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They include things you’ve probably heard of and things you might not have, things that are meaningful and things that are hilarious, things that matter and things that don’t at all. In this year in which TV and film were both interrupted for months as a result of labor disputes, there was plenty to admire even as production ground to a halt.\u003c/p>\n\u003cp>[aside postid='arts_13939862']The usual caveats apply: These are not objectively the best things; they are just wonderful things. There were far more than 50 wonderful things to admire this year, and there is far (far) more that I never saw or read or heard at all. But it never hurts to look back on the year and realize that in fact, delight was upon you over and over.\u003c/p>\n\u003cp>1. The best podcast I started listening to this year was\u003ca href=\"https://www.ifbookspod.com/\"> \u003cem>If Books Could Kill\u003c/em>, \u003c/a>hosted by Michael Hobbes and Peter Shamshiri. The premise is that they dive into “airport books” from self-help to political posturing to investigate their claims. It’s very funny and deeply researched, and in a world where it’s easy to feel like you’re losing your grip, it’s a good reminder: your grip is fine. You’re just being handed a lot of slippery things. Start with their January episode \u003ca href=\"https://podcasts.apple.com/us/podcast/if-books-could-kill/id1651876897?i=1000596707945\">about John Gray’s \u003cem>Men Are From Mars, Women Are From Venus\u003c/em>\u003c/a>. You never forget an episode that makes you cackle in your car.\u003c/p>\n\u003cp>2. It’s hard to pick a single moment from the scorching fourth and final season of \u003cem>Succession. \u003c/em>But the \u003ca href=\"https://www.youtube.com/watch?v=KH55hmX0-Uo&ab_channel=HBO\">balcony fight between Shiv and Tom\u003c/a> that went on and on and got worse and worse, more and more painful, encapsulated exactly what has worked so well about the show. It was a years-long story reaching its inevitable nuclear meltdown, and Sarah Snook and Matthew Macfadyen played it brilliantly. “I think you are incapable of love.” Yikes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KH55hmX0-Uo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>3. Rarely has a show come back from a truly great first season and made a truly great second season. \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a> managed to do it with the help of an exquisite cast, both regulars and guest stars. There are enough powerful performances on that show to make five more just like it. When pastry chef Marcus went off to Copenhagen and studied with Luca, played by Will Poulter, the fact that the focus was far away from Carmy did nothing to detract from the episode’s power and its thematic connections to the season.\u003c/p>\n\u003cp>4. The changes to Amy’s (Ali Wong) hair over the course of \u003cem>\u003ca href=\"https://www.kqed.org/arts/13927211/ali-wong-steven-yeun-serve-up-epic-feud-in-netflixs-beef\">Beef\u003c/a> —\u003c/em> long and straight, blond and bobbed and parted on the side, dark and bobbed with bangs — are really effective at underscoring her struggle with who she is and wants to be. Hair department head Nicole Venables was clearly working at the top of her game.\u003c/p>\n\u003cfigure id=\"attachment_13939915\" class=\"wp-caption aligncenter\" style=\"max-width: 1866px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939915\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM.png\" alt=\"The same attractive Asian woman is seen with her hair worn in a black bob with bangs, a white bob and long and flowing.\" width=\"1866\" height=\"1060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM.png 1866w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-800x454.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-1020x579.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-160x91.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-768x436.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-1536x873.png 1536w\" sizes=\"(max-width: 1866px) 100vw, 1866px\">\u003cfigcaption class=\"wp-caption-text\">A look back at Amy’s hairstyles in ‘Beef.’ \u003ccite>(Andrew Cooper/ Netflix )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>5. Michael Schulman’s book \u003ca href=\"https://www.npr.org/2023/02/22/1158513159/oscar-wars-michael-schulman-academy-awards-controversies\">\u003cem>Oscar Wars\u003c/em>\u003c/a> is a great education in Hollywood history, but it’s also dishy as all get out. My highlight? A story about Joan Fontaine (supposedly!) telling people that she was considered for the role of Melanie in \u003cem>Gone With the Wind\u003c/em>, but was told she wasn’t plain enough, so she recommended her sister (and frenemy at best), Olivia de Havilland. That is so ice-cold, you could wrap it up and use it on your swollen ankle.\u003c/p>\n\u003cp>6. Greta Lee should be and likely will be in every awards conversation for her stellar work in \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a>. But even on Apple’s inconsistent \u003ca href=\"https://www.npr.org/2023/09/13/1198991146/the-morning-show-season-3-review\">\u003cem>The Morning Show\u003c/em>,\u003c/a> she’s always a standout as Stella, a young entertainment executive who faced some terrible choices in the show’s third season.\u003c/p>\n\u003cp>7. Had I been involved in the making of \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a>, I would have cared about nothing so much as exactly what song all the Kens should play when they, soaking in a bath of toxic masculinity, attempt to impress and win over the Barbies. Whatever I settled on would have been nowhere near as perfect as “\u003ca href=\"https://www.youtube.com/watch?v=uJLgKXp375I&ab_channel=AtlanticRecords\">Push\u003c/a>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x8Y57NWv5m0\u003c/p>\n\u003cp>8. The bright romantic comedy \u003ca href=\"https://www.npr.org/2023/03/30/1166717149/rye-lane-review\">\u003cem>Rye Lane\u003c/em>\u003c/a> has a lot to recommend it. But perhaps nothing stuck with me as much as its stunning colors — deep golds and yellows, bright pinks and reds, rich greens and blues. From director Raine Allen-Miller, it would be a stunner even with the sound off.\u003c/p>\n\u003cp>9. Whatever your feelings about the franchise, there is nothing to fault in the sequence in \u003ca href=\"https://www.npr.org/2023/06/29/1185129902/mission-impossible-is-back-but-will-you-accept-it-or-will-it-self-destruct\">\u003cem>Mission: Impossible — Dead Reckoning Part One\u003c/em>\u003c/a> in which Tom Cruise and Hayley Atwell are struggling to survive in a train that’s dangling off a cliff. A gas line, vats of oil, and a ratz-a-fratzin \u003cem>grand piano \u003c/em>all play into the gloriously silly, tooth-grindingly tense scene.\u003c/p>\n\u003cfigure id=\"attachment_13939901\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939901\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/shrinking_photo_010402_wide-42f66da259a6934d5edc408a57896cea18f00257-scaled-e1703838143772.jpg\" alt=\"A man in his seventies sits in a leather chair, his glasses propped on his forehead, looking concerned.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Harrison Ford in ‘Shrinking.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>10. Harrison Ford hasn’t made a lot of straight-up comedy in this stage of his career, so what a joy to see him in \u003ca href=\"https://www.npr.org/2023/01/31/1152527309/shrinking-review-harrison-ford-jason-segel\">\u003cem>Shrinking\u003c/em>\u003c/a>, alongside Jason Segel and Jessica Williams. All three play therapists who work together, and Ford deploys his brutal deadpan to make completely ordinary dialogue feel like punchline after punchline.\u003c/p>\n\u003cp>11. About five minutes into \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a>, Julianne Moore, seen in profile, opens the refrigerator in her sunny kitchen. The foreboding piano of the score (by Marcelo Zarvos, adapting a 1971 score by Michel Legrand for the film \u003cem>The Go-Between\u003c/em>) suddenly sounds loudly, and she stares into the refrigerator, as if she’s seeing the Ark of the Covenant. The camera pushes in. And then she says, “I don’t think we have enough hot dogs.” Is this a comedy? A drama? A horror movie? In that early moment, it is, as it will remain, hard to say.\u003c/p>\n\u003cfigure id=\"attachment_13939902\" class=\"wp-caption aligncenter\" style=\"max-width: 1424px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939902\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180.jpg\" alt=\"A crazed bear, howls in the woods, its tongue sticking out.\" width=\"1424\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180.jpg 1424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180-768x432.jpg 768w\" sizes=\"(max-width: 1424px) 100vw, 1424px\">\u003cfigcaption class=\"wp-caption-text\">The title ‘Cocaine Bear’ says it all, and the film delivers on that promise in 95 minutes. \u003ccite>(Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>12. \u003ca href=\"https://www.kqed.org/arts/13925388/cocaine-bear-is-here-to-strike-a-blow-to-staid-hollywood\">\u003cem>Cocaine Bear\u003c/em>\u003c/a>. The fact that they made it, the fact that they gave it that title, the fact that it’s so gory and gleeful and comfortable being what it is.\u003c/p>\n\u003cp>13. There is a scene near the end of \u003ca href=\"https://www.kqed.org/arts/13938358/saltburn-review-emerald-fennell-shocking-scenes-jacob-elordi\">\u003cem>Saltburn\u003c/em>\u003c/a> in which an elaborate lunch table full of wealthy people trying desperately to act normal under bizarre circumstances is plunged into haunting red light by the closing of the curtains. Emerald Fennell, who wrote and directed, simply doesn’t do anything halfway.\u003c/p>\n\u003cfigure id=\"attachment_13939897\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939897\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gro-09769_r-1-_wide-e73d26bb40e8b60f639bffe967b22f0abb2b2ba5-scaled-e1703838474386.jpg\" alt=\"Three women stand and gaze upwards. They are wearing superhero uniforms.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Iman Vellani as Ms. Marvel, Brie Larson as Captain Marvel and Teyonah Parris as Captain Monica Rambeau in ‘The Marvels.’ \u003ccite>(Laura Radford/ Marvel Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>14. Iman Vellani’s performance as Kamala Khan in \u003ca href=\"https://www.npr.org/2023/11/10/1197956743/the-marvels-is-a-light-comedy-about-light-powers\">\u003cem>The Marvels\u003c/em>\u003c/a> bubbles with energy, and a scene where she and Captain Marvel (Brie Larson) keep switching places, disappearing and reappearing in her parents’ house, is a kinetic, rambunctious delight. If you were put off by the talk about \u003cem>The Marvels \u003c/em>falling flat at the box office, don’t let that keep you from checking it out.\u003c/p>\n\u003cp>15. My favorite food host of the year is a three-way tie. Sohla El-Waylly and her husband Ham have been doing the series \u003ca href=\"https://www.youtube.com/watch?v=rVLIdFk-8no&list=PLYG6O_GQCZwikXIXw5p0vFQBif-RxUpHy&ab_channel=NYTCooking\">“Mystery Menu”\u003c/a> for the NYT cooking channel for a while now, but if you haven’t seen it — their experimentation with durian, for instance — check it out immediately. \u003cem>Also\u003c/em>: an equally good way to approach the NYT cooking channel is to watch absolutely anything \u003ca href=\"https://www.youtube.com/watch?v=pyv6lO1SBS0&list=PLYG6O_GQCZwgKmY38LuycalANW67g_yYV&ab_channel=NYTCooking\">featuring Eric Kim\u003c/a>, who is enchanting. \u003cem>Also also\u003c/em>: Anything on the Epicurious channel with chef Saul Montiel will brighten your day. \u003ca href=\"https://www.youtube.com/watch?v=QjyyDCPXy7k&list=PLz3-p2q6vFYWi_e0AWEkj2h22l0u1bqER&index=29&ab_channel=Epicurious\">Here he is making calzones.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13939903\" class=\"wp-caption aligncenter\" style=\"max-width: 1798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939903\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2.jpg\" alt=\"A tall young man and a shorter, older man with a mustache stand side by side in a snowy field. \" width=\"1798\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2.jpg 1798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-768x460.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-1536x921.jpg 1536w\" sizes=\"(max-width: 1798px) 100vw, 1798px\">\u003cfigcaption class=\"wp-caption-text\">Dominic Sessa, left, and Paul Giamatti in ‘The Holdovers.’ \u003ccite>(Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>16. All of the performances in \u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a> are top-notch, but it was especially promising to discover Dominic Sessa, a young actor on the screen for the first time. Playing Angus Tully, a high school kid who’s both smart and foolish (as so many are), he offers exquisite touches of both swagger and insecurity, enough to keep up with towering performances from Paul Giamatti and Da’Vine Joy Randolph. All three leads deserve many award nominations; he may be the one who loses out. But bet on him in the future. He’ll be back.\u003c/p>\n\u003cp>17. The tense final moments of the suspense thriller \u003ca href=\"https://www.kqed.org/arts/13935443/fair-play-review-netflix-gender-phoebe-dynevor#:~:text=Fair%20Play%20is%20visually%20moody,gray%20of%20their%20austere%20office.\">\u003cem>Fair Play\u003c/em>\u003c/a> had me unsure what I even \u003cem>wanted\u003c/em> to happen, and what actually happened was better than what I would have come up with anyway. That is exactly the ending you want from a psychologically complex story like this one, about a couple torn asunder by a promotion at work.\u003c/p>\n\u003cfigure id=\"attachment_13939904\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939904\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/platonic_photo_010403_wide-a74509800a306a1af17583f3735bdaa794cf2065-scaled-e1703838852943.jpg\" alt=\"A 30-something man sits confidently at an office desk, smiling at someone somewhat awkwardly.\" width=\"1920\" height=\"1079\">\u003cfigcaption class=\"wp-caption-text\">Luke Macfarlane in ‘Platonic.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>18. Luke MacFarlane is a veteran of holiday love stories (it’s probably adequate to note he was in films called both \u003cem>Sense & Sensibility & Snowmen \u003c/em>and \u003cem>A Shoe Addict’s Christmas\u003c/em>), and he made a splash with Billy Eichner in \u003cem>Bros\u003c/em> in 2022. This year, he was very funny in \u003ca href=\"https://tv.apple.com/us/show/platonic/umc.cmc.y7bc18x7co813l8i2tlsyb4l\">\u003cem>Platonic\u003c/em>\u003c/a>, playing the loving husband of a woman (Rose Byrne) whose friendship with an old pal (Seth Rogen) takes off anew. The part could be a real nothing; he makes it sing. (\u003cem>Platonic \u003c/em>runner-up: the scene, featuring Guy Branum, in which he throws electric scooters like a track star throws a discus is a sport. As it should be.)\u003c/p>\n\u003cp>19. There was nothing like the go-for-broke madness of Peacock’s\u003ca href=\"#1170610821\"> \u003cem>Mrs. Davis\u003c/em>, \u003c/a>an action-adventure comedic thriller about a nun who’s trying to resist the intrusions of an all-knowing AI who is suddenly in everyone’s ear. (Said AI is called Mrs. Davis, you see.) Betty Gilpin played Simone, the nun, with such control and flexibility that the wild plot developments around her didn’t distract from the character work.\u003c/p>\n\u003cfigure id=\"attachment_13939905\" class=\"wp-caption aligncenter\" style=\"max-width: 776px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939905\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_197587_00171_wide-5aaca6d0f9b84408cb67b0d3276fcda1a9256137.jpg\" alt=\"A woman with long shaggy blond hair stares worried into a phone screen. \" width=\"776\" height=\"436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_197587_00171_wide-5aaca6d0f9b84408cb67b0d3276fcda1a9256137.jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_197587_00171_wide-5aaca6d0f9b84408cb67b0d3276fcda1a9256137-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_197587_00171_wide-5aaca6d0f9b84408cb67b0d3276fcda1a9256137-768x432.jpg 768w\" sizes=\"(max-width: 776px) 100vw, 776px\">\u003cfigcaption class=\"wp-caption-text\">Natasha Lyonne in ‘Poker Face.’ \u003ccite>(Phillip Caruso/ Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>20. Rian Johnson created the episodic mystery show \u003ca href=\"https://www.kqed.org/arts/13924192/no-lie-natasha-lyonne-is-unforgettable-in-poker-face\">\u003cem>Poker Face\u003c/em>\u003c/a>, in which Natasha Lyonne played Charlie, a woman on the run who encounters a new mystery in every new town. Yes, the writing sparkled, and yes, the roster of guest stars — Judith Light! Lil Rel Howery! Hong Chau! Adrien Brody! — was top-tier. But at the center was Lyonne. From the minute she emerges from a trailer into the hot Nevada sun, sinks into a lawn chair, and grabs herself a beer and a smoke, the character already feels like an icon, and the show like a classic.\u003c/p>\n\u003cp>21. \u003ca href=\"https://www.npr.org/2023/01/15/1149054904/the-traitors-review-alan-cumming\">\u003cem>The Traitors\u003c/em> \u003c/a>is a fun reality competition show. But what set it apart was host Alan Cumming, whose pronunciation of “murrrrrder” and succession of impossibly debonair suits made him host of the year.\u003c/p>\n\u003cp>22. I had a spectacular time — spectacular! — watching the Philadelphia Phillies this fall. How do you not love Bryce Harper \u003ca href=\"https://www.mlb.com/video/harper-sprints-first-to-home\">running through a sign\u003c/a> from the third-base coach, scoring, and popping up on his toe?\u003c/p>\n\u003cfigure id=\"attachment_13939907\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939907\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/71nzsmfyhwl._sl1500__custom-1bdc6680756a679edab8654b3a8629a5f434f87d.jpg\" alt=\"A book cover featuring a cat in a suit.\" width=\"200\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/71nzsmfyhwl._sl1500__custom-1bdc6680756a679edab8654b3a8629a5f434f87d.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/71nzsmfyhwl._sl1500__custom-1bdc6680756a679edab8654b3a8629a5f434f87d-160x246.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Starter Villain.’ \u003ccite>(Tor Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>23. I dare you not to giggle at least once as the weird world of John Scalzi’s novel, \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=232\">\u003cem>Starter Villain\u003c/em>\u003c/a> unwinds in front of you. Is there a labor dispute? Yes. Does it involve dolphins? Yes. Is there a volcano, and are there supervillains? Yes and yes.\u003c/p>\n\u003cp>24. Sometimes it’s fun to just have something scare your socks off, and that’s what happened with \u003ca href=\"https://www.hulu.com/movie/9e96f51e-6806-4306-9773-e96b68d25305\">\u003cem>No One Will Save You\u003c/em>\u003c/a>, an eerie, almost dialogue-free “locked in the house and something terrible is happening” story starring Kaitlyn Dever. She hears a noise. She hides under the bed. She sees a pair of very upsetting feet go by. From there, she’s on her own.\u003c/p>\n\u003cp>25. Podcasts diving extra-deep into a particular film or show are of wildly differing quality. But\u003ca href=\"https://50mphpodcast.com/\"> \u003cem>50MPH\u003c/em>,\u003c/a> a planned 50-part (!!) series about the making of \u003cem>Speed\u003c/em>, has offered choice moments for the movie’s fans. Try \u003ca href=\"https://podcasts.apple.com/us/podcast/50-mph/id1691020723?i=1000625961446\">episode 12\u003c/a>, about the script development, which includes a detour into the involvement of one Joss Whedon.\u003c/p>\n\u003cp>26. Emma Cline’s novel \u003ca href=\"https://www.npr.org/2023/05/25/1178300477/in-the-guest-a-sex-worker-wreaks-havoc-on-the-glitzy-social-scene-at-the-hampton\">\u003cem>The Guest\u003c/em>\u003c/a> is about a woman whose boyfriend kicks her out and leaves her adrift in the Hamptons to survive with nothing. She imposes upon one person, then another, and Cline builds a sense of dread amid all the wealth: “No one on the shore noticed her, or looked twice. A couple walked past, heads bent, studying the sand for shells … Surely, if Alex had been in any real danger, someone would have reacted, one of these people would have stepped in to help.”\u003c/p>\n\u003cfigure id=\"attachment_13939908\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap091207034728_wide-a1a2587a9eee11ca90b5d981b831f43c13702513-e1703839359528.jpg\" alt=\"A man in a grey suit and red bowtie gestures wildly, mouth agape.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Paul Reubens, better known as Pee-wee Herman, died in July at age 70. \u003ccite>(Danny Moloshok/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>27. Paul Reubens, who created the character Pee-wee Herman, died on July 30, and was warmly and appropriately appreciated. What a delightful surprise, then, to see him in a cameo appearance in the affable comedy\u003ca href=\"https://www.npr.org/2023/11/08/1197956693/sandra-oh-and-awkwafina-are-perfect-opposites-in-quiz-lady\"> \u003cem>Quiz Lady\u003c/em>, \u003c/a>playing himself as the baffled target of a fan’s affections.\u003c/p>\n\u003cp>[aside postid='arts_13938757']28. I had trouble following the plot of the drama series \u003ca href=\"https://www.max.com/shows/full-circle/8996a19c-8e8b-4d8b-8f1a-fa146751d544\">\u003cem>Full Circle\u003c/em>,\u003c/a> which starred Claire Danes and Timothy Olyphant as a couple that learns their son has been kidnapped, which is only the very beginning of their problems. I did, however, greatly appreciate Vulture’s Kathryn VanArendonk \u003ca href=\"https://www.vulture.com/article/dennis-quaid-full-circle-braid-explained.html\">making a thorough investigation\u003c/a> of why on earth Dennis Quaid ended up wearing a braid. It involves a last-minute dash to a wig shop. It’s quite a tale.\u003c/p>\n\u003cp>29. Yes, Maureen Ryan is one of my very good friends and colleagues in the writing-about-television industry. But plenty of people agreed that as hard as it was to read, her book \u003ca href=\"https://www.npr.org/2023/06/03/1180008736/beloved-tv-show-lost-wasnt-immune-to-industrys-pervasive-toxic-culture\">\u003cem>Burn It Down\u003c/em>\u003c/a>, about abuse in Hollywood and the systems that enable it, was a tremendous example of dogged journalism that does what it sets out to do. Pleasant to read? No. Wonderful to know that this kind of work is still being done, and done so well? Yes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kes2P4IC2bQ&t=3s\u003c/p>\n\u003cp>30. The Tiny Desk at NPR has been growing and growing in the breadth of its offerings, the devotion of its audience, and the vibrancy of its innovation. This year, nothing landed quite like the \u003ca href=\"https://www.youtube.com/watch?v=kes2P4IC2bQ&t=3s&ab_channel=NPRMusic\">appearance by Juvenile\u003c/a>, which is irresistible even to people who don’t necessarily think they’re “Back That Azz Up” people. Trombone Shorty was there! Jon Batiste flew in from London! What a wondrous thing.\u003c/p>\n\u003cp>[aside postid='arts_13938881']31. Jimmy Tatro appeared in the comedy \u003ca href=\"https://www.hulu.com/watch/2e9ba993-a6a8-46e6-b2ac-6705badd7503\">\u003cem>Theater Camp\u003c/em>\u003c/a>, playing a character not dissimilar to the doofus jock he played in \u003cem>American Vandal\u003c/em>. Not to pigeonhole Tatro, but some actors have an eerily perfect touch with a particular kind of role, and Tatro is perhaps our foremost lovably lunkheaded bro.\u003c/p>\n\u003cp>32. Sam Sanders juggled two podcasts for much of the year: \u003ca href=\"https://www.vulture.com/into-it/\">\u003cem>Into It \u003c/em>\u003c/a>at Vulture and \u003ca href=\"https://www.stitcherstudios.com/shows/vibe-check\">\u003cem>Vibe Check\u003c/em>, \u003c/a>which he does with his friends Saeed Jones and Zach Stafford. Disappointingly, \u003cem>Into It \u003c/em>was a victim of cutbacks, but \u003cem>Vibe Check \u003c/em>continues, and it provided \u003ca href=\"https://podcasts.apple.com/us/podcast/life-has-been-lifing-lately/id1637476174?i=1000620850273\">one of the most moving episodes of the year\u003c/a> in a discussion of grief following the death of Sam’s mother.\u003c/p>\n\u003cp>33. There is a long history of shows making baffling choices when forced to replace a beloved host. When Padma Lakshmi decided to step away from \u003cem>Top Chef\u003c/em>, a lot of us thought, “They should pick somebody like [\u003cem>Top Chef \u003c/em>champion] Kristen Kish, but they won’t.” And then they did! Welcome the Kish era!\u003c/p>\n\u003cfigure id=\"attachment_13939909\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939909\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83.jpg\" alt=\"A Black man and a white man sit side-by-side in a jury box.\" width=\"1920\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-1536x862.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ishmel Sahid, left, and James Marsden play alternate jurors in the series ‘Jury Duty.’ \u003ccite>(Amazon Freevee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>34. \u003ca href=\"https://www.amazon.com/Jury-Duty-Season-1/dp/B0B8JM2BBS\">\u003cem>Jury Duty\u003c/em>\u003c/a> is the Amazon Freevee series in which a man named Ronald is called for jury duty, and he doesn’t know that everyone else from the judge to the other jurors to the lawyers and parties, is an actor. At the end, all is revealed to him — that he’s been sitting on a fake jury of a fake trial — and it could have been so, so painful to watch. But Ronald has a good sense of humor, and he chooses not to feel let down, even by his new pal, James Marsden (who plays himself in the fake scenario). They lucked out with Ronald, for sure.\u003c/p>\n\u003cp>35. There were some impressive videos of striking actors advocating for themselves and their colleagues as their strike (and the WGA strike) wore on. One of the best \u003ca href=\"https://x.com/LisaCullen/status/1656337549495762951?s=20\">came from Mandy Patinkin\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/LisaCullen/status/1656337549495762951?s=20\u003c/p>\n\u003cp>36. John Mulaney’s Netflix special\u003ca href=\"https://www.kqed.org/arts/13928322/baby-j-john-mulaney-stand-up-review-netflix\">\u003cem> Baby J\u003c/em>\u003c/a> was deeply uncomfortable to watch, as he recounted his experiences with addiction, intervention and rehab. But the story of having an intervention with a room full of comedians sparkled. “Do you know what it’s like to have 12 people save your life?” he asks in a discussion of his indebtedness. “It’s too many people.”\u003c/p>\n\u003cp>37. Last year in this space, I saluted Karina Longworth’s excellent podcast series \u003cem>You Must Remember This\u003c/em>, and its miniseries \u003cem>Erotic ’80s\u003c/em>. What happened this year? \u003cem>Erotic ’90s\u003c/em>, of course, and it was perhaps even better. Try the \u003ca href=\"https://podcasts.apple.com/us/podcast/you-must-remember-this/id858124601?i=1000607274568\">Julia Roberts episode\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13939911\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939911\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-tcp-05246_high_res_jpeg_wide-5c0544d47d9f6bbc91455c849ba94e8d7f075681-scaled-e1703839832634.jpe\" alt=\"One Black woman leans on the shoulder of another, outdoors in the sun.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Danielle Brooks and Fantasia Barrino in ‘The Color Purple.’ \u003ccite>(Eli Adé/ Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>38. Danielle Brooks gives only one of several excellent performances in \u003ca href=\"https://www.kqed.org/arts/13939793/the-color-purple-successfully-squeezes-popular-entertainment-out-of-art\">\u003cem>The Color Purple\u003c/em>\u003c/a>. (What a joy to see Fantasia Barrino thriving, having watched her on \u003cem>American Idol \u003c/em>so many years ago.) But Brooks’ work is emotional and haunting and also tremendously funny — she plays Sofia, played in the Spielberg movie by Oprah Winfrey — and she never misses a step.\u003c/p>\n\u003cp>[aside postid='arts_13939793']39. I don’t spend as much time dunking on terrible things as I used to, but there’s a particular pleasure to be found in an evisceration of something you very much disliked. Thus, please enjoy \u003ca href=\"https://buttnews.substack.com/p/fat-suit-fart-attack-the-whale\">Lindy West’s piece\u003c/a> on \u003cem>The Whale\u003c/em>.\u003c/p>\n\u003cp>40. In \u003ca href=\"https://www.kqed.org/arts/13936363/anatomy-of-a-fall-movie-review-sandra-huller-palme-dor-france\">\u003cem>Anatomy of a Fall\u003c/em>\u003c/a>, Sandra Hüller plays a woman who might — or might not — have done something terrible. In effect, to sustain the uncertainty, she has to play two women simultaneously: one who is covering up guilt, and one who is being unfairly accused. It’s a remarkable trick.\u003c/p>\n\u003cp>41. It has sometimes been hard to remember, as Twitter becomes unusable for me, that it could be a genuine source of friendly small talk. As a salute to that particular piece of its history, \u003ca href=\"https://twitter.com/lindaholmes/status/1633277824906797058\">enjoy this thread\u003c/a> in which a thousand people answered the call for pictures of their pets.\u003c/p>\n\u003cfigure id=\"attachment_13939912\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939912\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/american-fiction-f_03320_r_rgb_custom-9c4efdd6045ee9b2208c20de69d920421838c08b-scaled-e1703840068351.jpg\" alt=\"A Black woman and man walk down a grassy path, surrounded on both sides by tall shrubs and plants. They are smiling.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">Erika Alexander and Jeffrey Wright in ‘American Fiction.’ \u003ccite>(Claire Folger/ Orion Releasing LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>42. Jeffrey Wright’s performance in \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a> as an intellectual convinced that he’s at the mercy of a foolish literary establishment (which is … probably right) is part of the movie’s appeal. But maybe even better is the part of the performance that focuses on the character’s complex, fractured relationships with his family. Wright is one of our very best.\u003c/p>\n\u003cp>[aside postid='arts_13932204']43. \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a> is a category of movie we’ve seen before, in that it’s an examination of a very famous man with a complicated legacy. But director Christopher Nolan is a master of capturing the unthinkably enormous, so it’s unsurprising that his approach to presenting the detonation of a nuclear bomb is inventive and meticulously done.\u003c/p>\n\u003cp>44. The crime thriller \u003cem>Sharper \u003c/em>sort of came and went (\u003ca href=\"https://tv.apple.com/us/movie/sharper/umc.cmc.5ud0ivpwgqw2st0u4z73gwpar\">you can find it on Apple TV+\u003c/a>); it stars Julianne Moore, Sebastian Stan and Justice Smith as three of the people tied up in a complicated (really complicated) plot that involves con artists, guns, money and a lot of beautiful people. There’s a kind of pleasure in twisty thrillers that you can’t quite get anywhere else, and the closing chapter of this one delivered it.\u003c/p>\n\u003cfigure id=\"attachment_13939913\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939913\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/the_diplomat_s1_e4_-native-_00_38_18_16r_wide-4e9514c2c795b64e9326a8f746d70853f47cd2b6-scaled-e1703840309929.jpg\" alt=\"An attractive middle-aged woman holds a telephone to her ear. She looks concerned.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Keri Russell in ‘The Diplomat.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>45. After \u003cem>The Americans \u003c/em>and \u003cem>Felicity \u003c/em>(and, sure, \u003cem>Cocaine Bear\u003c/em>), nobody needs to prove the versatility of Keri Russell. But playing a new ambassador named Kate in \u003ca href=\"https://www.npr.org/2023/04/19/1170685432/the-diplomat-review-keri-russell\">\u003cem>The Diplomat\u003c/em>\u003c/a>, the way she moves from one room to another, the way she picks up and puts down various objects, even the way she squirms as someone puts makeup on her, all contribute to a vision of Kate as a superbly competent and capable person, which makes her spy-thriller adventures much easier to care about.