/11/347552966/as-boardwalk-empire-comes-to-close-creator-reminisces-on-how-it-started\" target=\"_blank\">\u003cem>Boardwalk Empire\u003c/em>\u003c/a>, Curtis on \u003ca href=\"https://www.npr.org/2025/06/27/nx-s1-5448708/why-the-bear-is-the-best-series-on-television-right-now\" target=\"_blank\">\u003cem>The Bear\u003c/em>\u003c/a> and Kidman in a string of small-screen triumphs, including \u003ca href=\"https://www.npr.org/2021/08/16/1028101133/nine-perfect-strangers-is-the-latest-show-from-the-big-little-lies-team\" target=\"_blank\">\u003cem>Nine Perfect Strangers\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://www.npr.org/2024/09/07/nx-s1-5103908/the-perfect-couple-netflix-nicole-kidman\" target=\"_blank\">\u003cem>The Perfect Couple\u003c/em>\u003c/a>\u003cem> \u003c/em>and \u003ca href=\"https://www.npr.org/2019/06/06/730275468/with-1-huge-lie-revealed-big-little-lies-season-2-takes-a-slow-burn-strategy\" target=\"_blank\">\u003cem>Big Little Lies\u003c/em>\u003c/a>\u003cem>.\u003c/em> \u003c/p>\u003cp>When Kidman and Curtis share the screen, which is often, it's incendiary. As youngsters, Kay witnessed their father's death during a robbery — one of many differences between the two sisters.\u003c/p>\u003cp>\u003cem>Scarpetta\u003c/em> is based on a series of novels by best-selling author Patricia Cornwell, who's written 29 stories to date built around Kay Scarpetta. The modern parts of this first-season story — a follow-up second season already has been ordered — are inspired by \u003cem>Autopsy\u003c/em>, the 25th book in her series. The murder mystery set in the past is from Cornwell's very first Scarpetta novel, \u003cem>Postmortem\u003c/em>, from 1990. \u003c/p>\u003cp>Liz Sarnoff, the writer-producer who developed this for television, combines them both, in a format that demands close attention — but rewards it, too. And she has experience writing for some extremely smart TV series, including ABC's \u003ca href=\"https://www.npr.org/2009/12/16/114437922/lost-is-the-most-important-show-of-the-decade-why-because-its-doomed\" target=\"_blank\">\u003cem>Lost\u003c/em>\u003c/a> and HBO's \u003ca href=\"https://www.npr.org/2019/05/31/728586097/13-years-later-deadwood-goes-out-just-as-brilliantly-as-it-came-in\" target=\"_blank\">\u003cem>Deadwood\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2023/04/14/1169643470/barry-season-4-review-hbo-bill-hader\" target=\"_blank\">\u003cem>Barry\u003c/em>\u003c/a>.\u003c/p>\u003cp>Sarnoff, working with a pool of directors and other writers, delivers solid mysteries in both storylines, as well as an intriguing subplot involving emotional dependence on an AI-generated personality. But it's the characters, not the clues, that make \u003cem>Scarpetta\u003c/em> so captivating. The veteran actors are rock-solid — Cannavale, especially, is terrific — and so are their younger counterparts. In one bit of very effective casting, the younger version of Cannavale's detective is played by the actor's own son, Jake. \u003c/p>\u003cp>I realize this whole series structure sounds complicated. And it is. But it's rewarding, too. I've seen all eight episodes, and the plots and the characters really hold up. And I haven't even mentioned Ariana DeBose, another major name in this production, who plays Dorothy's daughter. Or Amanda Righetti, who plays Dorothy in the flashback scenes. There's a lot to applaud here, and a lot to absorb. And with Prime Video streaming the entire series at once, you can gobble it up as fast as you can, to help keep things straight, just like a good novel. Or two good novels.\u003cbr> \u003cdiv class=\"fullattribution\">Copyright 2026 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>",
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"slug": "derry-girls-creator-returns-with-a-gleeful-riff-on-the-murder-mystery",
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"title": "'Derry Girls' creator returns with a gleeful riff on the murder mystery",
"excerpt": "In the hilarious Netflix series \u003cem>How to Get to Heaven from Belfast\u003c/em>, three women learn that a long estranged school friend has died in a suspicious manner — and take it upon themselves to investigate.",
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"content": "\u003cp>When I first discovered stories as a kid, I was in love with plot. I was thrilled by the way that everything could slide so neatly into place. But as I watched and read more, the thrill began to vanish. Plots began to feel like freeways: great for moving you along efficiently, but all pretty much the same. And, in truth, you can't see much of life from them. You're better off on the streets, back roads and alleyways.\u003c/p>\u003cp>Someone who grasps this is Lisa McGee, the Northern Irish screenwriter who had an international hit with \u003ca href=\"https://www.npr.org/2019/09/10/757529881/in-northern-ireland-derry-girls-balance-teen-comedy-and-sectarian-conflict\" target=\"_blank\">\u003cem>Derry Girls\u003c/em>\u003c/a>, a beloved teen comedy series set during the violent Troubles of the late 1990s. This time out, McGee has turned her unruly sensibility to a crime show. The result — Netflix's \u003cem>How to Get to Heaven from Belfast\u003c/em> — is a madcap riff on the murder mystery. Vastly entertaining and flagrantly Irish, the show serves up so many different tones that it's like watching one of those performers who can juggle a chainsaw, a puppy and a bowl of jello while playing a banjo with their teeth.\u003c/p>\u003cp>The story centers on three late-30s Belfast women who've been friends since going to Catholic school together. There's Saoirse (Roísín Gallagher), a tireless fantasist who created a hit cop show that even she thinks is stupid. Robyn (Sinéad Keenan) is a bossy, foul-mouthed bourgeois mother of three — imagine an Irish Reese Witherspoon. And there's Dara (Caoilfhionn Dunne), a lovelorn lesbian who's stuck as her mother's caregiver. She might seem like a drip, except that Dunne gives her the quiet drollery of a Buster Keaton or Stan Laurel.\u003c/p>\u003cp>The three hear about the death of their estranged school friend Greta with whom they have long shared a dark, potentially ruinous secret. And so they head down to scenic County Donegal to pay their respects. But they quickly realize there's something suspicious about Greta's death. \u003c/p>\u003cp>At Saoirse's urging — she writes crime shows, after all — they begin to dig. Naturally, trouble follows. Soon they're dealing with everyone from an enigmatically murderous outlaw named Booker to Liam, a member of the Irish Garda, or police, who they fear will learn their secret.\u003c/p>\u003cp>Now, I worry this description may make the show sound like a cosily routine murder mystery. It is anything but. As the show leaps between past and present, our heroines rocket from one loony scene to the next. They see ghosts. They have car crashes (yes, more than one). They find themselves in funerals, five-star Portuguese resorts, abandoned lighthouses, yachts, golf carts, jails, religious processions and country and western nights at a pub where women dress as Dolly Parton — not to mention a St. Patrick Day's parade bursting with the screwball exuberance of a Preston Sturges movie.