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"title": "George Clooney's kids don't care about his success (and that's a good thing)",
"excerpt": "In \u003cem>Jay Kelly,\u003c/em> Clooney plays an emotionally stunted movie star struggling with work and family life. He can relate: \"We're all balancing it. We're never getting it perfect.\"",
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"content": "\u003cp>Oscar-winning actor, director and producer \u003ca href=\"https://www.npr.org/tags/171894222/george-clooney\" target=\"_blank\">George Clooney\u003c/a> may be one of Hollywood's most recognizable stars — but that doesn't mean his kids are impressed with him.\u003c/p>\u003cp>\"My son went to Halloween this year dressed as Batman, which is a character I played — famously the worst Batman in the history of the franchise,\" Clooney says. \"And I literally said to him, 'You know, I was Batman,' and he was like, 'Yeah, not really.'\"\u003c/p>\u003cp>Clooney found success in Hollywood in his 30s, late enough, he says, that he learned how to live before he learned how to be famous. His character in the new Netflix film, \u003cem>Jay Kelly\u003c/em>, wasn't so lucky. Clooney plays a self-absorbed, emotionally stunted movie star stumbling through midlife, unable to connect with the people who need him most. \u003c/p>\u003cp>Director \u003ca href=\"https://www.npr.org/tags/1140101732/noah-baumbach\" target=\"_blank\">Noah Baumbach\u003c/a> wrote the script with Clooney in mind — which made the actor's first read though an interesting one: \"I read it and I said 'This guy [Jay Kelly] is kind of a jerk!'\" Clooney says. Still, he could relate to Jay's struggles with work and family life. \"We're all balancing it. We're never getting it perfect,\" Clooney says. \u003c/p>\u003cp>\u003cem>Jay Kelly\u003c/em> also offers an unvarnished look at what it means to be famous. For Clooney, that vantage came early, as he watched the rise and fall (and rise again) of his aunt, singer \u003ca href=\"https://www.npr.org/artists/97743054/rosemary-clooney\" target=\"_blank\">Rosemary Clooney\u003c/a>. \u003c/p>\u003cp>\"It was a really good lesson for me in understanding how little success has to do with you — on both sides of the spectrum,\" he says. \"You're not as brilliant as they say you are when things are going well, and they do say that. And you're not as horrible as they say you are when things aren't going well, and they do say that. So it's a very helpful thing to understand.\"\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On prioritizing friendship for much of his life \u003c/strong>\u003c/p>\u003cp>I had no interest in being married and having kids. I had an interest in working. I was very excited with having a career. I couldn't believe I was having one. … I was wanting to have this sort of created family. And I worked very hard at making sure that we all had dinners together and spent time together and checked in with one another. And there wasn't any great master plan really. It was just luck. I got lucky that I met really wonderful people. Grant Heslov, my partner at work, you know, we've been partners for 40 years. He loaned me $98 bucks to get headshots in 1982, and we both stood on the stage together and won the Oscar together as producers of \u003cem>Argo\u003c/em>. So we've been through it.\u003c/p>\u003cp>\u003cstrong>On why he gave $1 million cash to each of his 12 closest friends\u003c/strong>\u003c/p>\u003cp>My career and my life have been on the shoulders of many of my friends helping me when I couldn't afford it or when I needed a place to stay or when I needed someone to co-sign a loan or any of those things. And so being able to participate and help your friends out who are trying to put their kids through college or who are trying to pay off tax debts and all those kinds of things, it actually is a good thing. ... It doesn't even feel like a gift as much as it feels like a payback for such great generosity when they were young, and when we were all young.\u003c/p>\u003cp>\u003cstrong>On his 2025 Broadway production of \u003cem>Good Night, and Good Luck,\u003c/em> which was a follow-up to his 2005 film about broadcaster Edward R. Murrow\u003c/strong>\u003c/p>\u003cp>I felt like it was a good time to reinvest and talk again about the importance of news. … The themes were still really urgent and I thought it was important to remind ourselves of how important telling the truth and holding truth to power was. And so we started working on doing the play with the intent that we would try to have it out by the first of the year, having no idea what the election would be, because either way, it seems like truth has become something that's negotiable suddenly. \u003c/p>\u003cp>That's the one thing that wasn't part of the narrative as much in 2005. What's become the narrative now is: Don't believe what you see. You can tell a lie and say it's fact now. And also you can see factual things and say, well, those are fake. And those are dangerous. You see that happening in Darfur right now, even though the people who are committing the crimes are actually posting videos of the crimes. We've seen it obviously in Ukraine, we saw it in Russia. We now see it in the United States constantly. And I feel like it was an important time to talk about the necessity to dig down and constantly bear down on holding people with power responsible — no matter who's in power, by the way.\u003c/p>\u003cp>\u003cstrong>On his father Nick Clooney's reaction to the play, as a longtime anchorman \u003c/strong>\u003c/p>\u003cp>He wasn't well enough to come to the play, which was heartbreaking quite honestly, because really it was written for him, it was written for his standard and what he taught me and what he asked of me as a child and as an adult. But we did it live [on TV] so he could see it. And it was an interesting thing because he was there with a bunch of family members and watching it live and at the end he stood up and he saluted the television, which was a pretty beautiful thing for me and for us and for our relationship. He set the standard pretty high for me.\u003c/p>\u003cp>\u003cstrong>On how he makes the decision about when to speak out on an issue, like calling for Biden to \u003c/strong>\u003ca href=\"https://www.nytimes.com/2024/07/10/opinion/joe-biden-democratic-nominee.html\" target=\"_blank\">\u003cstrong>drop out of the presidential race\u003c/strong>\u003c/a>\u003cstrong> in 2024 \u003c/strong>\u003c/p>\u003cp>In general, it's when I feel like no one else is gonna do it. That's kind of the thing. If someone else has got a certain subject covered, then I don't really need to do it. I don't need to be involved in everything. You can't pick up every fight. You'll lose all of your clout if you fight every fight. You have to pick the ones that you know well, that you're well informed on, and that you have some say and you hope that that has at least some effect. ...\u003c/p>\u003cp>I don't give up my right to my freedom of speech because I have a Screen Actors Guild card. ... I was out protesting and against apartheid in 1982 when no one gave a damn who I was. I grew up in the 1960s, man. And so suddenly, you get well known and it's like, OK, now don't speak. … You get to say what you believe, you get to stand by what you believe, and … [if] there are gonna be people now that won't go see this movie, OK, fair enough. That's the trade-off I make. And I can handle that. I believe in standing up for what you believe in and telling the truth. The minute that I'm asked to just straight-up lie, then I've lost.\u003c/p>\u003cp>\u003cem>Ann Marie Baldonado and Nico Wisler\u003c/em> \u003cem>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 2025 NPR\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oscar-winning actor, director and producer \u003ca href=\"https://www.npr.org/tags/171894222/george-clooney\" target=\"_blank\">George Clooney\u003c/a> may be one of Hollywood's most recognizable stars — but that doesn't mean his kids are impressed with him.\u003c/p>\u003cp>\"My son went to Halloween this year dressed as Batman, which is a character I played — famously the worst Batman in the history of the franchise,\" Clooney says. \"And I literally said to him, 'You know, I was Batman,' and he was like, 'Yeah, not really.'\"\u003c/p>\u003cp>Clooney found success in Hollywood in his 30s, late enough, he says, that he learned how to live before he learned how to be famous. His character in the new Netflix film, \u003cem>Jay Kelly\u003c/em>, wasn't so lucky. Clooney plays a self-absorbed, emotionally stunted movie star stumbling through midlife, unable to connect with the people who need him most. \u003c/p>\u003cp>Director \u003ca href=\"https://www.npr.org/tags/1140101732/noah-baumbach\" target=\"_blank\">Noah Baumbach\u003c/a> wrote the script with Clooney in mind — which made the actor's first read though an interesting one: \"I read it and I said 'This guy [Jay Kelly] is kind of a jerk!'