\u003c/p>\n\u003cp>[aside postid='arts_13939092']46. The level of difficulty in Emma Stone’s performance in Yorgos Lanthimos’ \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a> is extraordinary: she’s playing a woman who is, sort of, a child. But she rapidly grows emotionally and intellectually older, more and more independent and lustful. Stone makes it all seem like one performance, one character.\u003c/p>\n\u003cp>47. I very much liked \u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.bff6d26e-9aa3-47b3-9bbb-92acb9942cdb?autoplay=0&ref_=atv_cf_strg_wb\">\u003cem>Deadloch\u003c/em>\u003c/a>, an Australian comedy-crime series that is both a small-time crime series in the tradition of \u003cem>Broadchurch \u003c/em>and a send-up of those very shows. I didn’t know the actors, I didn’t know much about the show until I watched it, and I was delighted to discover it. Most of those things are also true of runner-up Australian comedy \u003ca href=\"https://www.npr.org/2023/12/04/1197958569/colin-from-accounts-deserves-a-raise\">\u003cem>Colin From Accounts\u003c/em>\u003c/a>, which is also worth a watch.\u003c/p>\n\u003cp>48. I was slow to get attached to \u003cem>Only Murders in the Building\u003c/em>, which focused this season on the production of a musical. But Steve Martin’s delivery of the patter song \u003ca href=\"https://www.youtube.com/watch?v=Piv19tK4lH4&t=2s&ab_channel=Hulu\">“Which of the Pickwick Triplets Did it?”\u003c/a> was the best reason of all to get on board.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Piv19tK4lH4&t=2s&ab_channel=Hulu\u003c/p>\n\u003cp>49. Hopefully, I can be forgiven for sneaking some older stuff in here by talking about a project that was great for me this year: The Criterion Collection continues to be a wonderful source for classic movies, and I used its collection of some of the films from the \u003ca href=\"https://www.criterionchannel.com/sight-sound-s-greatest-films-of-all-time\">Sight & Sound poll\u003c/a> as a way into movies including \u003cem>The Passion of Joan of Arc\u003c/em>, \u003cem>Black Orpheus\u003c/em>, \u003cem>Cleo from 5 to 7\u003c/em>, and the film that topped the list: \u003cem>Jean Dielman, 23, quai du Commerce, 1080 Bruxelles\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>50. This was the year I got (deeply) into \u003cem>The Flop House\u003c/em>, a podcast that’s been around since late 2007 (what? I was busy) and passed its 400th episode. Each week, hosts Dan McCoy, Stuart Wellington and Elliott Kalan talk about a movie that’s either a commercial or critical disappointment. There are guest hosts sometimes, there is a longstanding fixation on the more disposable work of Nicolas Cage (whom they rightly revere as an actor), and you can start right at the beginning of January with \u003ca href=\"https://podcasts.apple.com/us/podcast/the-flop-house/id263585537?i=1000594413409\">their consideration of \u003cem>Black Adam\u003c/em>\u003c/a>. From the not-so-wonderful, the wonderful can sometimes emerge.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+year+in+review%3A+50+wonderful+things+from+2023&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Pop culture critic Linda Holmes lists the big, small, inspirational and silly things that brought her joy in 2023.","status":"publish","parent":0,"modified":1705002940,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":54,"wordCount":3911},"headData":{"title":"Best of 2023 Pop Culture: TV, Podcasts and Movies to Revisit | KQED","description":"Pop culture critic Linda Holmes lists the big, small, inspirational and silly things that brought her joy in 2023.","ogTitle":"NPR's Year in Review: 50 Wonderful Things From 2023","ogDescription":"","ogImgId":"","twTitle":"NPR's Year in Review: 50 Wonderful Things From 2023","twDescription":"","twImgId":"","socialTitle":"Best of 2023 Pop Culture: TV, Podcasts and Movies to Revisit%%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Linda Holmes","nprImageAgency":"Universal Pictures; Apple TV+; Eli Adé/Warner Bros. Pictures; Tim Nwachukwu/Getty Images; Tor Books; Apple TV+","nprStoryId":"1221521153","nprApiLink":"http://api.npr.org/query?id=1221521153&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/12/27/1221521153/2023-50-wonderful-things?ft=nprml&f=1221521153","nprRetrievedStory":"1","nprPubDate":"Wed, 27 Dec 2023 14:21:00 -0500","nprStoryDate":"Wed, 27 Dec 2023 05:00:16 -0500","nprLastModifiedDate":"Wed, 27 Dec 2023 14:21:43 -0500","nprAudio":"https://play.podtrac.com/npr-191676894/ondemand.npr.org/anon.npr-mp3/npr/me/2023/12/20231227_me_the_year_in_review_50_wonderful_things_from_2023.mp3?orgId=1&topicId=1048&aggIds=1221652903,93568166&d=409&p=3&story=1221521153&ft=nprml&f=1221521153","nprAudioM3u":"http://api.npr.org/m3u/11221762166-1cbe35.m3u?orgId=1&topicId=1048&aggIds=1221652903,93568166&d=409&p=3&story=1221521153&ft=nprml&f=1221521153","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13939895/best-of-2023-pop-culture-npr-year-in-review-50-wonderful-things","audioUrl":"https://play.podtrac.com/npr-191676894/ondemand.npr.org/anon.npr-mp3/npr/me/2023/12/20231227_me_the_year_in_review_50_wonderful_things_from_2023.mp3?orgId=1&topicId=1048&aggIds=1221652903,93568166&d=409&p=3&story=1221521153&ft=nprml&f=1221521153","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’ve been making annual lists of \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1221652903&live=1\">50 Wonderful Pop Culture Things\u003c/a> since 2010. They include things you’ve probably heard of and things you might not have, things that are meaningful and things that are hilarious, things that matter and things that don’t at all. In this year in which TV and film were both interrupted for months as a result of labor disputes, there was plenty to admire even as production ground to a halt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939862","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The usual caveats apply: These are not objectively the best things; they are just wonderful things. There were far more than 50 wonderful things to admire this year, and there is far (far) more that I never saw or read or heard at all. But it never hurts to look back on the year and realize that in fact, delight was upon you over and over.\u003c/p>\n\u003cp>1. The best podcast I started listening to this year was\u003ca href=\"https://www.ifbookspod.com/\"> \u003cem>If Books Could Kill\u003c/em>, \u003c/a>hosted by Michael Hobbes and Peter Shamshiri. The premise is that they dive into “airport books” from self-help to political posturing to investigate their claims. It’s very funny and deeply researched, and in a world where it’s easy to feel like you’re losing your grip, it’s a good reminder: your grip is fine. You’re just being handed a lot of slippery things. Start with their January episode \u003ca href=\"https://podcasts.apple.com/us/podcast/if-books-could-kill/id1651876897?i=1000596707945\">about John Gray’s \u003cem>Men Are From Mars, Women Are From Venus\u003c/em>\u003c/a>. You never forget an episode that makes you cackle in your car.\u003c/p>\n\u003cp>2. It’s hard to pick a single moment from the scorching fourth and final season of \u003cem>Succession. \u003c/em>But the \u003ca href=\"https://www.youtube.com/watch?v=KH55hmX0-Uo&ab_channel=HBO\">balcony fight between Shiv and Tom\u003c/a> that went on and on and got worse and worse, more and more painful, encapsulated exactly what has worked so well about the show. It was a years-long story reaching its inevitable nuclear meltdown, and Sarah Snook and Matthew Macfadyen played it brilliantly. “I think you are incapable of love.” Yikes.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/KH55hmX0-Uo'\n title='//www.youtube.com/embed/KH55hmX0-Uo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>3. Rarely has a show come back from a truly great first season and made a truly great second season. \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a> managed to do it with the help of an exquisite cast, both regulars and guest stars. There are enough powerful performances on that show to make five more just like it. When pastry chef Marcus went off to Copenhagen and studied with Luca, played by Will Poulter, the fact that the focus was far away from Carmy did nothing to detract from the episode’s power and its thematic connections to the season.\u003c/p>\n\u003cp>4. The changes to Amy’s (Ali Wong) hair over the course of \u003cem>\u003ca href=\"https://www.kqed.org/arts/13927211/ali-wong-steven-yeun-serve-up-epic-feud-in-netflixs-beef\">Beef\u003c/a> —\u003c/em> long and straight, blond and bobbed and parted on the side, dark and bobbed with bangs — are really effective at underscoring her struggle with who she is and wants to be. Hair department head Nicole Venables was clearly working at the top of her game.\u003c/p>\n\u003cfigure id=\"attachment_13939915\" class=\"wp-caption aligncenter\" style=\"max-width: 1866px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939915\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM.png\" alt=\"The same attractive Asian woman is seen with her hair worn in a black bob with bangs, a white bob and long and flowing.\" width=\"1866\" height=\"1060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM.png 1866w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-800x454.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-1020x579.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-160x91.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-768x436.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-1536x873.png 1536w\" sizes=\"(max-width: 1866px) 100vw, 1866px\">\u003cfigcaption class=\"wp-caption-text\">A look back at Amy’s hairstyles in ‘Beef.’ \u003ccite>(Andrew Cooper/ Netflix )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>5. Michael Schulman’s book \u003ca href=\"https://www.npr.org/2023/02/22/1158513159/oscar-wars-michael-schulman-academy-awards-controversies\">\u003cem>Oscar Wars\u003c/em>\u003c/a> is a great education in Hollywood history, but it’s also dishy as all get out. My highlight? A story about Joan Fontaine (supposedly!) telling people that she was considered for the role of Melanie in \u003cem>Gone With the Wind\u003c/em>, but was told she wasn’t plain enough, so she recommended her sister (and frenemy at best), Olivia de Havilland. That is so ice-cold, you could wrap it up and use it on your swollen ankle.\u003c/p>\n\u003cp>6. Greta Lee should be and likely will be in every awards conversation for her stellar work in \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a>. But even on Apple’s inconsistent \u003ca href=\"https://www.npr.org/2023/09/13/1198991146/the-morning-show-season-3-review\">\u003cem>The Morning Show\u003c/em>,\u003c/a> she’s always a standout as Stella, a young entertainment executive who faced some terrible choices in the show’s third season.\u003c/p>\n\u003cp>7. Had I been involved in the making of \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a>, I would have cared about nothing so much as exactly what song all the Kens should play when they, soaking in a bath of toxic masculinity, attempt to impress and win over the Barbies. Whatever I settled on would have been nowhere near as perfect as “\u003ca href=\"https://www.youtube.com/watch?v=uJLgKXp375I&ab_channel=AtlanticRecords\">Push\u003c/a>.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/x8Y57NWv5m0'\n title='//www.youtube.com/embed/x8Y57NWv5m0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>8. The bright romantic comedy \u003ca href=\"https://www.npr.org/2023/03/30/1166717149/rye-lane-review\">\u003cem>Rye Lane\u003c/em>\u003c/a> has a lot to recommend it. But perhaps nothing stuck with me as much as its stunning colors — deep golds and yellows, bright pinks and reds, rich greens and blues. From director Raine Allen-Miller, it would be a stunner even with the sound off.\u003c/p>\n\u003cp>9. Whatever your feelings about the franchise, there is nothing to fault in the sequence in \u003ca href=\"https://www.npr.org/2023/06/29/1185129902/mission-impossible-is-back-but-will-you-accept-it-or-will-it-self-destruct\">\u003cem>Mission: Impossible — Dead Reckoning Part One\u003c/em>\u003c/a> in which Tom Cruise and Hayley Atwell are struggling to survive in a train that’s dangling off a cliff. A gas line, vats of oil, and a ratz-a-fratzin \u003cem>grand piano \u003c/em>all play into the gloriously silly, tooth-grindingly tense scene.\u003c/p>\n\u003cfigure id=\"attachment_13939901\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939901\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/shrinking_photo_010402_wide-42f66da259a6934d5edc408a57896cea18f00257-scaled-e1703838143772.jpg\" alt=\"A man in his seventies sits in a leather chair, his glasses propped on his forehead, looking concerned.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Harrison Ford in ‘Shrinking.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>10. Harrison Ford hasn’t made a lot of straight-up comedy in this stage of his career, so what a joy to see him in \u003ca href=\"https://www.npr.org/2023/01/31/1152527309/shrinking-review-harrison-ford-jason-segel\">\u003cem>Shrinking\u003c/em>\u003c/a>, alongside Jason Segel and Jessica Williams. All three play therapists who work together, and Ford deploys his brutal deadpan to make completely ordinary dialogue feel like punchline after punchline.\u003c/p>\n\u003cp>11. About five minutes into \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a>, Julianne Moore, seen in profile, opens the refrigerator in her sunny kitchen. The foreboding piano of the score (by Marcelo Zarvos, adapting a 1971 score by Michel Legrand for the film \u003cem>The Go-Between\u003c/em>) suddenly sounds loudly, and she stares into the refrigerator, as if she’s seeing the Ark of the Covenant. The camera pushes in. And then she says, “I don’t think we have enough hot dogs.” Is this a comedy? A drama? A horror movie? In that early moment, it is, as it will remain, hard to say.\u003c/p>\n\u003cfigure id=\"attachment_13939902\" class=\"wp-caption aligncenter\" style=\"max-width: 1424px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939902\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180.jpg\" alt=\"A crazed bear, howls in the woods, its tongue sticking out.\" width=\"1424\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180.jpg 1424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180-768x432.jpg 768w\" sizes=\"(max-width: 1424px) 100vw, 1424px\">\u003cfigcaption class=\"wp-caption-text\">The title ‘Cocaine Bear’ says it all, and the film delivers on that promise in 95 minutes. \u003ccite>(Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>12. \u003ca href=\"https://www.kqed.org/arts/13925388/cocaine-bear-is-here-to-strike-a-blow-to-staid-hollywood\">\u003cem>Cocaine Bear\u003c/em>\u003c/a>. The fact that they made it, the fact that they gave it that title, the fact that it’s so gory and gleeful and comfortable being what it is.\u003c/p>\n\u003cp>13. There is a scene near the end of \u003ca href=\"https://www.kqed.org/arts/13938358/saltburn-review-emerald-fennell-shocking-scenes-jacob-elordi\">\u003cem>Saltburn\u003c/em>\u003c/a> in which an elaborate lunch table full of wealthy people trying desperately to act normal under bizarre circumstances is plunged into haunting red light by the closing of the curtains. Emerald Fennell, who wrote and directed, simply doesn’t do anything halfway.\u003c/p>\n\u003cfigure id=\"attachment_13939897\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939897\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gro-09769_r-1-_wide-e73d26bb40e8b60f639bffe967b22f0abb2b2ba5-scaled-e1703838474386.jpg\" alt=\"Three women stand and gaze upwards. They are wearing superhero uniforms.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Iman Vellani as Ms. Marvel, Brie Larson as Captain Marvel and Teyonah Parris as Captain Monica Rambeau in ‘The Marvels.’ \u003ccite>(Laura Radford/ Marvel Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>14. Iman Vellani’s performance as Kamala Khan in \u003ca href=\"https://www.npr.org/2023/11/10/1197956743/the-marvels-is-a-light-comedy-about-light-powers\">\u003cem>The Marvels\u003c/em>\u003c/a> bubbles with energy, and a scene where she and Captain Marvel (Brie Larson) keep switching places, disappearing and reappearing in her parents’ house, is a kinetic, rambunctious delight. If you were put off by the talk about \u003cem>The Marvels \u003c/em>falling flat at the box office, don’t let that keep you from checking it out.