\u003c/p>\u003cp>The opening episodes of \u003cem>How to Get to Heaven from Belfast\u003c/em> are so gleefully freewheeling that it's a tad disappointing when later on it serves up some obligatory crime show stuff — you know, explaining the crime, drawing a moral, etc. The show is at its best when it's most anarchic.\u003c/p>\u003cp>Luckily, McGee is less interested in the creaky mechanisms of mystery plotting than in conjuring up a giddily surreal world, one that weds some of David Lynch's sense of teenage darkness to an antic comic style akin to the Marx Brothers. The show is teeming with garrulous Irish folk whose dialogue just sings. None more so than Robyn, niftily played by Keenan, a buzzing beehive of a woman who fires off obscene and blasphemous lines like a rapper.\u003c/p>\u003cp>The glue that holds all the lunacy together is the decades-old friendship of its heroines. Here are women who know how to annoy, wound and manipulate each other. They bicker hilariously. Although they've grown up and gone their separate ways, they're still living out feelings and experiences they shared back when they were teens in their school uniforms, a period to which the show keeps flashing back.\u003c/p>\u003cp>We see the adult Saoirse, Robyn and Dara in their younger selves, each living out a destiny that feels almost pre-ordained, both in its trajectory and its frustrations. With devoutly unsentimental Irish good cheer, McGee reminds us that they carry the past with them always. \u003cdiv class=\"fullattribution\">Copyright 2026 NPR\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I first discovered stories as a kid, I was in love with plot. I was thrilled by the way that everything could slide so neatly into place. But as I watched and read more, the thrill began to vanish. Plots began to feel like freeways: great for moving you along efficiently, but all pretty much the same. And, in truth, you can't see much of life from them. You're better off on the streets, back roads and alleyways.\u003c/p>\u003cp>Someone who grasps this is Lisa McGee, the Northern Irish screenwriter who had an international hit with \u003ca href=\"https://www.npr.org/2019/09/10/757529881/in-northern-ireland-derry-girls-balance-teen-comedy-and-sectarian-conflict\" target=\"_blank\">\u003cem>Derry Girls\u003c/em>\u003c/a>, a beloved teen comedy series set during the violent Troubles of the late 1990s. This time out, McGee has turned her unruly sensibility to a crime show. The result — Netflix's \u003cem>How to Get to Heaven from Belfast\u003c/em> — is a madcap riff on the murder mystery. Vastly entertaining and flagrantly Irish, the show serves up so many different tones that it's like watching one of those performers who can juggle a chainsaw, a puppy and a bowl of jello while playing a banjo with their teeth.\u003c/p>\u003cp>The story centers on three late-30s Belfast women who've been friends since going to Catholic school together. There's Saoirse (Roísín Gallagher), a tireless fantasist who created a hit cop show that even she thinks is stupid. Robyn (Sinéad Keenan) is a bossy, foul-mouthed bourgeois mother of three — imagine an Irish Reese Witherspoon. And there's Dara (Caoilfhionn Dunne), a lovelorn lesbian who's stuck as her mother's caregiver. She might seem like a drip, except that Dunne gives her the quiet drollery of a Buster Keaton or Stan Laurel.\u003c/p>\u003cp>The three hear about the death of their estranged school friend Greta with whom they have long shared a dark, potentially ruinous secret. And so they head down to scenic County Donegal to pay their respects. But they quickly realize there's something suspicious about Greta's death. \u003c/p>\u003cp>At Saoirse's urging — she writes crime shows, after all — they begin to dig. Naturally, trouble follows. Soon they're dealing with everyone from an enigmatically murderous outlaw named Booker to Liam, a member of the Irish Garda, or police, who they fear will learn their secret.\u003c/p>\u003cp>Now, I worry this description may make the show sound like a cosily routine murder mystery. It is anything but. As the show leaps between past and present, our heroines rocket from one loony scene to the next. They see ghosts. They have car crashes (yes, more than one). They find themselves in funerals, five-star Portuguese resorts, abandoned lighthouses, yachts, golf carts, jails, religious processions and country and western nights at a pub where women dress as Dolly Parton — not to mention a St. Patrick Day's parade bursting with the screwball exuberance of a Preston Sturges movie.\u003c/p>\u003cp>The opening episodes of \u003cem>How to Get to Heaven from Belfast\u003c/em> are so gleefully freewheeling that it's a tad disappointing when later on it serves up some obligatory crime show stuff — you know, explaining the crime, drawing a moral, etc. The show is at its best when it's most anarchic.\u003c/p>\u003cp>Luckily, McGee is less interested in the creaky mechanisms of mystery plotting than in conjuring up a giddily surreal world, one that weds some of David Lynch's sense of teenage darkness to an antic comic style akin to the Marx Brothers. The show is teeming with garrulous Irish folk whose dialogue just sings. None more so than Robyn, niftily played by Keenan, a buzzing beehive of a woman who fires off obscene and blasphemous lines like a rapper.\u003c/p>\u003cp>The glue that holds all the lunacy together is the decades-old friendship of its heroines. Here are women who know how to annoy, wound and manipulate each other. They bicker hilariously. Although they've grown up and gone their separate ways, they're still living out feelings and experiences they shared back when they were teens in their school uniforms, a period to which the show keeps flashing back.\u003c/p>\u003cp>We see the adult Saoirse, Robyn and Dara in their younger selves, each living out a destiny that feels almost pre-ordained, both in its trajectory and its frustrations. With devoutly unsentimental Irish good cheer, McGee reminds us that they carry the past with them always. \u003cdiv class=\"fullattribution\">Copyright 2026 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>",
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"title": "Benicio del Toro reflects on the acting class that changed his life",
"excerpt": "One of del Toro's early acting teachers taught him to understand his character before learning lines. He's up for an Oscar for his role in \u003cem>One Battle After Another. Originally broadcast June 12, 2025.\u003c/em>",
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"content": "\u003cp>One of del Toro's early acting teachers taught him to understand his character before learning lines. He's up for an Oscar for his role in \u003cem>One Battle After Another. Originally broadcast June 12, 2025.\u003c/em> \u003cdiv class=\"fullattribution\">Copyright 2026 NPR\u003c/div>\u003c/p>",
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"title": "This reporter went bust while covering America's sports betting boom",
"excerpt": "Americans are betting on sports, elections, award shows and even military actions. \u003cem>The Atlantic\u003c/em> writer McKay Coppins bet $10k from his employer in his investigation of this gambling world.",
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"slug": "harrison-ford-isnt-retiring-i-really-wouldnt-know-what-to-do-with-myself",
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"title": "Harrison Ford isn't retiring: 'I really wouldn't know what to do with myself'",