\" Clooney says. Still, he could relate to Jay's struggles with work and family life. \"We're all balancing it. We're never getting it perfect,\" Clooney says. \u003c/p>\u003cp>\u003cem>Jay Kelly\u003c/em> also offers an unvarnished look at what it means to be famous. For Clooney, that vantage came early, as he watched the rise and fall (and rise again) of his aunt, singer \u003ca href=\"https://www.npr.org/artists/97743054/rosemary-clooney\" target=\"_blank\">Rosemary Clooney\u003c/a>. \u003c/p>\u003cp>\"It was a really good lesson for me in understanding how little success has to do with you — on both sides of the spectrum,\" he says. \"You're not as brilliant as they say you are when things are going well, and they do say that. And you're not as horrible as they say you are when things aren't going well, and they do say that. So it's a very helpful thing to understand.\"\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On prioritizing friendship for much of his life \u003c/strong>\u003c/p>\u003cp>I had no interest in being married and having kids. I had an interest in working. I was very excited with having a career. I couldn't believe I was having one. … I was wanting to have this sort of created family. And I worked very hard at making sure that we all had dinners together and spent time together and checked in with one another. And there wasn't any great master plan really. It was just luck. I got lucky that I met really wonderful people. Grant Heslov, my partner at work, you know, we've been partners for 40 years. He loaned me $98 bucks to get headshots in 1982, and we both stood on the stage together and won the Oscar together as producers of \u003cem>Argo\u003c/em>. So we've been through it.\u003c/p>\u003cp>\u003cstrong>On why he gave $1 million cash to each of his 12 closest friends\u003c/strong>\u003c/p>\u003cp>My career and my life have been on the shoulders of many of my friends helping me when I couldn't afford it or when I needed a place to stay or when I needed someone to co-sign a loan or any of those things. And so being able to participate and help your friends out who are trying to put their kids through college or who are trying to pay off tax debts and all those kinds of things, it actually is a good thing. ... It doesn't even feel like a gift as much as it feels like a payback for such great generosity when they were young, and when we were all young.\u003c/p>\u003cp>\u003cstrong>On his 2025 Broadway production of \u003cem>Good Night, and Good Luck,\u003c/em> which was a follow-up to his 2005 film about broadcaster Edward R. Murrow\u003c/strong>\u003c/p>\u003cp>I felt like it was a good time to reinvest and talk again about the importance of news. … The themes were still really urgent and I thought it was important to remind ourselves of how important telling the truth and holding truth to power was. And so we started working on doing the play with the intent that we would try to have it out by the first of the year, having no idea what the election would be, because either way, it seems like truth has become something that's negotiable suddenly. \u003c/p>\u003cp>That's the one thing that wasn't part of the narrative as much in 2005. What's become the narrative now is: Don't believe what you see. You can tell a lie and say it's fact now. And also you can see factual things and say, well, those are fake. And those are dangerous. You see that happening in Darfur right now, even though the people who are committing the crimes are actually posting videos of the crimes. We've seen it obviously in Ukraine, we saw it in Russia. We now see it in the United States constantly. And I feel like it was an important time to talk about the necessity to dig down and constantly bear down on holding people with power responsible — no matter who's in power, by the way.\u003c/p>\u003cp>\u003cstrong>On his father Nick Clooney's reaction to the play, as a longtime anchorman \u003c/strong>\u003c/p>\u003cp>He wasn't well enough to come to the play, which was heartbreaking quite honestly, because really it was written for him, it was written for his standard and what he taught me and what he asked of me as a child and as an adult. But we did it live [on TV] so he could see it. And it was an interesting thing because he was there with a bunch of family members and watching it live and at the end he stood up and he saluted the television, which was a pretty beautiful thing for me and for us and for our relationship. He set the standard pretty high for me.\u003c/p>\u003cp>\u003cstrong>On how he makes the decision about when to speak out on an issue, like calling for Biden to \u003c/strong>\u003ca href=\"https://www.nytimes.com/2024/07/10/opinion/joe-biden-democratic-nominee.html\" target=\"_blank\">\u003cstrong>drop out of the presidential race\u003c/strong>\u003c/a>\u003cstrong> in 2024 \u003c/strong>\u003c/p>\u003cp>In general, it's when I feel like no one else is gonna do it. That's kind of the thing. If someone else has got a certain subject covered, then I don't really need to do it. I don't need to be involved in everything. You can't pick up every fight. You'll lose all of your clout if you fight every fight. You have to pick the ones that you know well, that you're well informed on, and that you have some say and you hope that that has at least some effect. ...\u003c/p>\u003cp>I don't give up my right to my freedom of speech because I have a Screen Actors Guild card. ... I was out protesting and against apartheid in 1982 when no one gave a damn who I was. I grew up in the 1960s, man. And so suddenly, you get well known and it's like, OK, now don't speak. … You get to say what you believe, you get to stand by what you believe, and … [if] there are gonna be people now that won't go see this movie, OK, fair enough. That's the trade-off I make. And I can handle that. I believe in standing up for what you believe in and telling the truth. The minute that I'm asked to just straight-up lie, then I've lost.\u003c/p>\u003cp>\u003cem>Ann Marie Baldonado and Nico Wisler\u003c/em> \u003cem>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 2025 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>",
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"title": "Did the Trump administration commit a war crime in its attack on a Venezuelan boat?",
"excerpt": "\u003cem>Washington Post\u003c/em> reporter Alex Horton talks about the Sept. 2 U.S. military strike on a boat with alleged \"narco terrorists,\" in which a second strike was ordered to kill two survivors in the water.",
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"title": "Photojournalist Lynsey Addario on balancing work and family — when work is a war zone",
"excerpt": "The Pulitzer Prize-winning photojournalist has been kidnapped and thrown from a car. Still, Addario says, parenting two young kids can be more challenging than war reporting.",
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"content": "\u003cp>For 25 years, Pulitzer Prize-winning photojournalist Lynsey Addario has covered nearly every major conflict and humanitarian crisis of her generation, from Syria to Sudan to Ukraine. The dangers she encounters on assignment are increasingly serious; the Committee to Protect Journalists estimates that 2024 was the \u003ca href=\"https://cpj.org/special-reports/2024-is-deadliest-year-for-journalists-in-cpj-history-almost-70-percent-killed-by-israel/\" target=\"_blank\">deadliest on record\u003c/a> for journalists. \u003c/p>\u003cp>\"We're in an era where journalists are routinely targeted and routinely killed,\" she says. \"Journalism is equated with death now, in a way that it wasn't when I first started out.\"\u003c/p>\u003cp>Over the years, Addario's been \u003ca href=\"https://www.npr.org/2015/02/11/385246118/twice-kidnapped-photographer-returns-to-war-zone-its-what-i-do\" target=\"_blank\">kidnapped twice\u003c/a>, thrown out of a car on a highway in Pakistan, and been ambushed, on two different occasions, by the Taliban and Iraqi insurgents. Still, she says, she sometimes finds parenting two young kids more challenging than reporting from a war zone.\u003c/p>\u003cp>\"When I'm in a war zone, that is my focus and that's all I'm doing. ... I go in, I make calculations about the danger, I photograph, I try to tell stories, I go back to the hotel, I file, I try not to get hit in a missile strike,\" Addario says. \"But with kids it's like I can't control when their emotions arise or when their needs arise and it's a full-time thing and it's very hard to do to have a full-time job as a parent.\"\u003c/p>\u003cp>Often, Addario's work makes it impossible to be physically present in the way other parents can be. \"I'll sign up to be the mystery reader at school and I go and read to Alfred's class and then I have to cancel because I get stuck in the Darién Gap.