\u003c/p>\n\u003cp>15. My favorite food host of the year is a three-way tie. Sohla El-Waylly and her husband Ham have been doing the series \u003ca href=\"https://www.youtube.com/watch?v=rVLIdFk-8no&list=PLYG6O_GQCZwikXIXw5p0vFQBif-RxUpHy&ab_channel=NYTCooking\">“Mystery Menu”\u003c/a> for the NYT cooking channel for a while now, but if you haven’t seen it — their experimentation with durian, for instance — check it out immediately. \u003cem>Also\u003c/em>: an equally good way to approach the NYT cooking channel is to watch absolutely anything \u003ca href=\"https://www.youtube.com/watch?v=pyv6lO1SBS0&list=PLYG6O_GQCZwgKmY38LuycalANW67g_yYV&ab_channel=NYTCooking\">featuring Eric Kim\u003c/a>, who is enchanting. \u003cem>Also also\u003c/em>: Anything on the Epicurious channel with chef Saul Montiel will brighten your day. \u003ca href=\"https://www.youtube.com/watch?v=QjyyDCPXy7k&list=PLz3-p2q6vFYWi_e0AWEkj2h22l0u1bqER&index=29&ab_channel=Epicurious\">Here he is making calzones.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13939903\" class=\"wp-caption aligncenter\" style=\"max-width: 1798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939903\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2.jpg\" alt=\"A tall young man and a shorter, older man with a mustache stand side by side in a snowy field. \" width=\"1798\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2.jpg 1798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-768x460.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-1536x921.jpg 1536w\" sizes=\"(max-width: 1798px) 100vw, 1798px\">\u003cfigcaption class=\"wp-caption-text\">Dominic Sessa, left, and Paul Giamatti in ‘The Holdovers.’ \u003ccite>(Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>16. All of the performances in \u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a> are top-notch, but it was especially promising to discover Dominic Sessa, a young actor on the screen for the first time. Playing Angus Tully, a high school kid who’s both smart and foolish (as so many are), he offers exquisite touches of both swagger and insecurity, enough to keep up with towering performances from Paul Giamatti and Da’Vine Joy Randolph. All three leads deserve many award nominations; he may be the one who loses out. But bet on him in the future. He’ll be back.\u003c/p>\n\u003cp>17. The tense final moments of the suspense thriller \u003ca href=\"https://www.kqed.org/arts/13935443/fair-play-review-netflix-gender-phoebe-dynevor#:~:text=Fair%20Play%20is%20visually%20moody,gray%20of%20their%20austere%20office.\">\u003cem>Fair Play\u003c/em>\u003c/a> had me unsure what I even \u003cem>wanted\u003c/em> to happen, and what actually happened was better than what I would have come up with anyway. That is exactly the ending you want from a psychologically complex story like this one, about a couple torn asunder by a promotion at work.\u003c/p>\n\u003cfigure id=\"attachment_13939904\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939904\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/platonic_photo_010403_wide-a74509800a306a1af17583f3735bdaa794cf2065-scaled-e1703838852943.jpg\" alt=\"A 30-something man sits confidently at an office desk, smiling at someone somewhat awkwardly.\" width=\"1920\" height=\"1079\">\u003cfigcaption class=\"wp-caption-text\">Luke Macfarlane in ‘Platonic.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>18. Luke MacFarlane is a veteran of holiday love stories (it’s probably adequate to note he was in films called both \u003cem>Sense & Sensibility & Snowmen \u003c/em>and \u003cem>A Shoe Addict’s Christmas\u003c/em>), and he made a splash with Billy Eichner in \u003cem>Bros\u003c/em> in 2022. This year, he was very funny in \u003ca href=\"https://tv.apple.com/us/show/platonic/umc.cmc.y7bc18x7co813l8i2tlsyb4l\">\u003cem>Platonic\u003c/em>\u003c/a>, playing the loving husband of a woman (Rose Byrne) whose friendship with an old pal (Seth Rogen) takes off anew. The part could be a real nothing; he makes it sing. (\u003cem>Platonic \u003c/em>runner-up: the scene, featuring Guy Branum, in which he throws electric scooters like a track star throws a discus is a sport. As it should be.)\u003c/p>\n\u003cp>19. There was nothing like the go-for-broke madness of Peacock’s\u003ca href=\"#1170610821\"> \u003cem>Mrs. Davis\u003c/em>, \u003c/a>an action-adventure comedic thriller about a nun who’s trying to resist the intrusions of an all-knowing AI who is suddenly in everyone’s ear. (Said AI is called Mrs. Davis, you see.) Betty Gilpin played Simone, the nun, with such control and flexibility that the wild plot developments around her didn’t distract from the character work.\u003c/p>\n\u003cfigure id=\"attachment_13939905\" class=\"wp-caption aligncenter\" style=\"max-width: 776px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939905\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_197587_00171_wide-5aaca6d0f9b84408cb67b0d3276fcda1a9256137.jpg\" alt=\"A woman with long shaggy blond hair stares worried into a phone screen. \" width=\"776\" height=\"436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_197587_00171_wide-5aaca6d0f9b84408cb67b0d3276fcda1a9256137.jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_197587_00171_wide-5aaca6d0f9b84408cb67b0d3276fcda1a9256137-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_197587_00171_wide-5aaca6d0f9b84408cb67b0d3276fcda1a9256137-768x432.jpg 768w\" sizes=\"(max-width: 776px) 100vw, 776px\">\u003cfigcaption class=\"wp-caption-text\">Natasha Lyonne in ‘Poker Face.’ \u003ccite>(Phillip Caruso/ Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>20. Rian Johnson created the episodic mystery show \u003ca href=\"https://www.kqed.org/arts/13924192/no-lie-natasha-lyonne-is-unforgettable-in-poker-face\">\u003cem>Poker Face\u003c/em>\u003c/a>, in which Natasha Lyonne played Charlie, a woman on the run who encounters a new mystery in every new town. Yes, the writing sparkled, and yes, the roster of guest stars — Judith Light! Lil Rel Howery! Hong Chau! Adrien Brody! — was top-tier. But at the center was Lyonne. From the minute she emerges from a trailer into the hot Nevada sun, sinks into a lawn chair, and grabs herself a beer and a smoke, the character already feels like an icon, and the show like a classic.\u003c/p>\n\u003cp>21. \u003ca href=\"https://www.npr.org/2023/01/15/1149054904/the-traitors-review-alan-cumming\">\u003cem>The Traitors\u003c/em> \u003c/a>is a fun reality competition show. But what set it apart was host Alan Cumming, whose pronunciation of “murrrrrder” and succession of impossibly debonair suits made him host of the year.\u003c/p>\n\u003cp>22. I had a spectacular time — spectacular! — watching the Philadelphia Phillies this fall. How do you not love Bryce Harper \u003ca href=\"https://www.mlb.com/video/harper-sprints-first-to-home\">running through a sign\u003c/a> from the third-base coach, scoring, and popping up on his toe?\u003c/p>\n\u003cfigure id=\"attachment_13939907\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939907\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/71nzsmfyhwl._sl1500__custom-1bdc6680756a679edab8654b3a8629a5f434f87d.jpg\" alt=\"A book cover featuring a cat in a suit.\" width=\"200\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/71nzsmfyhwl._sl1500__custom-1bdc6680756a679edab8654b3a8629a5f434f87d.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/71nzsmfyhwl._sl1500__custom-1bdc6680756a679edab8654b3a8629a5f434f87d-160x246.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Starter Villain.’ \u003ccite>(Tor Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>23. I dare you not to giggle at least once as the weird world of John Scalzi’s novel, \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=232\">\u003cem>Starter Villain\u003c/em>\u003c/a> unwinds in front of you. Is there a labor dispute? Yes. Does it involve dolphins? Yes. Is there a volcano, and are there supervillains? Yes and yes.\u003c/p>\n\u003cp>24. Sometimes it’s fun to just have something scare your socks off, and that’s what happened with \u003ca href=\"https://www.hulu.com/movie/9e96f51e-6806-4306-9773-e96b68d25305\">\u003cem>No One Will Save You\u003c/em>\u003c/a>, an eerie, almost dialogue-free “locked in the house and something terrible is happening” story starring Kaitlyn Dever. She hears a noise. She hides under the bed. She sees a pair of very upsetting feet go by. From there, she’s on her own.\u003c/p>\n\u003cp>25. Podcasts diving extra-deep into a particular film or show are of wildly differing quality. But\u003ca href=\"https://50mphpodcast.com/\"> \u003cem>50MPH\u003c/em>,\u003c/a> a planned 50-part (!!) series about the making of \u003cem>Speed\u003c/em>, has offered choice moments for the movie’s fans. Try \u003ca href=\"https://podcasts.apple.com/us/podcast/50-mph/id1691020723?i=1000625961446\">episode 12\u003c/a>, about the script development, which includes a detour into the involvement of one Joss Whedon.\u003c/p>\n\u003cp>26. Emma Cline’s novel \u003ca href=\"https://www.npr.org/2023/05/25/1178300477/in-the-guest-a-sex-worker-wreaks-havoc-on-the-glitzy-social-scene-at-the-hampton\">\u003cem>The Guest\u003c/em>\u003c/a> is about a woman whose boyfriend kicks her out and leaves her adrift in the Hamptons to survive with nothing. She imposes upon one person, then another, and Cline builds a sense of dread amid all the wealth: “No one on the shore noticed her, or looked twice. A couple walked past, heads bent, studying the sand for shells … Surely, if Alex had been in any real danger, someone would have reacted, one of these people would have stepped in to help.”\u003c/p>\n\u003cfigure id=\"attachment_13939908\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap091207034728_wide-a1a2587a9eee11ca90b5d981b831f43c13702513-e1703839359528.jpg\" alt=\"A man in a grey suit and red bowtie gestures wildly, mouth agape.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Paul Reubens, better known as Pee-wee Herman, died in July at age 70. \u003ccite>(Danny Moloshok/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>27. Paul Reubens, who created the character Pee-wee Herman, died on July 30, and was warmly and appropriately appreciated. What a delightful surprise, then, to see him in a cameo appearance in the affable comedy\u003ca href=\"https://www.npr.org/2023/11/08/1197956693/sandra-oh-and-awkwafina-are-perfect-opposites-in-quiz-lady\"> \u003cem>Quiz Lady\u003c/em>, \u003c/a>playing himself as the baffled target of a fan’s affections.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13938757","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>28. I had trouble following the plot of the drama series \u003ca href=\"https://www.max.com/shows/full-circle/8996a19c-8e8b-4d8b-8f1a-fa146751d544\">\u003cem>Full Circle\u003c/em>,\u003c/a> which starred Claire Danes and Timothy Olyphant as a couple that learns their son has been kidnapped, which is only the very beginning of their problems. I did, however, greatly appreciate Vulture’s Kathryn VanArendonk \u003ca href=\"https://www.vulture.com/article/dennis-quaid-full-circle-braid-explained.html\">making a thorough investigation\u003c/a> of why on earth Dennis Quaid ended up wearing a braid. It involves a last-minute dash to a wig shop. It’s quite a tale.\u003c/p>\n\u003cp>29. Yes, Maureen Ryan is one of my very good friends and colleagues in the writing-about-television industry. But plenty of people agreed that as hard as it was to read, her book \u003ca href=\"https://www.npr.org/2023/06/03/1180008736/beloved-tv-show-lost-wasnt-immune-to-industrys-pervasive-toxic-culture\">\u003cem>Burn It Down\u003c/em>\u003c/a>, about abuse in Hollywood and the systems that enable it, was a tremendous example of dogged journalism that does what it sets out to do. Pleasant to read? No. Wonderful to know that this kind of work is still being done, and done so well? Yes.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kes2P4IC2bQ'\n title='//www.youtube.com/embed/kes2P4IC2bQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>30. The Tiny Desk at NPR has been growing and growing in the breadth of its offerings, the devotion of its audience, and the vibrancy of its innovation. This year, nothing landed quite like the \u003ca href=\"https://www.youtube.com/watch?v=kes2P4IC2bQ&t=3s&ab_channel=NPRMusic\">appearance by Juvenile\u003c/a>, which is irresistible even to people who don’t necessarily think they’re “Back That Azz Up” people. Trombone Shorty was there! Jon Batiste flew in from London! What a wondrous thing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13938881","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>31. Jimmy Tatro appeared in the comedy \u003ca href=\"https://www.hulu.com/watch/2e9ba993-a6a8-46e6-b2ac-6705badd7503\">\u003cem>Theater Camp\u003c/em>\u003c/a>, playing a character not dissimilar to the doofus jock he played in \u003cem>American Vandal\u003c/em>. Not to pigeonhole Tatro, but some actors have an eerily perfect touch with a particular kind of role, and Tatro is perhaps our foremost lovably lunkheaded bro.\u003c/p>\n\u003cp>32. Sam Sanders juggled two podcasts for much of the year: \u003ca href=\"https://www.vulture.com/into-it/\">\u003cem>Into It \u003c/em>\u003c/a>at Vulture and \u003ca href=\"https://www.stitcherstudios.com/shows/vibe-check\">\u003cem>Vibe Check\u003c/em>, \u003c/a>which he does with his friends Saeed Jones and Zach Stafford. Disappointingly, \u003cem>Into It \u003c/em>was a victim of cutbacks, but \u003cem>Vibe Check \u003c/em>continues, and it provided \u003ca href=\"https://podcasts.apple.com/us/podcast/life-has-been-lifing-lately/id1637476174?i=1000620850273\">one of the most moving episodes of the year\u003c/a> in a discussion of grief following the death of Sam’s mother.\u003c/p>\n\u003cp>33. There is a long history of shows making baffling choices when forced to replace a beloved host. When Padma Lakshmi decided to step away from \u003cem>Top Chef\u003c/em>, a lot of us thought, “They should pick somebody like [\u003cem>Top Chef \u003c/em>champion] Kristen Kish, but they won’t.” And then they did! Welcome the Kish era!\u003c/p>\n\u003cfigure id=\"attachment_13939909\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939909\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83.jpg\" alt=\"A Black man and a white man sit side-by-side in a jury box.\" width=\"1920\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-1536x862.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ishmel Sahid, left, and James Marsden play alternate jurors in the series ‘Jury Duty.’ \u003ccite>(Amazon Freevee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>34. \u003ca href=\"https://www.amazon.com/Jury-Duty-Season-1/dp/B0B8JM2BBS\">\u003cem>Jury Duty\u003c/em>\u003c/a> is the Amazon Freevee series in which a man named Ronald is called for jury duty, and he doesn’t know that everyone else from the judge to the other jurors to the lawyers and parties, is an actor. At the end, all is revealed to him — that he’s been sitting on a fake jury of a fake trial — and it could have been so, so painful to watch. But Ronald has a good sense of humor, and he chooses not to feel let down, even by his new pal, James Marsden (who plays himself in the fake scenario). They lucked out with Ronald, for sure.\u003c/p>\n\u003cp>35. There were some impressive videos of striking actors advocating for themselves and their colleagues as their strike (and the WGA strike) wore on. One of the best \u003ca href=\"https://x.com/LisaCullen/status/1656337549495762951?s=20\">came from Mandy Patinkin\u003c/a>.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1656337549495762951"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>36. John Mulaney’s Netflix special\u003ca href=\"https://www.kqed.org/arts/13928322/baby-j-john-mulaney-stand-up-review-netflix\">\u003cem> Baby J\u003c/em>\u003c/a> was deeply uncomfortable to watch, as he recounted his experiences with addiction, intervention and rehab. But the story of having an intervention with a room full of comedians sparkled. “Do you know what it’s like to have 12 people save your life?” he asks in a discussion of his indebtedness. “It’s too many people.”