"excerpt": "Ford struggled to find his footing in Hollywood before being cast as Han Solo in \u003cem>Star Wars\u003c/em>. Now 83, he plays a therapist in the Apple TV series \u003cem>Shrinking\u003c/em>: \"I really do love the work,\" he says. ",
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"content": "\u003cp>After playing some of the most recognizable and beloved characters in cinematic history, Harrison Ford is not interested in retiring. \"Without my work, I really wouldn't know what to do with myself,\" the 83-year-old actor says. \"I really do love the work. … It constantly changes, and the people change, and the mission and the opportunity change, and it just makes for an interesting way to live your life.\"\u003c/p>\u003cp>Ford initially struggled to find his footing in Hollywood. He worked on-and-off as a carpenter for years before landing the breakthrough role of Han Solo in the original \u003ca href=\"https://www.npr.org/2025/06/20/nx-s1-5432435/star-wars-original-print-1977-bfi-london\" target=\"_blank\">\u003cem>Star Wars\u003c/em>\u003c/a>\u003cem> \u003c/em>film. He went on to star in the \u003cem>Star Wars\u003c/em> sequels, as well as the \u003ca href=\"https://www.npr.org/2023/06/29/1185140078/indiana-jones-is-back-for-his-fifth-and-perhaps-final-adventure\" target=\"_blank\">\u003cem>Indiana Jones \u003c/em>movies\u003c/a> and \u003cem>Blade Runner — \u003c/em>all the while frequently performing his own\u003cem> \u003c/em>action scenes.\u003c/p>\u003cp>\"I don't want to have to hide the face of the character because it's a stunt guy,\" he says. \"I want [the audience] to feel the blow. I want them to see the anxiety. I want them to be there when the decision is made or when the decision is missed. I just want them to be there.\"\u003c/p>\u003cp>In the current Apple TV series, \u003ca href=\"https://www.npr.org/2023/01/31/1152527309/shrinking-review-harrison-ford-jason-segel\" target=\"_blank\">\u003cem>Shrinking\u003c/em>\u003c/a>, Ford plays a therapist named Paul who's been diagnosed with \u003ca href=\"https://www.npr.org/2026/02/10/nx-s1-5702451/parkinsons-disease-symptoms-scan-network\" target=\"_blank\">Parkinson's disease\u003c/a>. Thus far, he says, the show's writers haven't shared with him the progression of Paul's disease. Instead, he says, \"Like a true Parkinson's patient, I don't really know what's coming. ... I'm sort of living with the symptoms I have been last described as having.\"\u003c/p>\u003cp>Recently, Ford \u003ca href=\"https://www.youtube.com/watch?v=dV_2CEa6Bbs\" target=\"_blank\">teared up\u003c/a> while accepting a recognition for lifetime achievement at the Actor Awards. \"That speech that I wrote was not crafted to be emotional; it just happened to me,\" he says. \"I feel slightly embarrassed by it, because I have enough experience with these things to want to be able to manage not to be overcome.\"\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On being asked to help in\u003cem> Star Wars\u003c/em> auditions while on a carpentry job at \u003c/strong>\u003ca href=\"https://www.npr.org/2016/11/15/502250244/to-make-the-godfather-his-way-francis-ford-coppola-waged-a-studio-battle\" target=\"_blank\">\u003cstrong>Francis Ford Coppola\u003c/strong>\u003c/a>\u003cstrong>'s office\u003c/strong>\u003c/p>\u003cp>I was there sweeping up. I was just finishing the job when George Lucas walked in [who Ford knew from appearing in Lucas' last film, \u003cem>American Graffiti\u003c/em>] … and I'm standing there in my carpenter's work belt, sweeping up the floor. It turned out to be a fortuitous occasion, because weeks later I would end up being asked if I would do them a favor and read with the other actors who were being considered for the parts. … I never was told that I was ever to be considered, and then at the end of the process, I guess they ended up with two groups of three people that were in final consideration. I've always been amused that in the second group, the character of Han Solo would have been played by \u003ca href=\"https://www.npr.org/2022/02/22/1082396080/christopher-walken\" target=\"_blank\">Chris Walken\u003c/a>. I would have loved to see that.\u003c/p>\u003cp>\u003cstrong>On his most famous ad-lib in a film \u003c/strong>\u003c/p>\u003cp>[It's] the line in\u003cem> Star Wars\u003c/em> where Princess Leia tells me that she loves me and I say, \"I know,\" instead of saying \"I love you too,\" which is the scripted line. Simply the impulse was to be more in character. And George Lucas, who had written the line, was not so happy that I didn't give him the original version. But I really felt strongly about it. So he made me sit next to him when he previewed the film in a public movie theater in San Francisco and it got ... a good laugh. And so he accepted it and left it in.\u003c/p>\u003cp>\u003cstrong>On seeing \u003cem>Star Wars\u003c/em> for the first time on screen\u003c/strong>\u003c/p>\u003cp>I was blown away. I mean, I was really shocked by the power of the film. We shot in England and our English crew were not used to something like\u003cem> Star Wars,\u003c/em> and so they were pretty sure that it was going to be a disaster. And we weren't far from that opinion, ourselves, the actors.\u003c/p>\u003cp>\u003cstrong>On performing an emergency landing while flying solo in a vintage World War II airplane\u003c/strong>\u003c/p>\u003cp>Let's just start by saying that it was a mechanical failure. … It was a 74-year-old airplane, and I was 74 years old at the time. .. Four hundred feet in the air above the airport, the engine quit. And it's my home airport, and I was familiar with the surrounding terrain, which is cluttered with houses, wires and cars, and people. So I turned to a golf course that was there. ... \u003c/p>\u003cp>In my ear was the very clear voice of one of my aviation mentors who always, when talking about mechanical failures or other kinds of failures, the advice was to \"fly the airplane as far into the crash as possible.\" You think about this thing when you're a pilot, you think about the potential, the possibility of it happening, and of course you train. So when it happened, it was not really a surprise, and I thought I knew what I had to do to handle it, so I just started doing the things that needed to be done. … I don't remember actually being scared. [My injuries] were more than described in the newspaper, but I'm over them all, thank you. I got my license back and continue to fly. … I am not a thrill seeker. I am a very conservative pilot. It's not that I do crazy stuff for the fun of it.\u003c/p>\u003cp>\u003cstrong>On objecting to the Vietnam War draft \u003c/strong>\u003c/p>\u003cp>I was facing being drafted and I hired a lawyer to represent me to the draft board. I had to explain why I might qualify as a conscientious objector. I explained that I did not have a history of religious affiliation. My mother was Jewish, my father Catholic. ... I was raised Democrat. I'm quite happy to accept other people's versions of God, but I found in a Protestant theologian named Paul Tillich, a sentence that said: If you have trouble with the word God, take whatever is central and most meaningful to your life and call that God.