\"\u003c/p>\u003cp>The new Disney+ documentary \u003cem>Love+War\u003c/em> chronicles Addario's efforts to balance her roles as a mother and a journalist. She calls it a \"constant negotiation\" with her husband, Paul. \u003c/p>\u003cp>\"It was sort of like our prenup. It's like: 'I don't want money. I want my freedom and I want my time to be able to work,'\" she says. \"We realized we love each other, we want a family, but I'm never going to be that person who's home all the time.\"\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>Interview highlights\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On a close call she experienced in northern Iraq in March 2003 \u003c/strong>\u003c/p>\u003cp>A lot of the civilians were saying, \"Get out of here, get out of here. It's not safe.\" And of course, the one lesson I've learned in all my many years covering war is you always have to listen to the locals. And so I was standing with this other journalist, and I suddenly got this like feeling in the pit of my stomach, and I ran back to the car and shut the door and a huge mortar came like very close to us and our entire car was thrust forward and our driver just took off and sped like very, very fast and we drove for about 10 minutes to a safer area. ...\u003c/p>\u003cp>We stopped at a hospital and they were offloading the injured and there were people being treated and it was chaos ... and suddenly a taxi pulled up and this taxi driver said, \"Is there a journalist around?\" And I said, \"Yeah.\" And he said, \"Can anyone help me? I have the body of a journalist in my trunk.\" And I sort of doubled over and I felt like I was gonna throw up and I started sobbing and said, like, \"I just want to go home. I don't want to end up in the back of a trunk one day. Like I don't want to die doing this job. I don't think I have it in me to be that brave.\"\u003c/p>\u003cp>\u003cstrong>On saying in the documentary that she's set up her life so that her husband is the main parent, so her kids have continuity should she be killed in the field\u003c/strong>\u003c/p>\u003cp>How could I not? I mean, look at what I do for a living. I'm constantly photographing people who are killed in war or people whose lives have been torn apart by war. And so part of being a war correspondent is that we're always making contingency plans and that is relevant to our own lives, and I think I go into these assignments knowing how dangerous they are. Obviously some are less dangerous than others, but just driving a car in war zones is dangerous. It's one of the most dangerous things we do. And in fact, ironically, the only time I've been injured to date was in a car accident, not on the front line. … \u003c/p>\u003cp>Obviously I don't want to get killed. I don't want to die. I don't want to die in war or anywhere else because I want to be here for my children and for my family. But life is full of surprises and anything can happen, not only in war but anywhere.\u003c/p>\u003cp>\u003cstrong>On feeling most alive when she's working\u003c/strong>\u003c/p>\u003cp>When I'm anywhere but behind the viewfinder of my camera actually taking photographs, I have a million things in my mind. I have a million things I want to be doing. I have a million things I am doing, and I'm very kind of scattered and stressed, whatever. And the place where it all comes together and I just focus and I am totally 100 percent present is when I'm working. ...\u003c/p>\u003cp>When I'm home, I'm happy to be home, I'm happy to be with my family, but I have one eye on the television — what is the story I should be covering next? I'm doing research, I'm spread very thin. But it is true that when I start to actually go out to take photos and I'm in a situation where I'm interviewing someone, capturing their story, making pictures, I feel most like myself, like where I need to be. And that's a hard thing to say out loud because most people will be like, \"Well, that makes you a horrible mother … you should never say that out loud.\" But that's just me and that is a reality.\u003c/p>\u003cp>\u003cstrong>On maintaining hope, despite seeing the worst of humanity and suffering\u003c/strong>\u003c/p>\u003cp>Images can move people, can educate people, can enlighten people, can flip misconceptions, can bridge people. I still believe in photojournalism and even though I've seen so many horrific things and I've seen evil and I've seen things that I just never thought a human being would be capable of and I've heard testimonies, I still see extraordinary beauty and generosity and resilience and love and hope and I think so long as the people I'm photographing have that spirit, I will have that spirit. … I can't predict how I'll feel in a year, in five years, and 10 years, I have no idea. But I still have hope and belief in photojournalism.\u003c/p>\u003cp>\u003cstrong>On her next assignment \u003c/strong>\u003c/p>\u003cp>I'm looking at Sudan and then I'm also looking at some stories in the United States. … So I haven't had that conversation yet, primarily because I just came home from a three-week trip and I just hesitant to say, \"I'm gonna leave again and I'm going to Sudan.\" So I'm waiting for the right time. It never feels like the right time, but they're hard conversations when I have to say I'm leaving.\u003c/p>\u003cp>\u003cem>Sam Briger and Anna Bauman produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.\u003c/em>\u003cstrong> \u003c/strong> \u003cdiv class=\"fullattribution\">Copyright 2025 NPR\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For 25 years, Pulitzer Prize-winning photojournalist Lynsey Addario has covered nearly every major conflict and humanitarian crisis of her generation, from Syria to Sudan to Ukraine. The dangers she encounters on assignment are increasingly serious; the Committee to Protect Journalists estimates that 2024 was the \u003ca href=\"https://cpj.org/special-reports/2024-is-deadliest-year-for-journalists-in-cpj-history-almost-70-percent-killed-by-israel/\" target=\"_blank\">deadliest on record\u003c/a> for journalists. \u003c/p>\u003cp>\"We're in an era where journalists are routinely targeted and routinely killed,\" she says. \"Journalism is equated with death now, in a way that it wasn't when I first started out.\"\u003c/p>\u003cp>Over the years, Addario's been \u003ca href=\"https://www.npr.org/2015/02/11/385246118/twice-kidnapped-photographer-returns-to-war-zone-its-what-i-do\" target=\"_blank\">kidnapped twice\u003c/a>, thrown out of a car on a highway in Pakistan, and been ambushed, on two different occasions, by the Taliban and Iraqi insurgents. Still, she says, she sometimes finds parenting two young kids more challenging than reporting from a war zone.\u003c/p>\u003cp>\"When I'm in a war zone, that is my focus and that's all I'm doing. ... I go in, I make calculations about the danger, I photograph, I try to tell stories, I go back to the hotel, I file, I try not to get hit in a missile strike,\" Addario says. \"But with kids it's like I can't control when their emotions arise or when their needs arise and it's a full-time thing and it's very hard to do to have a full-time job as a parent.\"\u003c/p>\u003cp>Often, Addario's work makes it impossible to be physically present in the way other parents can be. \"I'll sign up to be the mystery reader at school and I go and read to Alfred's class and then I have to cancel because I get stuck in the Darién Gap.\"\u003c/p>\u003cp>The new Disney+ documentary \u003cem>Love+War\u003c/em> chronicles Addario's efforts to balance her roles as a mother and a journalist. She calls it a \"constant negotiation\" with her husband, Paul. \u003c/p>\u003cp>\"It was sort of like our prenup. It's like: 'I don't want money. I want my freedom and I want my time to be able to work,'\" she says. \"We realized we love each other, we want a family, but I'm never going to be that person who's home all the time.\"\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>Interview highlights\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On a close call she experienced in northern Iraq in March 2003 \u003c/strong>\u003c/p>\u003cp>A lot of the civilians were saying, \"Get out of here, get out of here. It's not safe.\" And of course, the one lesson I've learned in all my many years covering war is you always have to listen to the locals. And so I was standing with this other journalist, and I suddenly got this like feeling in the pit of my stomach, and I ran back to the car and shut the door and a huge mortar came like very close to us and our entire car was thrust forward and our driver just took off and sped like very, very fast and we drove for about 10 minutes to a safer area. ...\u003c/p>\u003cp>We stopped at a hospital and they were offloading the injured and there were people being treated and it was chaos ... and suddenly a taxi pulled up and this taxi driver said, \"Is there a journalist around?\" And I said, \"Yeah.\" And he said, \"Can anyone help me? I have the body of a journalist in my trunk.\" And I sort of doubled over and I felt like I was gonna throw up and I started sobbing and said, like, \"I just want to go home. I don't want to end up in the back of a trunk one day. Like I don't want to die doing this job. I don't think I have it in me to be that brave.