\u003c/p>\n\u003cp>37. Last year in this space, I saluted Karina Longworth’s excellent podcast series \u003cem>You Must Remember This\u003c/em>, and its miniseries \u003cem>Erotic ’80s\u003c/em>. What happened this year? \u003cem>Erotic ’90s\u003c/em>, of course, and it was perhaps even better. Try the \u003ca href=\"https://podcasts.apple.com/us/podcast/you-must-remember-this/id858124601?i=1000607274568\">Julia Roberts episode\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13939911\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939911\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-tcp-05246_high_res_jpeg_wide-5c0544d47d9f6bbc91455c849ba94e8d7f075681-scaled-e1703839832634.jpe\" alt=\"One Black woman leans on the shoulder of another, outdoors in the sun.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Danielle Brooks and Fantasia Barrino in ‘The Color Purple.’ \u003ccite>(Eli Adé/ Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>38. Danielle Brooks gives only one of several excellent performances in \u003ca href=\"https://www.kqed.org/arts/13939793/the-color-purple-successfully-squeezes-popular-entertainment-out-of-art\">\u003cem>The Color Purple\u003c/em>\u003c/a>. (What a joy to see Fantasia Barrino thriving, having watched her on \u003cem>American Idol \u003c/em>so many years ago.) But Brooks’ work is emotional and haunting and also tremendously funny — she plays Sofia, played in the Spielberg movie by Oprah Winfrey — and she never misses a step.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939793","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>39. I don’t spend as much time dunking on terrible things as I used to, but there’s a particular pleasure to be found in an evisceration of something you very much disliked. Thus, please enjoy \u003ca href=\"https://buttnews.substack.com/p/fat-suit-fart-attack-the-whale\">Lindy West’s piece\u003c/a> on \u003cem>The Whale\u003c/em>.\u003c/p>\n\u003cp>40. In \u003ca href=\"https://www.kqed.org/arts/13936363/anatomy-of-a-fall-movie-review-sandra-huller-palme-dor-france\">\u003cem>Anatomy of a Fall\u003c/em>\u003c/a>, Sandra Hüller plays a woman who might — or might not — have done something terrible. In effect, to sustain the uncertainty, she has to play two women simultaneously: one who is covering up guilt, and one who is being unfairly accused. It’s a remarkable trick.\u003c/p>\n\u003cp>41. It has sometimes been hard to remember, as Twitter becomes unusable for me, that it could be a genuine source of friendly small talk. As a salute to that particular piece of its history, \u003ca href=\"https://twitter.com/lindaholmes/status/1633277824906797058\">enjoy this thread\u003c/a> in which a thousand people answered the call for pictures of their pets.\u003c/p>\n\u003cfigure id=\"attachment_13939912\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939912\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/american-fiction-f_03320_r_rgb_custom-9c4efdd6045ee9b2208c20de69d920421838c08b-scaled-e1703840068351.jpg\" alt=\"A Black woman and man walk down a grassy path, surrounded on both sides by tall shrubs and plants. They are smiling.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">Erika Alexander and Jeffrey Wright in ‘American Fiction.’ \u003ccite>(Claire Folger/ Orion Releasing LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>42. Jeffrey Wright’s performance in \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a> as an intellectual convinced that he’s at the mercy of a foolish literary establishment (which is … probably right) is part of the movie’s appeal. But maybe even better is the part of the performance that focuses on the character’s complex, fractured relationships with his family. Wright is one of our very best.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932204","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>43. \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a> is a category of movie we’ve seen before, in that it’s an examination of a very famous man with a complicated legacy. But director Christopher Nolan is a master of capturing the unthinkably enormous, so it’s unsurprising that his approach to presenting the detonation of a nuclear bomb is inventive and meticulously done.\u003c/p>\n\u003cp>44. The crime thriller \u003cem>Sharper \u003c/em>sort of came and went (\u003ca href=\"https://tv.apple.com/us/movie/sharper/umc.cmc.5ud0ivpwgqw2st0u4z73gwpar\">you can find it on Apple TV+\u003c/a>); it stars Julianne Moore, Sebastian Stan and Justice Smith as three of the people tied up in a complicated (really complicated) plot that involves con artists, guns, money and a lot of beautiful people. There’s a kind of pleasure in twisty thrillers that you can’t quite get anywhere else, and the closing chapter of this one delivered it.\u003c/p>\n\u003cfigure id=\"attachment_13939913\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939913\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/the_diplomat_s1_e4_-native-_00_38_18_16r_wide-4e9514c2c795b64e9326a8f746d70853f47cd2b6-scaled-e1703840309929.jpg\" alt=\"An attractive middle-aged woman holds a telephone to her ear. She looks concerned.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Keri Russell in ‘The Diplomat.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>45. After \u003cem>The Americans \u003c/em>and \u003cem>Felicity \u003c/em>(and, sure, \u003cem>Cocaine Bear\u003c/em>), nobody needs to prove the versatility of Keri Russell. But playing a new ambassador named Kate in \u003ca href=\"https://www.npr.org/2023/04/19/1170685432/the-diplomat-review-keri-russell\">\u003cem>The Diplomat\u003c/em>\u003c/a>, the way she moves from one room to another, the way she picks up and puts down various objects, even the way she squirms as someone puts makeup on her, all contribute to a vision of Kate as a superbly competent and capable person, which makes her spy-thriller adventures much easier to care about.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939092","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>46. The level of difficulty in Emma Stone’s performance in Yorgos Lanthimos’ \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a> is extraordinary: she’s playing a woman who is, sort of, a child. But she rapidly grows emotionally and intellectually older, more and more independent and lustful. Stone makes it all seem like one performance, one character.\u003c/p>\n\u003cp>47. I very much liked \u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.bff6d26e-9aa3-47b3-9bbb-92acb9942cdb?autoplay=0&ref_=atv_cf_strg_wb\">\u003cem>Deadloch\u003c/em>\u003c/a>, an Australian comedy-crime series that is both a small-time crime series in the tradition of \u003cem>Broadchurch \u003c/em>and a send-up of those very shows. I didn’t know the actors, I didn’t know much about the show until I watched it, and I was delighted to discover it. Most of those things are also true of runner-up Australian comedy \u003ca href=\"https://www.npr.org/2023/12/04/1197958569/colin-from-accounts-deserves-a-raise\">\u003cem>Colin From Accounts\u003c/em>\u003c/a>, which is also worth a watch.\u003c/p>\n\u003cp>48. I was slow to get attached to \u003cem>Only Murders in the Building\u003c/em>, which focused this season on the production of a musical. But Steve Martin’s delivery of the patter song \u003ca href=\"https://www.youtube.com/watch?v=Piv19tK4lH4&t=2s&ab_channel=Hulu\">“Which of the Pickwick Triplets Did it?”\u003c/a> was the best reason of all to get on board.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Piv19tK4lH4'\n title='//www.youtube.com/embed/Piv19tK4lH4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>49. Hopefully, I can be forgiven for sneaking some older stuff in here by talking about a project that was great for me this year: The Criterion Collection continues to be a wonderful source for classic movies, and I used its collection of some of the films from the \u003ca href=\"https://www.criterionchannel.com/sight-sound-s-greatest-films-of-all-time\">Sight & Sound poll\u003c/a> as a way into movies including \u003cem>The Passion of Joan of Arc\u003c/em>, \u003cem>Black Orpheus\u003c/em>, \u003cem>Cleo from 5 to 7\u003c/em>, and the film that topped the list: \u003cem>Jean Dielman, 23, quai du Commerce, 1080 Bruxelles\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>50. This was the year I got (deeply) into \u003cem>The Flop House\u003c/em>, a podcast that’s been around since late 2007 (what? I was busy) and passed its 400th episode. Each week, hosts Dan McCoy, Stuart Wellington and Elliott Kalan talk about a movie that’s either a commercial or critical disappointment. There are guest hosts sometimes, there is a longstanding fixation on the more disposable work of Nicolas Cage (whom they rightly revere as an actor), and you can start right at the beginning of January with \u003ca href=\"https://podcasts.apple.com/us/podcast/the-flop-house/id263585537?i=1000594413409\">their consideration of \u003cem>Black Adam\u003c/em>\u003c/a>. From the not-so-wonderful, the wonderful can sometimes emerge.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+year+in+review%3A+50+wonderful+things+from+2023&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13939895/best-of-2023-pop-culture-npr-year-in-review-50-wonderful-things","authors":["byline_arts_13939895"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_74","arts_69","arts_75","arts_990"],"tags":["arts_3837","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13939896","label":"arts_140"},"arts_13934588":{"type":"posts","id":"arts_13934588","meta":{"index":"posts_1591205157","site":"arts","id":"13934588","score":null,"sort":[1695239415000]},"guestAuthors":[],"slug":"nocturnists-podcast-abortion-post-roe-dobbs-america","title":"‘The Nocturnists’ Podcast Paints a Stark Picture of Post-Roe America","publishDate":1695239415,"format":"standard","headTitle":"‘The Nocturnists’ Podcast Paints a Stark Picture of Post-Roe America | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>I was strolling up a busy street in Austin, Texas recently, deep in thought about the changes there in the last few years. The city is gentrifying, dealing with a population boom and very much in flux. Still, the liberals, artists and weirdos hang on tight to the fringes. Austin and San Francisco, I thought, are starting to look more and more alike.\u003c/p>\n\u003cp>That was until a Planned Parenthood volunteer appeared on the horizon, clipboard in hand, and I realized that, for the very first time, I was casually wandering around a place where abortion is illegal. The thought was jarring: How could two places that seemed so similar have such wildly different healthcare policies?\u003c/p>\n\u003cp>[aside postid='arts_13915289']For most of us living in California — especially in the Bay Area — worrying about abortion access is still largely theoretical. For most of us, abortion certainly isn’t a daily preoccupation. But in the 26 states where abortion is now either banned or extremely restricted, no such oblivion exists — not for the tens of millions of women, transgender and nonbinary folks affected by the Dobbs decision, and not for the thousands of healthcare providers shackled by the ruling.\u003c/p>\n\u003cp>Now, two Bay Area doctors want to take us inside the daily realities of physicians around the country who are almost entirely immersed in post-Dobbs chaos. Dr. Emily Silverman — a doctor at SF General and an assistant professor of medicine at UCSF — and abortion provider Dr. Ali Block are dedicating Season 6 of their podcast \u003ca href=\"https://thenocturnists.com/post-roe-america-series\">\u003cem>The Nocturnists\u003c/em>\u003c/a> exclusively to the issue of abortion access in America. (The series usually tells a range of stories from the world of medicine.) Together, they visit the places where Dobbs has crushed choice, as well as those where abortion is still legal.\u003c/p>\n\u003cp>As physicians, Silverman and Block’s ability to convey the stresses on abortion providers is key to this seven-part series. On one side, the doctors in states with bans want only to do their jobs without risk of arrest and prison time. (“Oh my god,” one physician recalls thinking as a patient bled out from an unviable pregnancy. “I’m committing a felony \u003cem>and\u003c/em> she’s going to die.”) On the other side, the doctors in states where abortion is still legal are often working around the clock, knowing full well they’ll never be able to see all of the patients who need their assistance now.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Nocturnists\u003c/em> is careful to also give props to the nurses and other medical staff trying to navigate the havoc left in Dobbs’ wake. Episode 3 takes us to \u003ca href=\"https://trustwomen.org/clinics/wichita/home\">Trust Women\u003c/a>, an abortion clinic in Wichita, Kansas, where Block sometimes works. There, two front desk employees are tasked with trying to field about 16,000 calls per day — two-thirds of which are from people in Texas trying to access abortion care as close to home as possible. The clinic typically sees between 30 and 60 patients a day — all of whom must pass an angry wall of protesters outside.\u003c/p>\n\u003cp>It is also these on-the-ground health workers’ stories that best impart the physical and emotional impacts of abortion bans and restrictions on the pregnant individuals that pass through their doors every day. Though always told in tones that are measured and resigned, the scenarios that many of them present are nothing short of heart-wrenching. Some veer headlong into the horrific.\u003c/p>\n\u003cp>[aside postid='arts_13923560']\u003cem>The Nocturnists:\u003c/em> \u003ci>Post-Roe America \u003c/i>is bleak but essential listening, then — especially for those of us who live in states where abortion is still legal. The podcast tears apart the notion that abortion access is guaranteed anywhere, noting that a federal ban is likely on the way. By the end of the series, you’ll feel compelled to act, to donate to the cause and to view reproductive healthcare professionals for what they really are — heroes.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Weekly\u003c/em> \u003cem>episodes of\u003c/em> ‘\u003ca href=\"https://thenocturnists.com/post-roe-america-episodes/2023/09/21/ep1-the-day-roe-fell\">\u003cem>The Nocturnists: \u003c/em>\u003c/a>\u003ci>\u003ca href=\"https://thenocturnists.com/post-roe-america-episodes/2023/09/21/ep1-the-day-roe-fell\">Post-Roe America\u003c/a>’ begin on Sept. 21, 2023. \u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Season 6 of the medical podcast centers physicians as they struggle to serve patients while also staying out of prison.","status":"publish","parent":0,"modified":1705535888,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":686},"headData":{"title":"‘The Nocturnists’ Podcast Season 6 Examines Abortion, Post-Roe | KQED","description":"Season 6 of the medical podcast centers physicians as they struggle to serve patients while also staying out of prison.","ogTitle":"‘The Nocturnists’ Podcast Paints a Stark Picture of Post-Roe America","ogDescription":"","ogImgId":"","twTitle":"‘The Nocturnists’ Podcast Paints a Stark Picture of Post-Roe America","twDescription":"","twImgId":"","socialTitle":"‘The Nocturnists’ Podcast Season 6 Examines Abortion, Post-Roe%%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13934588/nocturnists-podcast-abortion-post-roe-dobbs-america","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I was strolling up a busy street in Austin, Texas recently, deep in thought about the changes there in the last few years. The city is gentrifying, dealing with a population boom and very much in flux. Still, the liberals, artists and weirdos hang on tight to the fringes. Austin and San Francisco, I thought, are starting to look more and more alike.\u003c/p>\n\u003cp>That was until a Planned Parenthood volunteer appeared on the horizon, clipboard in hand, and I realized that, for the very first time, I was casually wandering around a place where abortion is illegal. The thought was jarring: How could two places that seemed so similar have such wildly different healthcare policies?