\u003c/p>\u003cp>And to me that was life itself, the complexity, the biodiversity, the incredible integration and complexity of nature, to me seemed to be the same thing as God. And so I prepared an explanation that was probably so unusual that it found the edge of a desk and had a lot of things piled on top of it because it didn't fit a niche. They never got back to me, basically. The draft board never got back to me.\u003c/p>\u003cp>\u003cem>Lauren Krenzel and Nico Gonzalez Wisler 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 2026 NPR\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After playing some of the most recognizable and beloved characters in cinematic history, Harrison Ford is not interested in retiring. \"Without my work, I really wouldn't know what to do with myself,\" the 83-year-old actor says. \"I really do love the work. … It constantly changes, and the people change, and the mission and the opportunity change, and it just makes for an interesting way to live your life.\"\u003c/p>\u003cp>Ford initially struggled to find his footing in Hollywood. He worked on-and-off as a carpenter for years before landing the breakthrough role of Han Solo in the original \u003ca href=\"https://www.npr.org/2025/06/20/nx-s1-5432435/star-wars-original-print-1977-bfi-london\" target=\"_blank\">\u003cem>Star Wars\u003c/em>\u003c/a>\u003cem> \u003c/em>film. He went on to star in the \u003cem>Star Wars\u003c/em> sequels, as well as the \u003ca href=\"https://www.npr.org/2023/06/29/1185140078/indiana-jones-is-back-for-his-fifth-and-perhaps-final-adventure\" target=\"_blank\">\u003cem>Indiana Jones \u003c/em>movies\u003c/a> and \u003cem>Blade Runner — \u003c/em>all the while frequently performing his own\u003cem> \u003c/em>action scenes.\u003c/p>\u003cp>\"I don't want to have to hide the face of the character because it's a stunt guy,\" he says. \"I want [the audience] to feel the blow. I want them to see the anxiety. I want them to be there when the decision is made or when the decision is missed. I just want them to be there.\"\u003c/p>\u003cp>In the current Apple TV series, \u003ca href=\"https://www.npr.org/2023/01/31/1152527309/shrinking-review-harrison-ford-jason-segel\" target=\"_blank\">\u003cem>Shrinking\u003c/em>\u003c/a>, Ford plays a therapist named Paul who's been diagnosed with \u003ca href=\"https://www.npr.org/2026/02/10/nx-s1-5702451/parkinsons-disease-symptoms-scan-network\" target=\"_blank\">Parkinson's disease\u003c/a>. Thus far, he says, the show's writers haven't shared with him the progression of Paul's disease. Instead, he says, \"Like a true Parkinson's patient, I don't really know what's coming. ... I'm sort of living with the symptoms I have been last described as having.\"\u003c/p>\u003cp>Recently, Ford \u003ca href=\"https://www.youtube.com/watch?v=dV_2CEa6Bbs\" target=\"_blank\">teared up\u003c/a> while accepting a recognition for lifetime achievement at the Actor Awards. \"That speech that I wrote was not crafted to be emotional; it just happened to me,\" he says. \"I feel slightly embarrassed by it, because I have enough experience with these things to want to be able to manage not to be overcome.\"\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On being asked to help in\u003cem> Star Wars\u003c/em> auditions while on a carpentry job at \u003c/strong>\u003ca href=\"https://www.npr.org/2016/11/15/502250244/to-make-the-godfather-his-way-francis-ford-coppola-waged-a-studio-battle\" target=\"_blank\">\u003cstrong>Francis Ford Coppola\u003c/strong>\u003c/a>\u003cstrong>'s office\u003c/strong>\u003c/p>\u003cp>I was there sweeping up. I was just finishing the job when George Lucas walked in [who Ford knew from appearing in Lucas' last film, \u003cem>American Graffiti\u003c/em>] … and I'm standing there in my carpenter's work belt, sweeping up the floor. It turned out to be a fortuitous occasion, because weeks later I would end up being asked if I would do them a favor and read with the other actors who were being considered for the parts. … I never was told that I was ever to be considered, and then at the end of the process, I guess they ended up with two groups of three people that were in final consideration. I've always been amused that in the second group, the character of Han Solo would have been played by \u003ca href=\"https://www.npr.org/2022/02/22/1082396080/christopher-walken\" target=\"_blank\">Chris Walken\u003c/a>. I would have loved to see that.\u003c/p>\u003cp>\u003cstrong>On his most famous ad-lib in a film \u003c/strong>\u003c/p>\u003cp>[It's] the line in\u003cem> Star Wars\u003c/em> where Princess Leia tells me that she loves me and I say, \"I know,\" instead of saying \"I love you too,\" which is the scripted line. Simply the impulse was to be more in character. And George Lucas, who had written the line, was not so happy that I didn't give him the original version. But I really felt strongly about it. So he made me sit next to him when he previewed the film in a public movie theater in San Francisco and it got ... a good laugh. And so he accepted it and left it in.\u003c/p>\u003cp>\u003cstrong>On seeing \u003cem>Star Wars\u003c/em> for the first time on screen\u003c/strong>\u003c/p>\u003cp>I was blown away. I mean, I was really shocked by the power of the film. We shot in England and our English crew were not used to something like\u003cem> Star Wars,\u003c/em> and so they were pretty sure that it was going to be a disaster. And we weren't far from that opinion, ourselves, the actors.\u003c/p>\u003cp>\u003cstrong>On performing an emergency landing while flying solo in a vintage World War II airplane\u003c/strong>\u003c/p>\u003cp>Let's just start by saying that it was a mechanical failure. … It was a 74-year-old airplane, and I was 74 years old at the time. .. Four hundred feet in the air above the airport, the engine quit. And it's my home airport, and I was familiar with the surrounding terrain, which is cluttered with houses, wires and cars, and people. So I turned to a golf course that was there. ... \u003c/p>\u003cp>In my ear was the very clear voice of one of my aviation mentors who always, when talking about mechanical failures or other kinds of failures, the advice was to \"fly the airplane as far into the crash as possible.\" You think about this thing when you're a pilot, you think about the potential, the possibility of it happening, and of course you train. So when it happened, it was not really a surprise, and I thought I knew what I had to do to handle it, so I just started doing the things that needed to be done. … I don't remember actually being scared. [My injuries] were more than described in the newspaper, but I'm over them all, thank you. I got my license back and continue to fly. … I am not a thrill seeker. I am a very conservative pilot. It's not that I do crazy stuff for the fun of it.\u003c/p>\u003cp>\u003cstrong>On objecting to the Vietnam War draft \u003c/strong>\u003c/p>\u003cp>I was facing being drafted and I hired a lawyer to represent me to the draft board. I had to explain why I might qualify as a conscientious objector. I explained that I did not have a history of religious affiliation. My mother was Jewish, my father Catholic. ... I was raised Democrat. I'm quite happy to accept other people's versions of God, but I found in a Protestant theologian named Paul Tillich, a sentence that said: If you have trouble with the word God, take whatever is central and most meaningful to your life and call that God.\u003c/p>\u003cp>And to me that was life itself, the complexity, the biodiversity, the incredible integration and complexity of nature, to me seemed to be the same thing as God. And so I prepared an explanation that was probably so unusual that it found the edge of a desk and had a lot of things piled on top of it because it didn't fit a niche. They never got back to me, basically. The draft board never got back to me.\u003c/p>\u003cp>\u003cem>Lauren Krenzel and Nico Gonzalez Wisler 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 2026 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>",