\"\u003c/p>\u003cp>\u003cstrong>On saying in the documentary that she's set up her life so that her husband is the main parent, so her kids have continuity should she be killed in the field\u003c/strong>\u003c/p>\u003cp>How could I not? I mean, look at what I do for a living. I'm constantly photographing people who are killed in war or people whose lives have been torn apart by war. And so part of being a war correspondent is that we're always making contingency plans and that is relevant to our own lives, and I think I go into these assignments knowing how dangerous they are. Obviously some are less dangerous than others, but just driving a car in war zones is dangerous. It's one of the most dangerous things we do. And in fact, ironically, the only time I've been injured to date was in a car accident, not on the front line. … \u003c/p>\u003cp>Obviously I don't want to get killed. I don't want to die. I don't want to die in war or anywhere else because I want to be here for my children and for my family. But life is full of surprises and anything can happen, not only in war but anywhere.\u003c/p>\u003cp>\u003cstrong>On feeling most alive when she's working\u003c/strong>\u003c/p>\u003cp>When I'm anywhere but behind the viewfinder of my camera actually taking photographs, I have a million things in my mind. I have a million things I want to be doing. I have a million things I am doing, and I'm very kind of scattered and stressed, whatever. And the place where it all comes together and I just focus and I am totally 100 percent present is when I'm working. ...\u003c/p>\u003cp>When I'm home, I'm happy to be home, I'm happy to be with my family, but I have one eye on the television — what is the story I should be covering next? I'm doing research, I'm spread very thin. But it is true that when I start to actually go out to take photos and I'm in a situation where I'm interviewing someone, capturing their story, making pictures, I feel most like myself, like where I need to be. And that's a hard thing to say out loud because most people will be like, \"Well, that makes you a horrible mother … you should never say that out loud.\" But that's just me and that is a reality.\u003c/p>\u003cp>\u003cstrong>On maintaining hope, despite seeing the worst of humanity and suffering\u003c/strong>\u003c/p>\u003cp>Images can move people, can educate people, can enlighten people, can flip misconceptions, can bridge people. I still believe in photojournalism and even though I've seen so many horrific things and I've seen evil and I've seen things that I just never thought a human being would be capable of and I've heard testimonies, I still see extraordinary beauty and generosity and resilience and love and hope and I think so long as the people I'm photographing have that spirit, I will have that spirit. … I can't predict how I'll feel in a year, in five years, and 10 years, I have no idea. But I still have hope and belief in photojournalism.\u003c/p>\u003cp>\u003cstrong>On her next assignment \u003c/strong>\u003c/p>\u003cp>I'm looking at Sudan and then I'm also looking at some stories in the United States. … So I haven't had that conversation yet, primarily because I just came home from a three-week trip and I just hesitant to say, \"I'm gonna leave again and I'm going to Sudan.\" So I'm waiting for the right time. It never feels like the right time, but they're hard conversations when I have to say I'm leaving.\u003c/p>\u003cp>\u003cem>Sam Briger and Anna Bauman produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.\u003c/em>\u003cstrong> \u003c/strong> \u003cdiv class=\"fullattribution\">Copyright 2025 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>",
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"slug": "a-dying-woman-chooses-friends-over-her-husband-in-some-bright-nowhere",
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"title": "A dying woman chooses friends over her husband in 'Some Bright Nowhere'",
"excerpt": "A woman with a terminal diagnosis asks her husband to leave the house in Ann Packer's new novel. \u003cem>Some Bright Nowhere\u003c/em> is an absorbing book about end-of-life care and what the living owe the dying.",
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"content": "\u003cp>Is there anything you \u003cem>wouldn't \u003c/em>do for a loved one if they were dying? That's a morbid question, for sure, but the dilemma at the center of \u003cem>Some Bright Nowhere\u003c/em>, Ann Packer's new novel, makes a reader wonder about such things.\u003c/p>\u003cp>Packer's main characters, Claire and Eliot, are a couple in their 60s who've been married for almost four decades. For the past eight years, Claire has been battling cancer and Eliot has been a diligent caretaker. Caretaking, he reflects, is a daily amalgam of \"Helping, soothing, driving, phoning, cooking, listening, tending, waiting, learning, remembering, deciding, forgoing. A lot of forgoing.\" \u003c/p>\u003cp>When the novel opens, Claire and Eliot have just walked out of their final appointment with Claire's oncologist — final, because there's nothing more to be done. The couple's two adult children visit, as do Claire's long-time close friends, Michelle and Holly, who shower her with self-care presents — flannel pjs, fancy lotions and manicures — causing Claire to joke about the \"death spa\" she's comfortably ensconced in.\u003c/p>\u003cp>Then, one day when the couple is alone, Claire makes a request to her husband. Here are snippets from that fateful conversation:\u003c/p>\u003cp>\u003cblockquote>\u003cdiv>\u003cp>“I’d like them to be here with me” [Claire says]. \u003cbr>“Them?” \u003cbr>“Holly and Michelle. .... What I mean is, I’d like them to take care of me.” \u003cbr>“OK.” [Eliot] hesitated. “The more the merrier?” \u003cbr>“Eliot. Instead of you.” \u003c/p>\u003c/div>\u003c/blockquote>\u003c/p>\u003cp>Numb, dismayed, Eliot agrees to pack up because he loves his wife and it turns out her deepest wish is that he leave the house.\u003c/p>\u003cp>We're seeing a lot of literary fiction these days about the long goodbyes of aging and terminal illness. I'm thinking of recent novels by \u003ca href=\"https://www.npr.org/2023/06/27/1184498141/richard-ford-be-mine-lorrie-moore-i-am-homeless-if-this-is-not-my-home-review\" target=\"_blank\">Richard Ford\u003c/a>, Stewart O'Nan, \u003ca href=\"https://www.npr.org/2022/09/21/1123790216/elizabeth-strout-lucy-by-the-tea-captures-anxieties-of-pandemic\" target=\"_blank\">Elizabeth Strout\u003c/a> and, now, Ann Packer. Part of the reason, surely, for this uptick in end-of-days dramas is that many of our novelists and their long-time readers are growing old in tandem. \u003c/p>\u003cp>Packer's best-known novel, \u003cem>The Dive from Clausen's Pier, \u003c/em>was published in 2002; it told the story of a young woman who'd been thinking of breaking up with her fiancé, but then feels obligated to stay after he's paralyzed in a diving accident. \u003c/p>\u003cp>Packer invested that contrived situation with emotional authenticity. She pulls off the same magic trick in \u003cem>Some Bright Nowhere\u003c/em>: As a writer, she's deeply alert to the currents of thoughts and feelings that run through even a seconds-long conversation. Take this moment right after Claire has made her peculiar request and shortly before Eliot agrees to grant it. Claire says to Eliot:\u003c/p>\u003cp>\u003cblockquote>\u003cdiv>\u003cp>“Can I ask you a question? ... How mad are you?\" Eliot said he wasn’t mad, which was true: he was sad, confused, a little embarrassed — but not mad. ... \"I should’ve already asked this,” [Eliot] said, “but would I be able to come visit?” And [Claire] burst into tears, unable in that moment to bear the rip she clearly felt she’d torn in his self-confidence.”\u003c/p>\u003c/div>\u003c/blockquote>\u003c/p>\u003cp>Perhaps one reason Claire wants Eliot to vacate the house is that he needs to be needed (as we all do) and, as she lay dying, Claire doesn't want to take care of him emotionally. Her friends are easier to be with: They'll survive her death; she isn't their whole world. \u003c/p>\u003cp>Another possible explanation for Claire's strange wish is her memory of being part of a crew of women who tended to a friend in her last days. That friend's house, she tells Eliot, was filled with \"female energy, chatter, tears, laughter.\" Listening to Claire describe her gynocentric model for a \"good death,\" Eliot is bewildered. He thinks to himself that \"It was as if [Claire] were speaking a foreign language. As if she lived a secret life he was only now discovering. Secret and preferred. But he couldn't say that.