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13915289","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>For most of us living in California — especially in the Bay Area — worrying about abortion access is still largely theoretical. For most of us, abortion certainly isn’t a daily preoccupation. But in the 26 states where abortion is now either banned or extremely restricted, no such oblivion exists — not for the tens of millions of women, transgender and nonbinary folks affected by the Dobbs decision, and not for the thousands of healthcare providers shackled by the ruling.\u003c/p>\n\u003cp>Now, two Bay Area doctors want to take us inside the daily realities of physicians around the country who are almost entirely immersed in post-Dobbs chaos. Dr. Emily Silverman — a doctor at SF General and an assistant professor of medicine at UCSF — and abortion provider Dr. Ali Block are dedicating Season 6 of their podcast \u003ca href=\"https://thenocturnists.com/post-roe-america-series\">\u003cem>The Nocturnists\u003c/em>\u003c/a> exclusively to the issue of abortion access in America. (The series usually tells a range of stories from the world of medicine.) Together, they visit the places where Dobbs has crushed choice, as well as those where abortion is still legal.\u003c/p>\n\u003cp>As physicians, Silverman and Block’s ability to convey the stresses on abortion providers is key to this seven-part series. On one side, the doctors in states with bans want only to do their jobs without risk of arrest and prison time. (“Oh my god,” one physician recalls thinking as a patient bled out from an unviable pregnancy. “I’m committing a felony \u003cem>and\u003c/em> she’s going to die.”) On the other side, the doctors in states where abortion is still legal are often working around the clock, knowing full well they’ll never be able to see all of the patients who need their assistance now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Nocturnists\u003c/em> is careful to also give props to the nurses and other medical staff trying to navigate the havoc left in Dobbs’ wake. Episode 3 takes us to \u003ca href=\"https://trustwomen.org/clinics/wichita/home\">Trust Women\u003c/a>, an abortion clinic in Wichita, Kansas, where Block sometimes works. There, two front desk employees are tasked with trying to field about 16,000 calls per day — two-thirds of which are from people in Texas trying to access abortion care as close to home as possible. The clinic typically sees between 30 and 60 patients a day — all of whom must pass an angry wall of protesters outside.\u003c/p>\n\u003cp>It is also these on-the-ground health workers’ stories that best impart the physical and emotional impacts of abortion bans and restrictions on the pregnant individuals that pass through their doors every day. Though always told in tones that are measured and resigned, the scenarios that many of them present are nothing short of heart-wrenching. Some veer headlong into the horrific.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923560","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Nocturnists:\u003c/em> \u003ci>Post-Roe America \u003c/i>is bleak but essential listening, then — especially for those of us who live in states where abortion is still legal. The podcast tears apart the notion that abortion access is guaranteed anywhere, noting that a federal ban is likely on the way. By the end of the series, you’ll feel compelled to act, to donate to the cause and to view reproductive healthcare professionals for what they really are — heroes.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Weekly\u003c/em> \u003cem>episodes of\u003c/em> ‘\u003ca href=\"https://thenocturnists.com/post-roe-america-episodes/2023/09/21/ep1-the-day-roe-fell\">\u003cem>The Nocturnists: \u003c/em>\u003c/a>\u003ci>\u003ca href=\"https://thenocturnists.com/post-roe-america-episodes/2023/09/21/ep1-the-day-roe-fell\">Post-Roe America\u003c/a>’ begin on Sept. 21, 2023. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13934588/nocturnists-podcast-abortion-post-roe-dobbs-america","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_75"],"tags":["arts_9324","arts_3837","arts_769","arts_585"],"featImg":"arts_13935033","label":"arts_140"},"arts_13932965":{"type":"posts","id":"arts_13932965","meta":{"index":"posts_1591205157","site":"arts","id":"13932965","score":null,"sort":[1694530825000]},"guestAuthors":[],"slug":"magnificent-jerk-podcast-gaylen-yuen-maya-lin-sugarman-chinatown-gangs-crazy-six","title":"New Podcast Charts One Man's Journey From Chinatown Gangs to Hollywood","publishDate":1694530825,"format":"standard","headTitle":"New Podcast Charts One Man’s Journey From Chinatown Gangs to Hollywood | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In 2015, journalist and video editor \u003ca href=\"https://www.mayasugarman.com/\">Maya Lin Sugarman\u003c/a> lost her uncle \u003ca href=\"https://www.imdb.com/name/nm0950724/?ref_=tt_ov_wr\">Galen Yuen\u003c/a> to a blood infection. To Lin Sugarman, Yuen had been a lovable goofball — a man fond of donuts, offbeat restaurants and \u003cem>Big Brother\u003c/em> marathons. It was only when her beloved “popo” (Cantonese for maternal grandmother) died five years later that Lin Sugarman discovered a box of her uncle’s writing that revealed a different picture — a nefarious past she didn’t know he’d had.\u003c/p>\n\u003cp>[aside postid='arts_13914487']Lin Sugarman’s journey to uncover Yuen’s true story is now a podcast titled \u003cem>Magnificent Jerk. \u003c/em>Across seven engrossing episodes, we find out that Yuen had been a member of notorious Chinese-American gangs in the Chinatowns of both San Francisco and Oakland. He had acted as a pimp, served time in prison and survived serious drug addiction. Yuen started innumerable street brawls, attempted to extort a family, and was not averse to brandishing guns to make a point. And, in a remarkable twist, when he finally left his criminal past behind, he used his street knowledge to start a career in Hollywood.\u003c/p>\n\u003cp>Yuen’s experience in Hollywood, as told by Lin Sugarman in the Apple Original podcast, is a startling reflection of the racism that was rife in the entertainment industry in the 1990s. Yuen’s biggest project, \u003ca href=\"https://www.youtube.com/watch?v=e_c-xagWUGk\">\u003cem>Crazy Six\u003c/em>\u003c/a>, started as a script he wrote about Asian American gangs and a drug deal set in Oakland. (The “Crazy Six” of the title was named after a Chinese American gangster Yuen knew.) By the time Hollywood was done with the project, it was a movie set in Eastern Europe starring Rob Lowe, Burt Reynolds, Ice-T and exactly zero Asian American actors.\u003c/p>\n\u003cp>Lin Sugarman’s deep frustration about the fate of her uncle’s movie here is plain to hear. Still, she jumps at the chance to watch it on a big screen when the opportunity presents itself.\u003c/p>\n\u003cfigure id=\"attachment_13933209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933209\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Galen-03751000-800x800.jpg\" alt=\"A young, slender Chinese American man with chin length hair stands in a living room wearing a black and white floral shirt, his hands in his pockets.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Galen-03751000-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Galen-03751000-1020x1021.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Galen-03751000-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Galen-03751000-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Galen-03751000-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Galen-03751000.jpg 1815w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Galen Yuen in the 1970s, the same era he was involved with the Suey Sing gang. \u003ccite>(Courtesy of the Yuen family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the whitewashing of \u003cem>Crazy Six\u003c/em>, Yuen decided to use the gumption and tenacity that once made him an effective gangster to help other Asian Americans in the movie industry. He set up an agency called Asian Talent Force and attempted to negotiate better roles and more money for his clients. Still, Yuen’s own acting career consisted largely of bit parts and small, often stereotypical roles in movies like \u003cem>Kindergarten Cop\u003c/em>, \u003cem>Cyborg 2\u003c/em> and \u003cem>Crank: High Voltage\u003c/em>. Yuen was offered very few opportunities to write. One exception was \u003ca href=\"https://www.imdb.com/title/tt0120021/?ref_=nm_flmg_t_2_wr\">\u003cem>Riot\u003c/em>\u003c/a>, a four-part TV movie about the unrest in LA that followed the Rodney King verdict in 1992. Yuen was hired to write the Asian American perspective. The fact that he was not of Korean descent — as most of the Asians caught up in the riots were — did not matter to the producers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yuen’s story is peppered with grief, misadventure, ambition and, by the end of his life, attempts at redemption. Lin Sugarman explores her uncle’s history with a keen curiosity that occasionally lapses into anxiety and trepidation. Still, she doggedly pursues Yuen’s truth even as she worries her family will harbor resentments towards her for doing so. (Some of the most engrossing conversations in the podcast happen between Lin Sugarman and her worried aunties.) As she explore’s Yuen’s past, Lin Sugarman must also contend with the fading memories of those who knew her uncle, as well as the fears of gang violence victims too scared to speak on the record, even 50 years later.\u003c/p>\n\u003cp>\u003cem>Magnificent Jerk\u003c/em> would have benefited from more detail about the history of gangs in San Francisco and Oakland’s Chinatown districts. We are offered only cursory information about the Suey Sing crew that her uncle was a part of, and few mentions of the other gangs that were also active at the time. We get some sense of the gang members’ motivations — anti-Asian discrimination certainly played a part — but extra background about the whens, hows and whys of the Chinatowns’ criminal underworld would have given the podcast sturdier ground to stand on.\u003c/p>\n\u003cp>[aside postid='arts_13923980']The beating heart at the center of each episode of \u003cem>Magnificent Jerk\u003c/em> is Lin Sugarman. The rollercoaster of emotions she experiences as she finds things out about her uncle that she would rather not lends an engaging intimacy to the proceedings. And though Lin Sugarman ultimately uncovers many of her uncle’s darkest secrets, one gets the impression that Yuen would probably enjoy the final impression of him left by \u003cem>Magnificent Jerk.\u003c/em> It is, after all, the first chance Galen Yuen — a complex, multifaceted, talented person — has had to exist in public without the stereotyping that dogged him in life.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Magnificent Jerk,’ an Apple Original podcast, premieres on Monday, Sept. 18, 2023.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"In ‘Magnificent Jerk,’ Maya Lin Sugarman profiles her uncle Gaylen Yuen, a Bay Area gangster turned scriptwriter and actor.","status":"publish","parent":0,"modified":1705535933,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":848},"headData":{"title":"SF Chinatown Gangster Galen Yuen is Profiled in New Podcast | KQED","description":"In ‘Magnificent Jerk,’ Maya Lin Sugarman profiles her uncle Gaylen Yuen, a Bay Area gangster turned scriptwriter and actor.","ogTitle":"New Podcast Charts One Man's Journey From Chinatown Gangs to Hollywood","ogDescription":"","ogImgId":"","twTitle":"New Podcast Charts One Man's Journey From Chinatown Gangs to Hollywood","twDescription":"","twImgId":"","socialTitle":"SF Chinatown Gangster Galen Yuen is Profiled in New Podcast %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13932965/magnificent-jerk-podcast-gaylen-yuen-maya-lin-sugarman-chinatown-gangs-crazy-six","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2015, journalist and video editor \u003ca href=\"https://www.mayasugarman.com/\">Maya Lin Sugarman\u003c/a> lost her uncle \u003ca href=\"https://www.imdb.com/name/nm0950724/?ref_=tt_ov_wr\">Galen Yuen\u003c/a> to a blood infection. To Lin Sugarman, Yuen had been a lovable goofball — a man fond of donuts, offbeat restaurants and \u003cem>Big Brother\u003c/em> marathons. It was only when her beloved “popo” (Cantonese for maternal grandmother) died five years later that Lin Sugarman discovered a box of her uncle’s writing that revealed a different picture — a nefarious past she didn’t know he’d had.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13914487","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Lin Sugarman’s journey to uncover Yuen’s true story is now a podcast titled \u003cem>Magnificent Jerk. \u003c/em>Across seven engrossing episodes, we find out that Yuen had been a member of notorious Chinese-American gangs in the Chinatowns of both San Francisco and Oakland. He had acted as a pimp, served time in prison and survived serious drug addiction. Yuen started innumerable street brawls, attempted to extort a family, and was not averse to brandishing guns to make a point. And, in a remarkable twist, when he finally left his criminal past behind, he used his street knowledge to start a career in Hollywood.\u003c/p>\n\u003cp>Yuen’s experience in Hollywood, as told by Lin Sugarman in the Apple Original podcast, is a startling reflection of the racism that was rife in the entertainment industry in the 1990s. Yuen’s biggest project, \u003ca href=\"https://www.youtube.com/watch?v=e_c-xagWUGk\">\u003cem>Crazy Six\u003c/em>\u003c/a>, started as a script he wrote about Asian American gangs and a drug deal set in Oakland. (The “Crazy Six” of the title was named after a Chinese American gangster Yuen knew.) By the time Hollywood was done with the project, it was a movie set in Eastern Europe starring Rob Lowe, Burt Reynolds, Ice-T and exactly zero Asian American actors.\u003c/p>\n\u003cp>Lin Sugarman’s deep frustration about the fate of her uncle’s movie here is plain to hear. Still, she jumps at the chance to watch it on a big screen when the opportunity presents itself.\u003c/p>\n\u003cfigure id=\"attachment_13933209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933209\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Galen-03751000-800x800.jpg\" alt=\"A young, slender Chinese American man with chin length hair stands in a living room wearing a black and white floral shirt, his hands in his pockets.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Galen-03751000-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Galen-03751000-1020x1021.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Galen-03751000-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Galen-03751000-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Galen-03751000-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Galen-03751000.jpg 1815w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Galen Yuen in the 1970s, the same era he was involved with the Suey Sing gang. \u003ccite>(Courtesy of the Yuen family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the whitewashing of \u003cem>Crazy Six\u003c/em>, Yuen decided to use the gumption and tenacity that once made him an effective gangster to help other Asian Americans in the movie industry. He set up an agency called Asian Talent Force and attempted to negotiate better roles and more money for his clients. Still, Yuen’s own acting career consisted largely of bit parts and small, often stereotypical roles in movies like \u003cem>Kindergarten Cop\u003c/em>, \u003cem>Cyborg 2\u003c/em> and \u003cem>Crank: High Voltage\u003c/em>. Yuen was offered very few opportunities to write. One exception was \u003ca href=\"https://www.imdb.com/title/tt0120021/?ref_=nm_flmg_t_2_wr\">\u003cem>Riot\u003c/em>\u003c/a>, a four-part TV movie about the unrest in LA that followed the Rodney King verdict in 1992. Yuen was hired to write the Asian American perspective. The fact that he was not of Korean descent — as most of the Asians caught up in the riots were — did not matter to the producers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yuen’s story is peppered with grief, misadventure, ambition and, by the end of his life, attempts at redemption. Lin Sugarman explores her uncle’s history with a keen curiosity that occasionally lapses into anxiety and trepidation. Still, she doggedly pursues Yuen’s truth even as she worries her family will harbor resentments towards her for doing so. (Some of the most engrossing conversations in the podcast happen between Lin Sugarman and her worried aunties.) As she explore’s Yuen’s past, Lin Sugarman must also contend with the fading memories of those who knew her uncle, as well as the fears of gang violence victims too scared to speak on the record, even 50 years later.