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"slug": "american-classic-is-a-hidden-gem-that-gets-even-better-as-it-goes",
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"title": "'American Classic' is a hidden gem that gets even better as it goes",
"excerpt": "In this charming TV series, Kevin Kline plays a Shakespearean actor who retreats to his small hometown after a crisis, and gets engaged in an effort to save the local theater.",
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"content": "\u003cp>\u003cem>American Classic\u003c/em> is a hidden gem, in more ways than one. It's hidden because it's on MGM+, a stand-alone streaming service that, let's face it, most people don't have. But MGM+ is available without subscription for a seven-day free trial, on its website or through Prime Video and Roku. And you should find and watch \u003cem>American Classic,\u003c/em> because it's an absolutely charming and wonderful TV jewel. \u003c/p>\u003cp>Charming, in the way it brings small towns and ordinary people to life, as in \u003cem>Northern Exposure.\u003c/em> Wonderful, in the way it reflects the joys of local theater productions, as in \u003ca href=\"https://www.npr.org/2007/07/21/12144988/outrageously-entertaining-slings-arrows\" target=\"_blank\">\u003cem>Slings & Arrows\u003c/em>\u003c/a>\u003cem>,\u003c/em> and the \u003cem>American Playhouse\u003c/em> production of \u003ca href=\"https://www.npr.org/2022/11/11/1135127289/kurt-vonnegut-slaughterhouse-five-cats-cradle\" target=\"_blank\">Kurt Vonnegut\u003c/a>'s \u003cem>Who Am I This Time?\u003c/em>\u003c/p>\u003cp>The creators of \u003cem>American Classic\u003c/em> are Michael Hoffman and Bob Martin. Martin co-wrote and co-created \u003cem>Slings & Arrows\u003c/em>, so that comparison comes easily. And back in the early 1980s, \u003cem>Who Am I This Time?\u003c/em> was about people who transformed onstage from ordinary citizens into extraordinary performers. It's a conceit that works only if you have brilliant actors to bring it to life convincingly. That \u003cem>American Playhouse\u003c/em> production had two young actors — \u003ca href=\"https://www.npr.org/2004/06/04/1923150/actor-christopher-walken\" target=\"_blank\">Christopher Walken\u003c/a> and Susan Sarandon — so yes, it worked. And \u003cem>American Classic,\u003c/em> with its mix of veteran and young actors, does, too.\u003c/p>\u003cp>\u003cem>American Classic\u003c/em> begins with \u003ca href=\"https://www.npr.org/2010/07/24/128724673/for-kevin-kline-the-beards-sometimes-the-thing\" target=\"_blank\">Kevin Kline\u003c/a>, as Shakespearean actor Richard Bean, confronting a \u003cem>New York Times\u003c/em> drama critic about his negative opening-night review of Richard's \u003cem>King Lear.\u003c/em> The next day, Richard's agent, played by \u003ca href=\"https://www.npr.org/2018/07/31/634299761/tony-shalhoub-on-mrs-maisel-and-questioning-his-worth-as-an-actor\" target=\"_blank\">Tony Shalhoub\u003c/a>, calls Richard in to tell him his tantrum was captured by cellphone and went viral, and that he has to lay low for a while. \u003c/p>\u003cp>Richard returns home to the small town of Millersburg, Pa., where his parents ran a local theater. Almost everyone we meet is a treasure. His father, who has bouts of dementia, is played by Len Cariou, who starred on Broadway in \u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\" target=\"_blank\">\u003cem>Sweeney Todd\u003c/em>\u003c/a>\u003cem>.\u003c/em> Richard's brother, Jon, is played by Jon Tenney of \u003ca href=\"https://www.npr.org/2011/12/08/143371640/after-7-seasons-kyra-sedgwick-closes-the-closer\" target=\"_blank\">\u003cem>The Closer\u003c/em>\u003c/a>\u003cem>,\u003c/em> and his wife, Kristen, is played by the great \u003ca href=\"https://www.npr.org/2007/11/28/16621516/laura-linney-explores-the-art-artifice-of-acting\" target=\"_blank\">Laura Linney\u003c/a>, from \u003ca href=\"https://www.npr.org/2022/04/29/1095329108/ozark-final-episodes-netflix-review\" target=\"_blank\">\u003cem>Ozark\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2008/03/14/88230026/reviewed-hbos-john-adams\" target=\"_blank\">\u003cem>John Adams\u003c/em>\u003c/a>\u003cem>.\u003c/em> \u003c/p>\u003cp>The old theater is now a dinner theater, filling its schedule with performances by touring regional companies. Its survival is at risk, so Richard decides to save the theater by mounting a new production of Thornton Wilder's \u003ca href=\"https://www.npr.org/2021/02/13/967600332/returning-to-our-town-why-the-play-still-hits-home-after-80-years\" target=\"_blank\">\u003cem>Our Town\u003c/em>\u003c/a>\u003cem>,\u003c/em> casting the local small-town residents to play ... local small-town residents. \u003c/p>\u003cp>Miranda, Richard's college-bound niece, continues the family theatrical tradition — and Nell Verlaque, the young actress who plays her, has a breakout role here. She's terrific — funny, touching, totally natural. And when she takes the stage as Emily in \u003cem>Our Town\u003c/em>, she's heart-wrenching. Playwright Wilder is served magnificently here — and so is William Shakespeare, whose works and words Kline tackles in more than one inspirational scene in this series. \u003c/p>\u003cp>I don't want to reveal too much about the conflicts, and surprises, in \u003cem>American Classic,\u003c/em> but please trust me: The more episodes you watch, the better it gets. The characters evolve, and go in unexpected directions and pairings. Kline's Richard starts out thinking about only himself, but ends up just the opposite. And if, as Shakespeare wrote, the play's the thing, the thing here is, the plays we see, and the soliloquies we hear, are spellbinding.\u003c/p>\u003cp>And there's plenty of fun to be had outside the classics in \u003cem>American Classic\u003c/em>. The table reads are the most delightful since the ones in \u003ca href=\"https://www.npr.org/2024/09/05/nx-s1-5101549/only-murders-in-the-building-season-4\" target=\"_blank\">\u003cem>Only Murders in the Building\u003c/em>\u003c/a>\u003cem>.\u003c/em> The dinner-table arguments are the most explosive since the ones in \u003ca href=\"https://www.npr.org/2025/06/26/nx-s1-5440466/the-bear-season-4-review\" target=\"_blank\">\u003cem>The Bear\u003c/em>\u003c/a>\u003cem>.\u003c/em> Some scenes are take-your-breath-away dramatic. Others are infectiously silly, as when Richard works with a cast member forced upon him by the angel of this new \u003cem>Our Town\u003c/em> production. \u003c/p>\u003cp>Take the effort to find, and watch, \u003cem>American Classic\u003c/em>. It'll remind you why, when it's this good, it's easy to love the theater. And television. \u003cdiv class=\"fullattribution\">Copyright 2026 NPR\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>American Classic\u003c/em> is a hidden gem, in more ways than one. It's hidden because it's on MGM+, a stand-alone streaming service that, let's face it, most people don't have. But MGM+ is available without subscription for a seven-day free trial, on its website or through Prime Video and Roku. And you should find and watch \u003cem>American Classic,\u003c/em> because it's an absolutely charming and wonderful TV jewel. \u003c/p>\u003cp>Charming, in the way it brings small towns and ordinary people to life, as in \u003cem>Northern Exposure.