\"\u003c/p>\u003cp>\u003cem>Some Bright Nowhere \u003c/em>is about the things we can't say and don't know about each other, as well as the collateral damage that a terminal disease can inflict on even the best of relationships. It's an odd, beautiful and absorbing little novel about one of the biggest subjects of them all. \u003cdiv class=\"fullattribution\">Copyright 2025 NPR\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Is there anything you \u003cem>wouldn't \u003c/em>do for a loved one if they were dying? That's a morbid question, for sure, but the dilemma at the center of \u003cem>Some Bright Nowhere\u003c/em>, Ann Packer's new novel, makes a reader wonder about such things.\u003c/p>\u003cp>Packer's main characters, Claire and Eliot, are a couple in their 60s who've been married for almost four decades. For the past eight years, Claire has been battling cancer and Eliot has been a diligent caretaker. Caretaking, he reflects, is a daily amalgam of \"Helping, soothing, driving, phoning, cooking, listening, tending, waiting, learning, remembering, deciding, forgoing. A lot of forgoing.\" \u003c/p>\u003cp>When the novel opens, Claire and Eliot have just walked out of their final appointment with Claire's oncologist — final, because there's nothing more to be done. The couple's two adult children visit, as do Claire's long-time close friends, Michelle and Holly, who shower her with self-care presents — flannel pjs, fancy lotions and manicures — causing Claire to joke about the \"death spa\" she's comfortably ensconced in.\u003c/p>\u003cp>Then, one day when the couple is alone, Claire makes a request to her husband. Here are snippets from that fateful conversation:\u003c/p>\u003cp>\u003cblockquote>\u003cdiv>\u003cp>“I’d like them to be here with me” [Claire says]. \u003cbr>“Them?” \u003cbr>“Holly and Michelle. .... What I mean is, I’d like them to take care of me.” \u003cbr>“OK.” [Eliot] hesitated. “The more the merrier?” \u003cbr>“Eliot. Instead of you.” \u003c/p>\u003c/div>\u003c/blockquote>\u003c/p>\u003cp>Numb, dismayed, Eliot agrees to pack up because he loves his wife and it turns out her deepest wish is that he leave the house.\u003c/p>\u003cp>We're seeing a lot of literary fiction these days about the long goodbyes of aging and terminal illness. I'm thinking of recent novels by \u003ca href=\"https://www.npr.org/2023/06/27/1184498141/richard-ford-be-mine-lorrie-moore-i-am-homeless-if-this-is-not-my-home-review\" target=\"_blank\">Richard Ford\u003c/a>, Stewart O'Nan, \u003ca href=\"https://www.npr.org/2022/09/21/1123790216/elizabeth-strout-lucy-by-the-tea-captures-anxieties-of-pandemic\" target=\"_blank\">Elizabeth Strout\u003c/a> and, now, Ann Packer. Part of the reason, surely, for this uptick in end-of-days dramas is that many of our novelists and their long-time readers are growing old in tandem. \u003c/p>\u003cp>Packer's best-known novel, \u003cem>The Dive from Clausen's Pier, \u003c/em>was published in 2002; it told the story of a young woman who'd been thinking of breaking up with her fiancé, but then feels obligated to stay after he's paralyzed in a diving accident. \u003c/p>\u003cp>Packer invested that contrived situation with emotional authenticity. She pulls off the same magic trick in \u003cem>Some Bright Nowhere\u003c/em>: As a writer, she's deeply alert to the currents of thoughts and feelings that run through even a seconds-long conversation. Take this moment right after Claire has made her peculiar request and shortly before Eliot agrees to grant it. Claire says to Eliot:\u003c/p>\u003cp>\u003cblockquote>\u003cdiv>\u003cp>“Can I ask you a question? ... How mad are you?\" Eliot said he wasn’t mad, which was true: he was sad, confused, a little embarrassed — but not mad. ... \"I should’ve already asked this,” [Eliot] said, “but would I be able to come visit?” And [Claire] burst into tears, unable in that moment to bear the rip she clearly felt she’d torn in his self-confidence.”\u003c/p>\u003c/div>\u003c/blockquote>\u003c/p>\u003cp>Perhaps one reason Claire wants Eliot to vacate the house is that he needs to be needed (as we all do) and, as she lay dying, Claire doesn't want to take care of him emotionally. Her friends are easier to be with: They'll survive her death; she isn't their whole world. \u003c/p>\u003cp>Another possible explanation for Claire's strange wish is her memory of being part of a crew of women who tended to a friend in her last days. That friend's house, she tells Eliot, was filled with \"female energy, chatter, tears, laughter.\" Listening to Claire describe her gynocentric model for a \"good death,\" Eliot is bewildered. He thinks to himself that \"It was as if [Claire] were speaking a foreign language. As if she lived a secret life he was only now discovering. Secret and preferred. But he couldn't say that.\"\u003c/p>\u003cp>\u003cem>Some Bright Nowhere \u003c/em>is about the things we can't say and don't know about each other, as well as the collateral damage that a terminal disease can inflict on even the best of relationships. It's an odd, beautiful and absorbing little novel about one of the biggest subjects of them all. \u003cdiv class=\"fullattribution\">Copyright 2025 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>",
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"slug": "im-telling-a-silent-story-paul-tazewell-on-wicked-and-the-magic-of-costume-design",
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"title": "'I'm telling a silent story': Paul Tazewell on 'Wicked' and the magic of costume design",
"excerpt": "The Oscar-winning costume designer has been enchanted by Oz and Munchkinland for most of his life. He created more than 1,000 looks for \u003cem>Wicked: For Good — \u003c/em>including Elphaba's \"sex cardigan.\"",
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"content": "\u003cp>\u003cem>Wicked\u003c/em> costume designer Paul Tazewell has been enchanted by Oz and Munchkinland for most of his life. Growing up, it was an Easter tradition for his family to watch the annual TV broadcast of \u003cem>The Wizard of Oz\u003c/em>. Tazewell remembers being struck by the visuals of the 1939 film.\u003c/p>\u003cp>\"Going from sepia tone in Dorothy's house to technicolor when she enters into Munchkinland — that's one of the most magical transitions that I can remember,\" he says. \u003c/p>\u003cp>Tazewell worked to capture the same magic in \u003ca href=\"https://www.npr.org/2025/11/20/nx-s1-5612585/wicked-for-good-review-ariana-grande-cynthia-erivo\" target=\"_blank\">\u003cem>Wicked: For Good\u003c/em>\u003c/a>\u003cem>. \u003c/em>When Glinda descends from her bubble in iridescent blue and lavender, or when Elphaba sweeps through the sky for the first time in a weathered trench coat and trousers, their clothes are an integral part of the story, telling us who these women have become.\u003c/p>\u003cp>\"I see my work as a costume designer to be one of a storyteller, and I'm telling a silent story,\" Tazewell says. \"It reveals itself adjacent to the performances of the characters.\"\u003c/p>\u003cp>For more than 30 years, Tazewell's designs for Broadway, TV and film have shaped how we see stories, from the worn revolutionary textures of \u003ca href=\"https://www.npr.org/2020/06/30/885012751/hamilton-comes-home-just-in-time-for-the-fourth-of-july\" target=\"_blank\">\u003cem>Hamilton\u003c/em>\u003c/a> to the saturated palette of \u003ca href=\"https://www.npr.org/2021/12/09/1062380664/steven-spielbergs-west-side-story-review\" target=\"_blank\">\u003cem>West Side Story\u003c/em>\u003c/a>. Earlier this year, he made history as the first Black man to win the Academy Award for costume design for his work on the first \u003ca href=\"https://www.npr.org/2024/11/19/nx-s1-5175607/wicked-movie-review-ariana-grande-cynthia-erivo\" target=\"_blank\">\u003cem>Wicked\u003c/em> \u003c/a>film. But for Tazewell, his work with textiles began decades earlier, when his mom taught him to sew when he was 9.\u003c/p>\u003cp>\"My mother had a Singer sewing machine and she would set it up and she would make costumes and clothing for us, my brothers and myself,\" he says. \"It was just a skill that I wanted to have, so that I could start to create things for myself.\"\u003c/p>\u003cp>In college, Tazewell considered a path in the performing arts, but chose design instead. \"Where I might not be cast in certain roles because of how I looked, as a designer, I could be anyone,\" he says. \"I made the decision that I would devote myself to costume design and live vicariously through other characters.\"\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On the decision to dress Elphaba in trousers\u003c/strong>\u003c/p>\u003cp>Something happened to my design brain when \u003ca href=\"https://www.npr.org/2024/07/24/nx-s1-5049022/wicked-director-jon-m-chu\" target=\"_blank\">John M. Chu\u003c/a> said that he was casting \u003ca href=\"https://www.npr.org/2025/11/17/nx-s1-5609166/cynthia-erivo-memoir-wicked-for-good-simply-more\" target=\"_blank\">Cynthia Erivo\u003c/a> [in the role of Elphaba]. ... I had already worked with Cynthia in \u003ca href=\"https://www.npr.org/2019/11/01/775148791/the-superhero-journey-of-harriet-tubman-now-on-film\" target=\"_blank\">\u003cem>Harriet\u003c/em>\u003c/a>, and I knew her range. I fully understood her connection to clothing, how she develops a character, what that conversation is as she's developing a character, as you know, because we went through that process on \u003cem>Harriet\u003c/em>, but I knew that she would be able to go to a place that would use the agility of wearing trousers as a means of athletic expression and power. That the ability to move allowed for her to navigate the world in a way that was more expansive than being in a skirt and jacket all the time.\u003c/p>\u003cp>\u003cstrong>On why Elphaba is often in all black \u003c/strong>\u003c/p>\u003cp>She lost her mother very early in life. She was in mourning, so she wore that color, the black color, signifying mourning. And then to adopt that as a way to pull herself apart from the rest of the community, which we see presented when she's a little girl the other children in the neighborhood make fun of her. And holding on to that armoring that's created by wearing black, it felt real in a way because you think about high school students or young students who dress in black or in a very goth way to make themselves feel special or to create a separation from the rest of the bullies that might be hurting them, just to create some significance in their personality. \u003c/p>\u003cp>I was talking about how Cynthia was cast. It was the first time that a Black woman had ever been cast in that role, which was surprising because the whole point of the story is that she is being ostracized or vilified, or that she's othered because of the color of her skin. Now there's a direct connection to the racial structure of our country. There are so many similarities in the emotional story for a person of color and how that relates to Elphaba.\u003c/p>\u003cp>\u003cstrong>On the gray, chunky wool sweater Elphaba wears in her love scene with Fiyero — aka the \"sex cardigan\"\u003c/strong>\u003c/p>\u003cp>It came out of very literally an organic decision of what does Elphaba have access to? And living alone, what choice would she make when she's looking for a robe, some way to be protective and warm? ... It's operating as her robe for that moment. She's got a loom in her treehouse, where she's weaving her own clothing. She's manifesting all these things from the elements that are around her, and the sweater is just in keeping with that. Now indeed, you could say, Well, why wasn't it a black, slinky peignoir? But where would she get ... that? Well why would she even have it? … I think that it just follows through with reasonable choices that define who a character is and what is important for them, where their priorities are.\u003c/p>\u003cp>\u003cstrong>On growing up in a creative family\u003c/strong>\u003c/p>\u003cp>My grandmother was a painter. My dad loved model trains. So I remember for a period of time he had this huge model train table ... [with] model houses [and] you'd create a little town and then the train would ride around it. And then there was the element of live production. They would take us to productions of musicals that were in the Akron and Cleveland area. They encouraged us to join the drama club and my brothers and myself, we were all Suzuki violin or cello student. So culture was was really big. And my grandmother had studied at Oberlin, [studied] music, and she was a piano teacher and piano player and so it was just a part of our family culture that we were expressive.\u003c/p>\u003cp>\u003cem>Ann Marie Baldonado and Thea Chaloner\u003c/em> \u003cem>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 2025 NPR\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Wicked\u003c/em> costume designer Paul Tazewell has been enchanted by Oz and Munchkinland for most of his life. Growing up, it was an Easter tradition for his family to watch the annual TV broadcast of \u003cem>The Wizard of Oz\u003c/em>. Tazewell remembers being struck by the visuals of the 1939 film.\u003c/p>\u003cp>\"Going from sepia tone in Dorothy's house to technicolor when she enters into Munchkinland — that's one of the most magical transitions that I can remember,\" he says. \u003c/p>\u003cp>Tazewell worked to capture the same magic in \u003ca href=\"https://www.npr.org/2025/11/20/nx-s1-5612585/wicked-for-good-review-ariana-grande-cynthia-erivo\" target=\"_blank\">\u003cem>Wicked: For Good\u003c/em>\u003c/a>\u003cem>. \u003c/em>When Glinda descends from her bubble in iridescent blue and lavender, or when Elphaba sweeps through the sky for the first time in a weathered trench coat and trousers, their clothes are an integral part of the story, telling us who these women have become.\u003c/p>\u003cp>\"I see my work as a costume designer to be one of a storyteller, and I'm telling a silent story,\" Tazewell says. \"It reveals itself adjacent to the performances of the characters.\"\u003c/p>\u003cp>For more than 30 years, Tazewell's designs for Broadway, TV and film have shaped how we see stories, from the worn revolutionary textures of \u003ca href=\"https://www.npr.org/2020/06/30/885012751/hamilton-comes-home-just-in-time-for-the-fourth-of-july\" target=\"_blank\">\u003cem>Hamilton\u003c/em>\u003c/a> to the saturated palette of \u003ca href=\"https://www.npr.org/2021/12/09/1062380664/steven-spielbergs-west-side-story-review\" target=\"_blank\">\u003cem>West Side Story\u003c/em>\u003c/a>. Earlier this year, he made history as the first Black man to win the Academy Award for costume design for his work on the first \u003ca href=\"https://www.npr.org/2024/11/19/nx-s1-5175607/wicked-movie-review-ariana-grande-cynthia-erivo\" target=\"_blank\">\u003cem>Wicked\u003c/em> \u003c/a>film. But for Tazewell, his work with textiles began decades earlier, when his mom taught him to sew when he was 9.\u003c/p>\u003cp>\"My mother had a Singer sewing machine and she would set it up and she would make costumes and clothing for us, my brothers and myself,\" he says. \"It was just a skill that I wanted to have, so that I could start to create things for myself.\"\u003c/p>\u003cp>In college, Tazewell considered a path in the performing arts, but chose design instead. \"Where I might not be cast in certain roles because of how I looked, as a designer, I could be anyone,\" he says. \"I made the decision that I would devote myself to costume design and live vicariously through other characters.\"\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On the decision to dress Elphaba in trousers\u003c/strong>\u003c/p>\u003cp>Something happened to my design brain when \u003ca href=\"https://www.npr.org/2024/07/24/nx-s1-5049022/wicked-director-jon-m-chu\" target=\"_blank\">John M. Chu\u003c/a> said that he was casting \u003ca href=\"https://www.npr.org/2025/11/17/nx-s1-5609166/cynthia-erivo-memoir-wicked-for-good-simply-more\" target=\"_blank\">Cynthia Erivo\u003c/a> [in the role of Elphaba]. ... I had already worked with Cynthia in \u003ca href=\"https://www.npr.org/2019/11/01/775148791/the-superhero-journey-of-harriet-tubman-now-on-film\" target=\"_blank\">\u003cem>Harriet\u003c/em>\u003c/a>, and I knew her range. I fully understood her connection to clothing, how she develops a character, what that conversation is as she's developing a character, as you know, because we went through that process on \u003cem>Harriet\u003c/em>, but I knew that she would be able to go to a place that would use the agility of wearing trousers as a means of athletic expression and power. That the ability to move allowed for her to navigate the world in a way that was more expansive than being in a skirt and jacket all the time.\u003c/p>\u003cp>\u003cstrong>On why Elphaba is often in all black \u003c/strong>\u003c/p>\u003cp>She lost her mother very early in life. She was in mourning, so she wore that color, the black color, signifying mourning. And then to adopt that as a way to pull herself apart from the rest of the community, which we see presented when she's a little girl the other children in the neighborhood make fun of her. And holding on to that armoring that's created by wearing black, it felt real in a way because you think about high school students or young students who dress in black or in a very goth way to make themselves feel special or to create a separation from the rest of the bullies that might be hurting them, just to create some significance in their personality. \u003c/p>\u003cp>I was talking about how Cynthia was cast. It was the first time that a Black woman had ever been cast in that role, which was surprising because the whole point of the story is that she is being ostracized or vilified, or that she's othered because of the color of her skin. Now there's a direct connection to the racial structure of our country. There are so many similarities in the emotional story for a person of color and how that relates to Elphaba.