\u003c/em> Wonderful, in the way it reflects the joys of local theater productions, as in \u003ca href=\"https://www.npr.org/2007/07/21/12144988/outrageously-entertaining-slings-arrows\" target=\"_blank\">\u003cem>Slings & Arrows\u003c/em>\u003c/a>\u003cem>,\u003c/em> and the \u003cem>American Playhouse\u003c/em> production of \u003ca href=\"https://www.npr.org/2022/11/11/1135127289/kurt-vonnegut-slaughterhouse-five-cats-cradle\" target=\"_blank\">Kurt Vonnegut\u003c/a>'s \u003cem>Who Am I This Time?\u003c/em>\u003c/p>\u003cp>The creators of \u003cem>American Classic\u003c/em> are Michael Hoffman and Bob Martin. Martin co-wrote and co-created \u003cem>Slings & Arrows\u003c/em>, so that comparison comes easily. And back in the early 1980s, \u003cem>Who Am I This Time?\u003c/em> was about people who transformed onstage from ordinary citizens into extraordinary performers. It's a conceit that works only if you have brilliant actors to bring it to life convincingly. That \u003cem>American Playhouse\u003c/em> production had two young actors — \u003ca href=\"https://www.npr.org/2004/06/04/1923150/actor-christopher-walken\" target=\"_blank\">Christopher Walken\u003c/a> and Susan Sarandon — so yes, it worked. And \u003cem>American Classic,\u003c/em> with its mix of veteran and young actors, does, too.\u003c/p>\u003cp>\u003cem>American Classic\u003c/em> begins with \u003ca href=\"https://www.npr.org/2010/07/24/128724673/for-kevin-kline-the-beards-sometimes-the-thing\" target=\"_blank\">Kevin Kline\u003c/a>, as Shakespearean actor Richard Bean, confronting a \u003cem>New York Times\u003c/em> drama critic about his negative opening-night review of Richard's \u003cem>King Lear.\u003c/em> The next day, Richard's agent, played by \u003ca href=\"https://www.npr.org/2018/07/31/634299761/tony-shalhoub-on-mrs-maisel-and-questioning-his-worth-as-an-actor\" target=\"_blank\">Tony Shalhoub\u003c/a>, calls Richard in to tell him his tantrum was captured by cellphone and went viral, and that he has to lay low for a while. \u003c/p>\u003cp>Richard returns home to the small town of Millersburg, Pa., where his parents ran a local theater. Almost everyone we meet is a treasure. His father, who has bouts of dementia, is played by Len Cariou, who starred on Broadway in \u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\" target=\"_blank\">\u003cem>Sweeney Todd\u003c/em>\u003c/a>\u003cem>.\u003c/em> Richard's brother, Jon, is played by Jon Tenney of \u003ca href=\"https://www.npr.org/2011/12/08/143371640/after-7-seasons-kyra-sedgwick-closes-the-closer\" target=\"_blank\">\u003cem>The Closer\u003c/em>\u003c/a>\u003cem>,\u003c/em> and his wife, Kristen, is played by the great \u003ca href=\"https://www.npr.org/2007/11/28/16621516/laura-linney-explores-the-art-artifice-of-acting\" target=\"_blank\">Laura Linney\u003c/a>, from \u003ca href=\"https://www.npr.org/2022/04/29/1095329108/ozark-final-episodes-netflix-review\" target=\"_blank\">\u003cem>Ozark\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2008/03/14/88230026/reviewed-hbos-john-adams\" target=\"_blank\">\u003cem>John Adams\u003c/em>\u003c/a>\u003cem>.\u003c/em> \u003c/p>\u003cp>The old theater is now a dinner theater, filling its schedule with performances by touring regional companies. Its survival is at risk, so Richard decides to save the theater by mounting a new production of Thornton Wilder's \u003ca href=\"https://www.npr.org/2021/02/13/967600332/returning-to-our-town-why-the-play-still-hits-home-after-80-years\" target=\"_blank\">\u003cem>Our Town\u003c/em>\u003c/a>\u003cem>,\u003c/em> casting the local small-town residents to play ... local small-town residents. \u003c/p>\u003cp>Miranda, Richard's college-bound niece, continues the family theatrical tradition — and Nell Verlaque, the young actress who plays her, has a breakout role here. She's terrific — funny, touching, totally natural. And when she takes the stage as Emily in \u003cem>Our Town\u003c/em>, she's heart-wrenching. Playwright Wilder is served magnificently here — and so is William Shakespeare, whose works and words Kline tackles in more than one inspirational scene in this series. \u003c/p>\u003cp>I don't want to reveal too much about the conflicts, and surprises, in \u003cem>American Classic,\u003c/em> but please trust me: The more episodes you watch, the better it gets. The characters evolve, and go in unexpected directions and pairings. Kline's Richard starts out thinking about only himself, but ends up just the opposite. And if, as Shakespeare wrote, the play's the thing, the thing here is, the plays we see, and the soliloquies we hear, are spellbinding.\u003c/p>\u003cp>And there's plenty of fun to be had outside the classics in \u003cem>American Classic\u003c/em>. The table reads are the most delightful since the ones in \u003ca href=\"https://www.npr.org/2024/09/05/nx-s1-5101549/only-murders-in-the-building-season-4\" target=\"_blank\">\u003cem>Only Murders in the Building\u003c/em>\u003c/a>\u003cem>.\u003c/em> The dinner-table arguments are the most explosive since the ones in \u003ca href=\"https://www.npr.org/2025/06/26/nx-s1-5440466/the-bear-season-4-review\" target=\"_blank\">\u003cem>The Bear\u003c/em>\u003c/a>\u003cem>.\u003c/em> Some scenes are take-your-breath-away dramatic. Others are infectiously silly, as when Richard works with a cast member forced upon him by the angel of this new \u003cem>Our Town\u003c/em> production. \u003c/p>\u003cp>Take the effort to find, and watch, \u003cem>American Classic\u003c/em>. It'll remind you why, when it's this good, it's easy to love the theater. And television. \u003cdiv class=\"fullattribution\">Copyright 2026 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>",
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"title": "'My family is enough': Jamilah Lemieux on being a 'Black. Single. Mother.'",
"excerpt": "As a culture critic, Lemieux has spent years pushing back against the stereotypes and stigma that follow single mothers. Her new book blends her own memoir with the stories of 21 other Black women.",
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"slug": "this-historian-dug-up-the-hidden-history-of-amateur-blackface-in-america",
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"title": "This historian dug up the hidden history of 'amateur' blackface in America",
"excerpt": "In her new book, \u003cem>Darkology\u003c/em>, historian Rhae Lynn Barnes writes about how blackface and minstrel shows became one of the most popular forms of entertainment in 19th- and 20th-century America.",