\u003c/p>\u003cp>\u003cstrong>On the gray, chunky wool sweater Elphaba wears in her love scene with Fiyero — aka the \"sex cardigan\"\u003c/strong>\u003c/p>\u003cp>It came out of very literally an organic decision of what does Elphaba have access to? And living alone, what choice would she make when she's looking for a robe, some way to be protective and warm? ... It's operating as her robe for that moment. She's got a loom in her treehouse, where she's weaving her own clothing. She's manifesting all these things from the elements that are around her, and the sweater is just in keeping with that. Now indeed, you could say, Well, why wasn't it a black, slinky peignoir? But where would she get ... that? Well why would she even have it? … I think that it just follows through with reasonable choices that define who a character is and what is important for them, where their priorities are.\u003c/p>\u003cp>\u003cstrong>On growing up in a creative family\u003c/strong>\u003c/p>\u003cp>My grandmother was a painter. My dad loved model trains. So I remember for a period of time he had this huge model train table ... [with] model houses [and] you'd create a little town and then the train would ride around it. And then there was the element of live production. They would take us to productions of musicals that were in the Akron and Cleveland area. They encouraged us to join the drama club and my brothers and myself, we were all Suzuki violin or cello student. So culture was was really big. And my grandmother had studied at Oberlin, [studied] music, and she was a piano teacher and piano player and so it was just a part of our family culture that we were expressive.\u003c/p>\u003cp>\u003cem>Ann Marie Baldonado and Thea Chaloner\u003c/em> \u003cem>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 2025 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>",
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"title": "Fresh Air Weekend: Nutritionist Marion Nestle; Science writer Mary Roach",
"excerpt": "Marion Nestle says we should eat \"real food, processed as little as possible.\" Justin Chang reviews \u003cem>Hamnet\u003c/em>. Mary Roach reports on the latest in transplant science in her new book, \u003cem>Replaceable You.\u003c/em>",
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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>\u003cem>What to Eat Now\u003c/em> nutritionist talks SNAP, food policy and the \"triple duty\" diet: \u003c/strong>Marion Nestle says we need to rethink how we eat. She recommends \"real food, processed as little as possible, with a big emphasis on plants.\" Her new book is \u003cem>What to Eat Now.\u003c/em>\u003c/p>\u003cp>\u003cstrong>Forget \u003cem>Shakespeare in Love\u003c/em> — \u003cem>Hamnet\u003c/em> explores Shakespeare in grief: \u003c/strong>A new film, adapted from Maggie O'Farrell's 2020 novel, posits that the death of Shakespeare's 11-year-old son may have inspired one of the greatest fictional tragedies ever written.\u003c/p>\u003cp>\u003cstrong>From heart to skin to hair, \u003cem>Replaceable You\u003c/em> dives into the science of transplant: \u003c/strong>Science writer Mary Roach chronicles both the history and the latest science of body part replacement in her new book. She also answers the question: Is it kosher to receive an organ donation from a pig?\u003c/p>\u003cp>\u003cem>You can listen to the original interviews here:\u003c/em> \u003cdiv class=\"fullattribution\">Copyright 2025 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>\u003cem>What to Eat Now\u003c/em> nutritionist talks SNAP, food policy and the \"triple duty\" diet: \u003c/strong>Marion Nestle says we need to rethink how we eat. She recommends \"real food, processed as little as possible, with a big emphasis on plants.\" Her new book is \u003cem>What to Eat Now.\u003c/em>\u003c/p>\u003cp>\u003cstrong>Forget \u003cem>Shakespeare in Love\u003c/em> — \u003cem>Hamnet\u003c/em> explores Shakespeare in grief: \u003c/strong>A new film, adapted from Maggie O'Farrell's 2020 novel, posits that the death of Shakespeare's 11-year-old son may have inspired one of the greatest fictional tragedies ever written.\u003c/p>\u003cp>\u003cstrong>From heart to skin to hair, \u003cem>Replaceable You\u003c/em> dives into the science of transplant: \u003c/strong>Science writer Mary Roach chronicles both the history and the latest science of body part replacement in her new book. She also answers the question: Is it kosher to receive an organ donation from a pig?\u003c/p>\u003cp>\u003cem>You can listen to the original interviews here:\u003c/em> \u003cdiv class=\"fullattribution\">Copyright 2025 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>",
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"title": "Marking 100 years of the Grand Ole Opry with Earl Scruggs and Loretta Lynn",
"excerpt": "We listen back to archival interviews with two Opry members: bluegrass musician Scruggs, who perfected three-finger banjo picking, and country star Lynn. \u003cem>Originally broadcast in 2012 and 2010.\u003c/em>",
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"slug": "this-new-movie-about-russias-independent-journalists-is-harrowing-but-not-hopeless",
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"title": "This new movie about Russia's independent journalists is harrowing, but not hopeless",
"excerpt": "\u003cem>My Undesirable Friends: Part I — Last Air in Moscow \u003c/em>follows Russian journalists who report on the country's abuses. Reviewer Justin Chang calls it one of the most engrossing films he's seen all year. ",
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"content": "\u003cp>In October 2021, the New York-based filmmaker Julia Loktev flew to Moscow, amid nationwide protests in support of the Russian opposition leader \u003ca href=\"https://www.npr.org/2021/04/29/991971716/in-court-hearing-navalny-calls-putin-a-naked-thieving-king\" target=\"_blank\">Alexei Navalny\u003c/a>. \u003ca href=\"https://www.npr.org/tags/132030638/vladimir-putin/archive?date=2-29-2024\" target=\"_blank\">Vladimir Putin\u003c/a>'s government had begun cracking down on independent journalists covering the protests, branding them as \"foreign agents\" — a designation that effectively stigmatized them and forced them to include disclaimers with their work. \u003c/p>\u003cp>Loktev began filming several of these journalists who courageously kept reporting on the abuses of the regime, including her friend Anna Nemzer, a talk-show host for the independent channel TV Rain. Hoping to capture the journalists' ordeal as nimbly and thoroughly as possible, Loktev became a one-person crew, following her subjects around their homes and workplaces and filming on an iPhone. She shot for months as tensions mounted, culminating in Russia's \u003ca href=\"https://www.npr.org/2022/02/23/1082510234/russia-ukraine-updates\" target=\"_blank\">invasion of Ukraine\u003c/a> in February 2022. Not long afterward, all her subjects fled the country.\u003c/p>\u003cp>The result of her efforts is an extraordinarily tense and intimate new documentary, \u003cem>My Undesirable Friends: Part I — Last Air in Moscow\u003c/em>. Loktev is currently making a \u003cem>Part II\u003c/em>, which will focus on the same subjects as they try to continue their work in exile. \u003cem>Part I\u003c/em>, though, is already a stunning accomplishment — a harrowing immersion in the daily lives of journalists who find themselves in a state of freefall. \u003c/p>\u003cp>The film is divided into five chapters; the first three take place in the months leading up to the invasion of Ukraine. We see Nemzer in the TV Rain studio, interviewing activists who advocate for immigrants, people with disabilities and other marginalized groups. We see journalists reporting from the front lines of the protests, and not conforming to state-propaganda talking points.\u003c/p>\u003cp>Whether they're data journalists, investigative reporters or feature writers, they all try to keep on working despite their \"foreign agent\" status, which some of them try to fight in court. Others mock the term and treat it as a badge of honor. \u003c/p>\u003cp>Most of Loktev's subjects are women in their 20s and 30s, and over the course of these five-and-a-half hours, we're moved by their sense of camaraderie and community, and also by their gallows humor. They hang out at each other's apartments and crack jokes about the likelihood that they've been bugged, or that they might be arrested or detained. As we'll see in the film's later stretch, they're not wrong to worry.\u003c/p>\u003cp>Loktev, who was born in the former Soviet Union and moved to the U.S. as a child, is a superbly observant filmmaker. In the past two decades, she's directed two fictional dramas, \u003ca href=\"https://www.npr.org/2012/10/25/163238999/masculinity-crisis-in-the-caucasus-mountains\" target=\"_blank\">\u003cem>The Loneliest Planet\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2007/08/17/12881959/day-night-day-night-offers-no-easy-answers\" target=\"_blank\">\u003cem>Day Night Day Night\u003c/em>\u003c/a>, both slow-burning character studies that took their time getting under your skin. \u003cem>My Undesirable Friends: Part I\u003c/em> is a work of similar patience, and once Russia's full-scale assault on Ukraine begins, the movie has us fully in its grip. \u003c/p>\u003cp>After the darkly comic tension of the first three parts, the fourth and fifth chapters become outright horrifying. As the journalists make plans to flee, the story's center of gravity shifts to a reporter named Ksenia Mironova, whose fiancé has been imprisoned for treason, and who must make the heartrending decision whether to stay or leave.\u003c/p>\u003cp>It's impossible to watch \u003cem>My Undesirable Friends: Part I \u003c/em>without thinking of President Trump's ongoing attacks on the press. It's also hard not to see the film's events from the depressing standpoint of the present, with \u003ca href=\"https://www.npr.org/2024/02/16/1231946376/alexei-navalny-death-in-prison-vladimir-putin-opposition\" target=\"_blank\">Navalny dead\u003c/a> and the war in Ukraine still \u003ca href=\"https://www.npr.org/2025/11/25/g-s1-99216/russia-ukraine-attacks\" target=\"_blank\">raging miserably on\u003c/a>. Yet, as grim as it is, the movie isn't a hopeless experience. I came away with deep admiration and affection for these journalists, and for their devotion to their beleaguered but invaluable profession.\u003c/p>\u003cp>This is one of the most engrossing movies, fiction or nonfiction, that I've seen all year. Because it doesn't have an American distributor, it also hasn't been the easiest movie to see. It's now playing \u003ca href=\"https://argotpictures.com\" target=\"_blank\">in select venues\u003c/a> around the country, and if you have a chance to see it in a theater in the coming weeks, you should. Five-and-a-half hours may sound like a commitment, but once this movie has begun, you won't want to leave. And you'll be as eager as I am, by the end, to see what lies ahead for these intrepid souls in \u003cem>Part II\u003c/em>. \u003cdiv class=\"fullattribution\">Copyright 2025 NPR\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In October 2021, the New York-based filmmaker Julia Loktev flew to Moscow, amid nationwide protests in support of the Russian opposition leader \u003ca href=\"https://www.npr.org/2021/04/29/991971716/in-court-hearing-navalny-calls-putin-a-naked-thieving-king\" target=\"_blank\">Alexei Navalny\u003c/a>. \u003ca href=\"https://www.npr.org/tags/132030638/vladimir-putin/archive?date=2-29-2024\" target=\"_blank\">Vladimir Putin\u003c/a>'s government had begun cracking down on independent journalists covering the protests, branding them as \"foreign agents\" — a designation that effectively stigmatized them and forced them to include disclaimers with their work. \u003c/p>\u003cp>Loktev began filming several of these journalists who courageously kept reporting on the abuses of the regime, including her friend Anna Nemzer, a talk-show host for the independent channel TV Rain. Hoping to capture the journalists' ordeal as nimbly and thoroughly as possible, Loktev became a one-person crew, following her subjects around their homes and workplaces and filming on an iPhone. She shot for months as tensions mounted, culminating in Russia's \u003ca href=\"https://www.npr.org/2022/02/23/1082510234/russia-ukraine-updates\" target=\"_blank\">invasion of Ukraine\u003c/a> in February 2022. Not long afterward, all her subjects fled the country.\u003c/p>\u003cp>The result of her efforts is an extraordinarily tense and intimate new documentary, \u003cem>My Undesirable Friends: Part I — Last Air in Moscow\u003c/em>. Loktev is currently making a \u003cem>Part II\u003c/em>, which will focus on the same subjects as they try to continue their work in exile. \u003cem>Part I\u003c/em>, though, is already a stunning accomplishment — a harrowing immersion in the daily lives of journalists who find themselves in a state of freefall. \u003c/p>\u003cp>The film is divided into five chapters; the first three take place in the months leading up to the invasion of Ukraine. We see Nemzer in the TV Rain studio, interviewing activists who advocate for immigrants, people with disabilities and other marginalized groups. We see journalists reporting from the front lines of the protests, and not conforming to state-propaganda talking points.\u003c/p>\u003cp>Whether they're data journalists, investigative reporters or feature writers, they all try to keep on working despite their \"foreign agent\" status, which some of them try to fight in court. Others mock the term and treat it as a badge of honor. \u003c/p>\u003cp>Most of Loktev's subjects are women in their 20s and 30s, and over the course of these five-and-a-half hours, we're moved by their sense of camaraderie and community, and also by their gallows humor. They hang out at each other's apartments and crack jokes about the likelihood that they've been bugged, or that they might be arrested or detained. As we'll see in the film's later stretch, they're not wrong to worry.\u003c/p>\u003cp>Loktev, who was born in the former Soviet Union and moved to the U.S. as a child, is a superbly observant filmmaker. In the past two decades, she's directed two fictional dramas, \u003ca href=\"https://www.npr.org/2012/10/25/163238999/masculinity-crisis-in-the-caucasus-mountains\" target=\"_blank\">\u003cem>The Loneliest Planet\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2007/08/17/12881959/day-night-day-night-offers-no-easy-answers\" target=\"_blank\">\u003cem>Day Night Day Night\u003c/em>\u003c/a>, both slow-burning character studies that took their time getting under your skin. \u003cem>My Undesirable Friends: Part I\u003c/em> is a work of similar patience, and once Russia's full-scale assault on Ukraine begins, the movie has us fully in its grip. \u003c/p>\u003cp>After the darkly comic tension of the first three parts, the fourth and fifth chapters become outright horrifying. As the journalists make plans to flee, the story's center of gravity shifts to a reporter named Ksenia Mironova, whose fiancé has been imprisoned for treason, and who must make the heartrending decision whether to stay or leave.\u003c/p>\u003cp>It's impossible to watch \u003cem>My Undesirable Friends: Part I \u003c/em>without thinking of President Trump's ongoing attacks on the press. It's also hard not to see the film's events from the depressing standpoint of the present, with \u003ca href=\"https://www.npr.org/2024/02/16/1231946376/alexei-navalny-death-in-prison-vladimir-putin-opposition\" target=\"_blank\">Navalny dead\u003c/a> and the war in Ukraine still \u003ca href=\"https://www.npr.org/2025/11/25/g-s1-99216/russia-ukraine-attacks\" target=\"_blank\">raging miserably on\u003c/a>. Yet, as grim as it is, the movie isn't a hopeless experience. I came away with deep admiration and affection for these journalists, and for their devotion to their beleaguered but invaluable profession.\u003c/p>\u003cp>This is one of the most engrossing movies, fiction or nonfiction, that I've seen all year. Because it doesn't have an American distributor, it also hasn't been the easiest movie to see. It's now playing \u003ca href=\"https://argotpictures.com\" target=\"_blank\">in select venues\u003c/a> around the country, and if you have a chance to see it in a theater in the coming weeks, you should. Five-and-a-half hours may sound like a commitment, but once this movie has begun, you won't want to leave. And you'll be as eager as I am, by the end, to see what lies ahead for these intrepid souls in \u003cem>Part II\u003c/em>. \u003cdiv class=\"fullattribution\">Copyright 2025 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>",
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"slug": "in-1981-stephen-sondheims-merrily-was-a-flop-now-its-a-hit",
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"title": "In 1981, Stephen Sondheim's 'Merrily' was a flop -- now it's a hit",
"excerpt": "A filmed version of the live production of \u003cem>Merrily We Roll Along \u003c/em>will open in theaters on Dec. 5. We listen back to a 2024 interview with revival director Maria Friedman and actor Jonathan Groff. ",
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"content": "\u003cp>A filmed version of the live production of \u003cem>Merrily We Roll Along \u003c/em>will open in theaters on Dec. 5. We listen back to a '24 interview with revival director Maria Friedman and actor Jonathan Groff. \u003cdiv class=\"fullattribution\">Copyright 2025 NPR\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A filmed version of the live production of \u003cem>Merrily We Roll Along \u003c/em>will open in theaters on Dec. 5. We listen back to a '24 interview with revival director Maria Friedman and actor Jonathan Groff. \u003cdiv class=\"fullattribution\">Copyright 2025 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"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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"title": "Selected Shorts",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"thebay": {
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"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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