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"content": "\u003cp>In 2013, historian Rhae Lynn Barnes was researching blackface in America when she encountered a stumbling block at the Library of Congress: Various primary sources on the subject were listed as \"missing on shelf.\" \u003c/p>\u003cp>Barnes spoke to one of the librarians, and explained that she was writing a history of minstrel shows and white supremacy. Barnes says the librarian admitted that, in 1987, she had personally hidden some of these books because she feared the material would be used by the Ku Klux Klan. \u003c/p>\u003cp>\"Once [the librarian] understood the research I was doing ... a few hours later, she came up with a cart packed to the brim with all of the material that I had been hoping to see,\" Barnes says. \u003c/p>\u003cp>In her new book \u003cem>Darkology: Blackface and the American Way of Entertainment\u003c/em>, Barnes traces the origin of minstrel shows, performances in which an actor portrays an exaggerated and racist depiction of Black, often formerly enslaved, people. \u003c/p>\u003cp>Barnes says minstrel became so popular in the 1800s that the stars began publishing \"step-by-step guides\" explaining how amateurs could create their own shows. By the end of the century, amateur minstrel performances became one of the most popular forms of entertainment in the U.S. Many groups, including fraternal orders, PTAs, police and firemen's associations and soldiers on military bases, put on their own shows. \u003c/p>\u003cp>During the Great Depression, Barnes notes that President Franklin D. Roosevelt's Works Progress Administration sought to \"preserve American heritage\" by promoting blackface. As part of the effort, she says, the government distributed lists of \"top minstrel plays that they recommended to schools, to local charities, to colleges.\" Roosevelt was such a fan of minstrel shows that he co-wrote a script, to be performed by children with polio. \u003c/p>\u003cp>Barnes credits the civil rights era and especially mothers with helping de-popularize blackface in the 1970s, first in schools and then in the larger culture. \"They successfully get the shows out of school curriculum piece by piece. And by 1970, most of these publishing houses are going under because of the incredible work of Black and white mothers who worked with them,\" she says.\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>Interview highlights\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On commercial blackface makeup that replaced shoe polish and burnt cork \u003c/strong>\u003c/p>\u003cp>It's an entire commercial empire. So Stein's makeup was one of the largest. They were a theatrical makeup company. And you'll actually find today when you go into Halloween stores that a lot of these blackface makeup companies still exist today for Halloween costume makeup and also for clown makeup. …\u003c/p>\u003cp>Burnt cork was incredibly difficult to get off of your face. You're essentially taking fire ash and then mixing it with shoe polish or some sort of shiny ingredients, and so it was incredibly hard to get it off. So when Stein and these other cosmetic companies begin to create the tubes … that did come in 29 colors and you could pick which bizarre racial calculus you wanted to represent, they would come off with cold cream or makeup remover and that was one of their selling points — now it's easy to take off.\u003c/p>\u003cp>\u003cstrong>On \u003c/strong>\u003ca href=\"https://www.npr.org/2010/04/16/126035325/the-lyrics-and-legacy-of-stephen-foster\" target=\"_blank\">\u003cstrong>Stephen Foster\u003c/strong>\u003c/a>\u003cstrong>'s songs for minstrel shows, like \"Oh Susannah!\"\u003c/strong>\u003c/p>\u003cp>What's interesting about those songs is they are romanticizing the relationship between an enslaved person and their enslaver. And so when we have commentary, even from the president now, who recently said slavery wasn't so bad, well, slavery was horrific, but if you were raised on a diet of Stephen Foster music, and going to minstrel shows, you can somewhat understand how somebody at the time could easily be led to believe that slavery was a grand old party because that's what it was supposed to be telling you. It's pro-slavery propaganda.\u003c/p>\u003cp>\u003cstrong>On the slogan \"Make America Great Again\" originating from early 20th-century minstrel shows \u003c/strong>\u003c/p>\u003cp>\"Make America Great Again\" or \"This Is Our Country\" or \"Take Back Our Country\" are all slogans and songs that were very common in minstrel shows. And so a lot of minstrel shows reinterpreted slavery in a fantastical way, that the Civil War ended and that in these minstrel shows there was Black rule and that everything America held dear was desecrated. And so this [blackface] \"Zip\" character … sometimes he's named \"Rastus\" — he has different names that he goes by — runs for office, political office, becomes president, and he's the first Black president and the first thing he does is he takes away America's guns. Sound familiar? And so a lot of these terms that you could perhaps say [are] dog whistles in white of supremacy are taken line for line from these minstrel shows.\u003c/p>\u003cp>\u003cstrong>On not censoring this history\u003c/strong>\u003c/p>\u003cp>Historians right now are in somewhat of a culture war in that it is our patriotic duty as American citizens and as patriots to help make sure that the American public has access to our history in all of its complexity.\u003cstrong> \u003c/strong>And the truth is that you can't understand the victories and the triumphs without understanding how far Americans had to push. And I think that's especially true of blackface. When we didn't adequately understand how long blackface was a mainstay in American culture. Because many historians believe that it had died out by 1900, when in fact it only accelerates and increases up through the 1970s. And so if you just say, \"Oh, it just died out. It was no longer in fashion,\" then what you're losing is the incredible, dangerous, and brave work of thousands of Black and white mothers across the United States in the 1950s and the 1960s, of students who stood up during Jim Crow America and said, \"This is not OK. We are humans. We deserve dignity. And we want you to understand our history.\" ...\u003c/p>\u003cp>I think these are the hard conversations Americans actually want to have. And I think America is completely ready for those hard conversations and moving forward.\u003c/p>\u003cp>\u003cem>Anna Bauman and Susan Nyakundi produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the web.\u003c/em>\u003cbr> \u003cdiv class=\"fullattribution\">Copyright 2026 NPR\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2013, historian Rhae Lynn Barnes was researching blackface in America when she encountered a stumbling block at the Library of Congress: Various primary sources on the subject were listed as \"missing on shelf.\" \u003c/p>\u003cp>Barnes spoke to one of the librarians, and explained that she was writing a history of minstrel shows and white supremacy. Barnes says the librarian admitted that, in 1987, she had personally hidden some of these books because she feared the material would be used by the Ku Klux Klan. \u003c/p>\u003cp>\"Once [the librarian] understood the research I was doing ... a few hours later, she came up with a cart packed to the brim with all of the material that I had been hoping to see,\" Barnes says. \u003c/p>\u003cp>In her new book \u003cem>Darkology: Blackface and the American Way of Entertainment\u003c/em>, Barnes traces the origin of minstrel shows, performances in which an actor portrays an exaggerated and racist depiction of Black, often formerly enslaved, people. \u003c/p>\u003cp>Barnes says minstrel became so popular in the 1800s that the stars began publishing \"step-by-step guides\" explaining how amateurs could create their own shows. By the end of the century, amateur minstrel performances became one of the most popular forms of entertainment in the U.S. Many groups, including fraternal orders, PTAs, police and firemen's associations and soldiers on military bases, put on their own shows. \u003c/p>\u003cp>During the Great Depression, Barnes notes that President Franklin D. Roosevelt's Works Progress Administration sought to \"preserve American heritage\" by promoting blackface. As part of the effort, she says, the government distributed lists of \"top minstrel plays that they recommended to schools, to local charities, to colleges.\" Roosevelt was such a fan of minstrel shows that he co-wrote a script, to be performed by children with polio. \u003c/p>\u003cp>Barnes credits the civil rights era and especially mothers with helping de-popularize blackface in the 1970s, first in schools and then in the larger culture. \"They successfully get the shows out of school curriculum piece by piece. And by 1970, most of these publishing houses are going under because of the incredible work of Black and white mothers who worked with them,\" she says.\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>Interview highlights\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On commercial blackface makeup that replaced shoe polish and burnt cork \u003c/strong>\u003c/p>\u003cp>It's an entire commercial empire. So Stein's makeup was one of the largest. They were a theatrical makeup company. And you'll actually find today when you go into Halloween stores that a lot of these blackface makeup companies still exist today for Halloween costume makeup and also for clown makeup. …\u003c/p>\u003cp>Burnt cork was incredibly difficult to get off of your face. You're essentially taking fire ash and then mixing it with shoe polish or some sort of shiny ingredients, and so it was incredibly hard to get it off. So when Stein and these other cosmetic companies begin to create the tubes … that did come in 29 colors and you could pick which bizarre racial calculus you wanted to represent, they would come off with cold cream or makeup remover and that was one of their selling points — now it's easy to take off.\u003c/p>\u003cp>\u003cstrong>On \u003c/strong>\u003ca href=\"https://www.npr.org/2010/04/16/126035325/the-lyrics-and-legacy-of-stephen-foster\" target=\"_blank\">\u003cstrong>Stephen Foster\u003c/strong>\u003c/a>\u003cstrong>'s songs for minstrel shows, like \"Oh Susannah!\"\u003c/strong>\u003c/p>\u003cp>What's interesting about those songs is they are romanticizing the relationship between an enslaved person and their enslaver. And so when we have commentary, even from the president now, who recently said slavery wasn't so bad, well, slavery was horrific, but if you were raised on a diet of Stephen Foster music, and going to minstrel shows, you can somewhat understand how somebody at the time could easily be led to believe that slavery was a grand old party because that's what it was supposed to be telling you. It's pro-slavery propaganda.\u003c/p>\u003cp>\u003cstrong>On the slogan \"Make America Great Again\" originating from early 20th-century minstrel shows \u003c/strong>\u003c/p>\u003cp>\"Make America Great Again\" or \"This Is Our Country\" or \"Take Back Our Country\" are all slogans and songs that were very common in minstrel shows. And so a lot of minstrel shows reinterpreted slavery in a fantastical way, that the Civil War ended and that in these minstrel shows there was Black rule and that everything America held dear was desecrated. And so this [blackface] \"Zip\" character … sometimes he's named \"Rastus\" — he has different names that he goes by — runs for office, political office, becomes president, and he's the first Black president and the first thing he does is he takes away America's guns. Sound familiar? And so a lot of these terms that you could perhaps say [are] dog whistles in white of supremacy are taken line for line from these minstrel shows.\u003c/p>\u003cp>\u003cstrong>On not censoring this history\u003c/strong>\u003c/p>\u003cp>Historians right now are in somewhat of a culture war in that it is our patriotic duty as American citizens and as patriots to help make sure that the American public has access to our history in all of its complexity.\u003cstrong> \u003c/strong>And the truth is that you can't understand the victories and the triumphs without understanding how far Americans had to push. And I think that's especially true of blackface. When we didn't adequately understand how long blackface was a mainstay in American culture. Because many historians believe that it had died out by 1900, when in fact it only accelerates and increases up through the 1970s. And so if you just say, \"Oh, it just died out. It was no longer in fashion,\" then what you're losing is the incredible, dangerous, and brave work of thousands of Black and white mothers across the United States in the 1950s and the 1960s, of students who stood up during Jim Crow America and said, \"This is not OK. We are humans. We deserve dignity. And we want you to understand our history.\" ...\u003c/p>\u003cp>I think these are the hard conversations Americans actually want to have. And I think America is completely ready for those hard conversations and moving forward.\u003c/p>\u003cp>\u003cem>Anna Bauman and Susan Nyakundi produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the web.\u003c/em>\u003cbr> \u003cdiv class=\"fullattribution\">Copyright 2026 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"order": 19
},
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"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
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},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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}
},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1MDAyODE4NTgz",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"source": "kqed",
"order": 1
},
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"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 />",
"airtime": "SUN 9pm-10pm",
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"meta": {
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},
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"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"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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},
"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. ",
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"order": 15
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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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"order": 18
},
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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",
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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"
}
},
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"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>",
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