\u003c/p>\n\u003cp>\u003cem>Magnificent Jerk\u003c/em> would have benefited from more detail about the history of gangs in San Francisco and Oakland’s Chinatown districts. We are offered only cursory information about the Suey Sing crew that her uncle was a part of, and few mentions of the other gangs that were also active at the time. We get some sense of the gang members’ motivations — anti-Asian discrimination certainly played a part — but extra background about the whens, hows and whys of the Chinatowns’ criminal underworld would have given the podcast sturdier ground to stand on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923980","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The beating heart at the center of each episode of \u003cem>Magnificent Jerk\u003c/em> is Lin Sugarman. The rollercoaster of emotions she experiences as she finds things out about her uncle that she would rather not lends an engaging intimacy to the proceedings. And though Lin Sugarman ultimately uncovers many of her uncle’s darkest secrets, one gets the impression that Yuen would probably enjoy the final impression of him left by \u003cem>Magnificent Jerk.\u003c/em> It is, after all, the first chance Galen Yuen — a complex, multifaceted, talented person — has had to exist in public without the stereotyping that dogged him in life.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Magnificent Jerk,’ an Apple Original podcast, premieres on Monday, Sept. 18, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13932965/magnificent-jerk-podcast-gaylen-yuen-maya-lin-sugarman-chinatown-gangs-crazy-six","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_75"],"tags":["arts_2654","arts_3837","arts_769","arts_585"],"featImg":"arts_13933201","label":"arts_140"},"arts_13926202":{"type":"posts","id":"arts_13926202","meta":{"index":"posts_1591205157","site":"arts","id":"13926202","score":null,"sort":[1678987239000]},"guestAuthors":[],"slug":"uglyface-hip-hop-crew-tracy","title":"Friendship Over Fame: Hip-Hop Crew UglyFace Highlights the Power of a Collective","publishDate":1678987239,"format":"standard","headTitle":"Friendship Over Fame: Hip-Hop Crew UglyFace Highlights the Power of a Collective | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>It’s easier than ever to feel out of sync with others. The past few years have brought an alarming \u003ca href=\"https://www.pewresearch.org/fact-tank/2023/03/02/mental-health-and-the-pandemic-what-u-s-surveys-have-found/\">rise in purposelessness and a lack of belonging\u003c/a> among young people. And despite social media’s promise of constant connectivity, studies show that \u003ca href=\"https://www.npr.org/sections/health-shots/2017/03/06/518362255/feeling-lonely-too-much-time-on-social-media-may-be-why\">it makes us feel lonelier\u003c/a>, especially when TikTok stars, Instagram fame and polarizing Twitter debates all promote individual glory over collective growth.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/uglyface.88/?hl=en\">UglyFace\u003c/a> — a rap quartet of former high school homies who’ve since grown up and kept in touch through music — wants none of that.\u003c/p>\n\u003cp>“The popular thought is to push individualism, but that just creates division,” says Andre Mosley, a founding member of the group. “We don’t have to step on each other’s necks to be big. We can all be our own version of big. There’s a bunch of stars in the sky, they all get to shine and coexist. Why can’t we?”\u003c/p>\n\u003cp>Originating in Tracy in 2007, UglyFace is leaning into free-spirited collaboration without any end goal, other than to connect with each other and their audience. Their latest effort, \u003ci>FIND YOUR TRiBE\u003c/i>, is proof.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sOjHuZzD2L8\u003c/p>\n\u003cp>Initially released as \u003ca href=\"https://open.spotify.com/album/4Z7OPWbaoOtmwFGyFoCsVx\">Episodes 1\u003c/a> and \u003ca href=\"https://open.spotify.com/album/2An37IdU5MJ84RSJfi8i7j\">2\u003c/a> in January and February of this year, FIND YOUR TRiBE (the lowercase “i” intentionally de-emphasizes individual ego) is a monthly series of multimedia content — audio, music and visuals that document their countless hours spent kicking it, goofing around and recording.\u003c/p>\n\u003cp>The projects span 21 and 32 minutes, with 26 and 17 tracks, respectively, and embrace a fragmented stream-of-consciousness approach. Imagine watching YouTube videos, while listening to a dope rap album, while overhearing your best friends’ opinions and peeking inside a notebook of someone’s sketches. While it might sound overwhelming, the end product is cohesive — more artful than haphazard — and surprisingly effortless to digest.\u003c/p>\n\u003cfigure id=\"attachment_13926207\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926207\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63612_03102023_kqed_uglyface-195-qut-800x532.jpg\" alt=\"A group of local rappers wanders along the coast of the San Pablo Bay\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63612_03102023_kqed_uglyface-195-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63612_03102023_kqed_uglyface-195-qut-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63612_03102023_kqed_uglyface-195-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63612_03102023_kqed_uglyface-195-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63612_03102023_kqed_uglyface-195-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63612_03102023_kqed_uglyface-195-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left, Andre Mosley, Aric Jones, Kevin Farpella and Aaron Temple of UglyFace walk along the waterfront in Richmond, California on March 10, 2023. \u003ccite>(Kori Suzuki/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The group is made up of Mosley (a baritone vocalist and playful lyricist who often sings the hooks), Aaron Temple (a versatile rapper, producer, singer, videographer and sound editor who provides an anchor for the group), Aric Jones (the group’s third rapper, producer, songwriter and singer who originally hails from Chicago) and Kevin Farpella (a wizardly producer, writer, and audio engineer who brings it all together at his guest house in Tracy, which has been converted into their recording studio).\u003c/p>\n\u003cp>With stylistic qualities that range from \u003ci>Chappelle’s Show\u003c/i> (which utilized comedic sketches as a form of social critique) to \u003ca href=\"https://www.kqed.org/arts/13916267/learn-the-story-of-san-franciscos-toughest-skate-spot-in-new-thrasher-video\">Thrasher Magazine \u003c/a>(with an in-your-face DIY aesthetic), \u003ci>FIND YOUR TRiBE\u003c/i> feels expansive, inviting multiple audiences to mingle with it. During our conversation, Temple cited \u003ca href=\"https://www.youtube.com/watch?v=kRJA2YrA6qI\">Spice 1’s “187 Proof” music video\u003c/a>, which features claymation, as inspiration. Farpella credits early Kanye West production as his guidance. Jones is a Bone Thugs and Twista enthusiast. Meanwhile, Mosley pays homage to Northern California icons, like E-40 and Mac Dre, through his wordplay. It’s an amalgamation of all that flavor.\u003c/p>\n\u003cfigure id=\"attachment_13926210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926210\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63621_03102023_kqed_uglyface-207-qut-800x532.jpg\" alt=\"A group of local rappers stands in front of a wall with graffiti in Richmond, CA\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63621_03102023_kqed_uglyface-207-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63621_03102023_kqed_uglyface-207-qut-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63621_03102023_kqed_uglyface-207-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63621_03102023_kqed_uglyface-207-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63621_03102023_kqed_uglyface-207-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63621_03102023_kqed_uglyface-207-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">UglyFace stands for a portrait in front of an abandoned building after recording content for their online series. \u003ccite>(Kori Suzuki/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a unit, they’re paving a way for a hyper-blended genre made up of low-budget storytelling, group therapy and good ol’ sound system-rattling slaps. Collectively, they’ve become a contemporary rap ensemble built on deep trust, versatility and quirky experimentation — allowing for vulnerability to shine from different angles.\u003c/p>\n\u003cp>“Nobody wants to be stuck in one role,” Mosely says. “Sometimes we want to make a beat, or sing, or rap, or make a movie, or a podcast. I grew up in the choir, but I don’t want to just fucking sing everyday. Sometimes I want to make a video. It helps us to not become fatigued in one role.”\u003c/p>\n\u003cp>That multi-layered approach is obvious on an album that isn’t afraid to veer outside the box. Slow-crooning tracks like “OFF HAND EP2” bleed into snippets of podcast excerpts like “AUTOCORRECT FYT.” Chippy conversations about who’s the best \u003ca href=\"http://techdeck.com/en_us\">Tech Deck\u003c/a> user on “SKATE FYT” are preceded by the playfully upbeat and optimistically worded “Instructional Song EP2.” From moment to moment, the project is spontaneous and largely unscripted: It’s basement-comedy in the form of a visual documentary. It’s a smoker’s lounge soundtrack with Bay Area argot. They even include faux commercials, like “GHETTO ASHTRAY PSA,” reminiscent of ‘90s rap album skits.\u003c/p>\n\u003cp>“I was just trying to get in where I fit in with my ideas,” says Temple. “We thought of it like we were making a show. It’s just a mix of our jokes, car shit, tapes on financial advice, cooking advice, our interests, opinions and views.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fPhpbri7nnI\u003c/p>\n\u003cp>Currently, they’re working on future evolutions of their project — EP3 and EP4 are nearly finished — and have been in talks with DJ Toure of the Hieroglyphics for potential expansion and collaboration. No matter how it manifests, at its core, the series is a reminder about the importance of fostering our friendships and sharing that joy with others.\u003c/p>\n\u003cp>But the project doesn’t only highlight the idyllic elements of community-building. At times, the songs and accompanying videos highlight the messy challenges of artistic process and group dynamics. Perhaps most notably, a four-minute argument between Temple and Mosley is included on EP2 as “THE FIGHT FYT,” an unfiltered display of anger and hostility between group members. (It ends in genuine daps and apologies.)\u003c/p>\n\u003cp>“We almost stopped filming but it happened, it’s real, and they reconciled,” Farpella tells me of the fight. “The feedback so far has been heavily geared towards that argument, about how it even helped some listeners learn strategies about how to communicate more effectively when they’re angry. I was honestly surprised.”\u003c/p>\n\u003cp>Like a ‘90s VHS skate video with bloopers, injuries and outtakes, it’s all part of their cascade of caught-on-camera moments presented naturally, with minimal editing. The result is endearing, provocative and relatable, utilizing footage that other internet creators might dismiss due to a perceived lack of cohesion.\u003c/p>\n\u003cfigure id=\"attachment_13926211\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926211\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63616_03102023_kqed_uglyface-244-qut-800x532.jpg\" alt=\"a local rapper texts his friend on the phone\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63616_03102023_kqed_uglyface-244-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63616_03102023_kqed_uglyface-244-qut-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63616_03102023_kqed_uglyface-244-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63616_03102023_kqed_uglyface-244-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63616_03102023_kqed_uglyface-244-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63616_03102023_kqed_uglyface-244-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aric Jones of UglyFace wears a hoodie reading “Tribe”, part of the title of the group’s latest series. \u003ccite>(Kori Suzuki/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They’re also learning and growing — in real time. In one of UglyFace’s more innovative approaches, they’ve invited listeners to \u003ca href=\"https://uglyfaced.com/blogs/news/tagged/fan-surveys\">fill out surveys\u003c/a>, so that anyone can provide feedback or request what they want to see or hear next from the group. In doing so, participants gain a 1% share for any song of their choice in the group’s catalogue (a process that involves fans receiving a check, as they explain on “ONE PERCENT SURVEY FYT”). It’s reminiscent of what Vallejo rapper LaRussell has done in recent years with his \u003ca href=\"https://southernlaced.com/2022/10/05/larussells-pay-what-you-want-approach-garners-one-thousand-album-sales-first-day/\">“pay what you want” model\u003c/a>; still, it’s a “fan empowerment” tactic that is far from common in the rap game.\u003c/p>\n\u003cp>“We like to do protype things, just off the feeling and vibe,” says Jones, the only member who’s no longer local; he’s currently living in LA. “[FIND YOUR TRiBE] is still in the pilot phase, but we’re not afraid to fail or go down other avenues. People don’t always like to be vulnerable like that.”\u003c/p>\n\u003cfigure id=\"attachment_13926209\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926209\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63608_03102023_kqed_uglyface-088-qut-800x532.jpg\" alt=\"A group of rappers stand in front of the San Pablo Bay\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63608_03102023_kqed_uglyface-088-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63608_03102023_kqed_uglyface-088-qut-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63608_03102023_kqed_uglyface-088-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63608_03102023_kqed_uglyface-088-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63608_03102023_kqed_uglyface-088-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63608_03102023_kqed_uglyface-088-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Friends since high school, the members of UglyFace stand on an island in front of the San Pablo Bay. \u003ccite>(Kori Suzuki/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The result is a rare rap collaboration that is rough-edged, unfinished and imperfect, without any over-curated bullshit, but nevertheless worthy of being shared. In our age of symmetrical crops and sparkling filters, it’s a breath of fresh air to see strangers messing around — and messing up — while wandering towards something new.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003ci>‘FIND YOUR TRiBE’ \u003c/i>\u003ca href=\"https://open.spotify.com/album/4Z7OPWbaoOtmwFGyFoCsVx\">\u003ci>EP1\u003c/i>\u003c/a>\u003ci> and \u003c/i>\u003ca href=\"https://open.spotify.com/album/2An37IdU5MJ84RSJfi8i7j\">\u003ci>EP2\u003c/i>\u003c/a>\u003ci> (albums and compilation videos) are currently available on all streaming platforms. EP3 is scheduled to release in the last week of March. Follow \u003c/i>\u003ca href=\"https://www.instagram.com/uglyface.88/?hl=en\">\u003ci>UglyFace\u003c/i>\u003c/a>\u003ci> online for livestreams and announcements about their album-making process.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The East Bay group has launched 'FIND YOUR TRiBE,' an exhilaratingly unpolished audio-visual experiment. ","status":"publish","parent":0,"modified":1705005735,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1454},"headData":{"title":"Friendship Over Fame: Hip-Hop Crew UglyFace Highlights the Power of a Collective | KQED","description":"The East Bay group has launched 'FIND YOUR TRiBE,' an exhilaratingly unpolished audio-visual experiment. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"WpOldSlug":"friendship-over-fame-hip-hop-crew-uglyface-highlights-the-power-of-a-collective","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13926202/uglyface-hip-hop-crew-tracy","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s easier than ever to feel out of sync with others. The past few years have brought an alarming \u003ca href=\"https://www.pewresearch.org/fact-tank/2023/03/02/mental-health-and-the-pandemic-what-u-s-surveys-have-found/\">rise in purposelessness and a lack of belonging\u003c/a> among young people. And despite social media’s promise of constant connectivity, studies show that \u003ca href=\"https://www.npr.org/sections/health-shots/2017/03/06/518362255/feeling-lonely-too-much-time-on-social-media-may-be-why\">it makes us feel lonelier\u003c/a>, especially when TikTok stars, Instagram fame and polarizing Twitter debates all promote individual glory over collective growth.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/uglyface.88/?hl=en\">UglyFace\u003c/a> — a rap quartet of former high school homies who’ve since grown up and kept in touch through music — wants none of that.\u003c/p>\n\u003cp>“The popular thought is to push individualism, but that just creates division,” says Andre Mosley, a founding member of the group. “We don’t have to step on each other’s necks to be big. We can all be our own version of big. There’s a bunch of stars in the sky, they all get to shine and coexist. Why can’t we?”\u003c/p>\n\u003cp>Originating in Tracy in 2007, UglyFace is leaning into free-spirited collaboration without any end goal, other than to connect with each other and their audience. Their latest effort, \u003ci>FIND YOUR TRiBE\u003c/i>, is proof.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sOjHuZzD2L8'\n title='//www.youtube.com/embed/sOjHuZzD2L8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Initially released as \u003ca href=\"https://open.spotify.com/album/4Z7OPWbaoOtmwFGyFoCsVx\">Episodes 1\u003c/a> and \u003ca href=\"https://open.spotify.com/album/2An37IdU5MJ84RSJfi8i7j\">2\u003c/a> in January and February of this year, FIND YOUR TRiBE (the lowercase “i” intentionally de-emphasizes individual ego) is a monthly series of multimedia content — audio, music and visuals that document their countless hours spent kicking it, goofing around and recording.\u003c/p>\n\u003cp>The projects span 21 and 32 minutes, with 26 and 17 tracks, respectively, and embrace a fragmented stream-of-consciousness approach. Imagine watching YouTube videos, while listening to a dope rap album, while overhearing your best friends’ opinions and peeking inside a notebook of someone’s sketches. While it might sound overwhelming, the end product is cohesive — more artful than haphazard — and surprisingly effortless to digest.\u003c/p>\n\u003cfigure id=\"attachment_13926207\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926207\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63612_03102023_kqed_uglyface-195-qut-800x532.jpg\" alt=\"A group of local rappers wanders along the coast of the San Pablo Bay\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63612_03102023_kqed_uglyface-195-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63612_03102023_kqed_uglyface-195-qut-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63612_03102023_kqed_uglyface-195-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63612_03102023_kqed_uglyface-195-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63612_03102023_kqed_uglyface-195-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63612_03102023_kqed_uglyface-195-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left, Andre Mosley, Aric Jones, Kevin Farpella and Aaron Temple of UglyFace walk along the waterfront in Richmond, California on March 10, 2023. \u003ccite>(Kori Suzuki/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The group is made up of Mosley (a baritone vocalist and playful lyricist who often sings the hooks), Aaron Temple (a versatile rapper, producer, singer, videographer and sound editor who provides an anchor for the group), Aric Jones (the group’s third rapper, producer, songwriter and singer who originally hails from Chicago) and Kevin Farpella (a wizardly producer, writer, and audio engineer who brings it all together at his guest house in Tracy, which has been converted into their recording studio).\u003c/p>\n\u003cp>With stylistic qualities that range from \u003ci>Chappelle’s Show\u003c/i> (which utilized comedic sketches as a form of social critique) to \u003ca href=\"https://www.kqed.org/arts/13916267/learn-the-story-of-san-franciscos-toughest-skate-spot-in-new-thrasher-video\">Thrasher Magazine \u003c/a>(with an in-your-face DIY aesthetic), \u003ci>FIND YOUR TRiBE\u003c/i> feels expansive, inviting multiple audiences to mingle with it. During our conversation, Temple cited \u003ca href=\"https://www.youtube.com/watch?v=kRJA2YrA6qI\">Spice 1’s “187 Proof” music video\u003c/a>, which features claymation, as inspiration. Farpella credits early Kanye West production as his guidance. Jones is a Bone Thugs and Twista enthusiast. Meanwhile, Mosley pays homage to Northern California icons, like E-40 and Mac Dre, through his wordplay. It’s an amalgamation of all that flavor.\u003c/p>\n\u003cfigure id=\"attachment_13926210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926210\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63621_03102023_kqed_uglyface-207-qut-800x532.jpg\" alt=\"A group of local rappers stands in front of a wall with graffiti in Richmond, CA\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63621_03102023_kqed_uglyface-207-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63621_03102023_kqed_uglyface-207-qut-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63621_03102023_kqed_uglyface-207-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63621_03102023_kqed_uglyface-207-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63621_03102023_kqed_uglyface-207-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63621_03102023_kqed_uglyface-207-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">UglyFace stands for a portrait in front of an abandoned building after recording content for their online series. \u003ccite>(Kori Suzuki/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a unit, they’re paving a way for a hyper-blended genre made up of low-budget storytelling, group therapy and good ol’ sound system-rattling slaps. Collectively, they’ve become a contemporary rap ensemble built on deep trust, versatility and quirky experimentation — allowing for vulnerability to shine from different angles.\u003c/p>\n\u003cp>“Nobody wants to be stuck in one role,” Mosely says. “Sometimes we want to make a beat, or sing, or rap, or make a movie, or a podcast. I grew up in the choir, but I don’t want to just fucking sing everyday. Sometimes I want to make a video. It helps us to not become fatigued in one role.”\u003c/p>\n\u003cp>That multi-layered approach is obvious on an album that isn’t afraid to veer outside the box. Slow-crooning tracks like “OFF HAND EP2” bleed into snippets of podcast excerpts like “AUTOCORRECT FYT.” Chippy conversations about who’s the best \u003ca href=\"http://techdeck.com/en_us\">Tech Deck\u003c/a> user on “SKATE FYT” are preceded by the playfully upbeat and optimistically worded “Instructional Song EP2.” From moment to moment, the project is spontaneous and largely unscripted: It’s basement-comedy in the form of a visual documentary. It’s a smoker’s lounge soundtrack with Bay Area argot. They even include faux commercials, like “GHETTO ASHTRAY PSA,” reminiscent of ‘90s rap album skits.\u003c/p>\n\u003cp>“I was just trying to get in where I fit in with my ideas,” says Temple. “We thought of it like we were making a show. It’s just a mix of our jokes, car shit, tapes on financial advice, cooking advice, our interests, opinions and views.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fPhpbri7nnI'\n title='//www.youtube.com/embed/fPhpbri7nnI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Currently, they’re working on future evolutions of their project — EP3 and EP4 are nearly finished — and have been in talks with DJ Toure of the Hieroglyphics for potential expansion and collaboration. No matter how it manifests, at its core, the series is a reminder about the importance of fostering our friendships and sharing that joy with others.\u003c/p>\n\u003cp>But the project doesn’t only highlight the idyllic elements of community-building. At times, the songs and accompanying videos highlight the messy challenges of artistic process and group dynamics. Perhaps most notably, a four-minute argument between Temple and Mosley is included on EP2 as “THE FIGHT FYT,” an unfiltered display of anger and hostility between group members. (It ends in genuine daps and apologies.)\u003c/p>\n\u003cp>“We almost stopped filming but it happened, it’s real, and they reconciled,” Farpella tells me of the fight. “The feedback so far has been heavily geared towards that argument, about how it even helped some listeners learn strategies about how to communicate more effectively when they’re angry. I was honestly surprised.”\u003c/p>\n\u003cp>Like a ‘90s VHS skate video with bloopers, injuries and outtakes, it’s all part of their cascade of caught-on-camera moments presented naturally, with minimal editing. The result is endearing, provocative and relatable, utilizing footage that other internet creators might dismiss due to a perceived lack of cohesion.\u003c/p>\n\u003cfigure id=\"attachment_13926211\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926211\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63616_03102023_kqed_uglyface-244-qut-800x532.jpg\" alt=\"a local rapper texts his friend on the phone\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63616_03102023_kqed_uglyface-244-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63616_03102023_kqed_uglyface-244-qut-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63616_03102023_kqed_uglyface-244-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63616_03102023_kqed_uglyface-244-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63616_03102023_kqed_uglyface-244-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63616_03102023_kqed_uglyface-244-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aric Jones of UglyFace wears a hoodie reading “Tribe”, part of the title of the group’s latest series. \u003ccite>(Kori Suzuki/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They’re also learning and growing — in real time. In one of UglyFace’s more innovative approaches, they’ve invited listeners to \u003ca href=\"https://uglyfaced.com/blogs/news/tagged/fan-surveys\">fill out surveys\u003c/a>, so that anyone can provide feedback or request what they want to see or hear next from the group. In doing so, participants gain a 1% share for any song of their choice in the group’s catalogue (a process that involves fans receiving a check, as they explain on “ONE PERCENT SURVEY FYT”). It’s reminiscent of what Vallejo rapper LaRussell has done in recent years with his \u003ca href=\"https://southernlaced.com/2022/10/05/larussells-pay-what-you-want-approach-garners-one-thousand-album-sales-first-day/\">“pay what you want” model\u003c/a>; still, it’s a “fan empowerment” tactic that is far from common in the rap game.\u003c/p>\n\u003cp>“We like to do protype things, just off the feeling and vibe,” says Jones, the only member who’s no longer local; he’s currently living in LA. “[FIND YOUR TRiBE] is still in the pilot phase, but we’re not afraid to fail or go down other avenues. People don’t always like to be vulnerable like that.”\u003c/p>\n\u003cfigure id=\"attachment_13926209\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926209\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63608_03102023_kqed_uglyface-088-qut-800x532.jpg\" alt=\"A group of rappers stand in front of the San Pablo Bay\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63608_03102023_kqed_uglyface-088-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63608_03102023_kqed_uglyface-088-qut-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63608_03102023_kqed_uglyface-088-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63608_03102023_kqed_uglyface-088-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63608_03102023_kqed_uglyface-088-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63608_03102023_kqed_uglyface-088-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Friends since high school, the members of UglyFace stand on an island in front of the San Pablo Bay. \u003ccite>(Kori Suzuki/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The result is a rare rap collaboration that is rough-edged, unfinished and imperfect, without any over-curated bullshit, but nevertheless worthy of being shared. In our age of symmetrical crops and sparkling filters, it’s a breath of fresh air to see strangers messing around — and messing up — while wandering towards something new.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003ci>‘FIND YOUR TRiBE’ \u003c/i>\u003ca href=\"https://open.spotify.com/album/4Z7OPWbaoOtmwFGyFoCsVx\">\u003ci>EP1\u003c/i>\u003c/a>\u003ci> and \u003c/i>\u003ca href=\"https://open.spotify.com/album/2An37IdU5MJ84RSJfi8i7j\">\u003ci>EP2\u003c/i>\u003c/a>\u003ci> (albums and compilation videos) are currently available on all streaming platforms. EP3 is scheduled to release in the last week of March. Follow \u003c/i>\u003ca href=\"https://www.instagram.com/uglyface.88/?hl=en\">\u003ci>UglyFace\u003c/i>\u003c/a>\u003ci> online for livestreams and announcements about their album-making process.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13926202/uglyface-hip-hop-crew-tracy","authors":["11748"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_5397","arts_5569","arts_10278","arts_3837"],"featImg":"arts_13926206","label":"arts"},"arts_13925754":{"type":"posts","id":"arts_13925754","meta":{"index":"posts_1591205157","site":"arts","id":"13925754","score":null,"sort":[1677685439000]},"guestAuthors":[],"slug":"the-coldest-case-is-serials-latest-podcast-on-murder-and-memory","title":"‘The Coldest Case’ is Serial’s Latest Podcast on Murder and Memory","publishDate":1677685439,"format":"standard","headTitle":"‘The Coldest Case’ is Serial’s Latest Podcast on Murder and Memory | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In Kim Barker’s memory, the city of Laramie, Wyo. — where she spent some years as a teenager — was a miserable place. A seasoned journalist with \u003cem>The New York Times\u003c/em>, Barker is now also the host of \u003ca href=\"https://www.nytimes.com/2023/02/16/podcasts/serial-laramie-cold-case.html\">\u003cem>The Coldest Case in Laramie\u003c/em>\u003c/a>, a new audio documentary series from Serial Productions that brings her back into the jagged edges of her former home.\u003c/p>\n\u003cp>[aside postid='arts_13878051']The cold case in question took place almost four decades ago. In 1985, Shelli Wiley, a University of Wyoming student, was brutally killed in her apartment, which was also set ablaze. The ensuing police investigation brought nothing definite. Two separate arrests were eventually made for the crime, but neither stuck. And so, for a long time, the case was left to freeze.\u003c/p>\n\u003cp>At the time of the murder, Barker was a kid in Laramie. The case had stuck with her: its brutality, its open-endedness. Decades later, while waylaid by the pandemic, she found herself checking back on the murder — only to find a fresh development.\u003c/p>\n\u003cp>In 2016, a former police officer, who had lived near Wiley’s apartment, was arrested for the murder on the basis of blood evidence linking him to the scene. As it turned out, many in the area had long harbored suspicions that he was the culprit. This felt like a definite resolution. But that lead went nowhere as well. Shortly after the arrest, the charges against him were surprisingly dropped, and no new charges have been filed since.\u003c/p>\n\u003cp>What, exactly, is going on here? This is where Barker enters the scene.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q0ZcQWOsnO8\u003c/p>\n\u003cp>\u003cem>The Coldest Case in Laramie\u003c/em> isn’t quite a conventional true crime story. It certainly doesn’t want to be; even the creators explicitly insist the podcast is not “a case of whodunit.” Instead, the show is best described as an extensive accounting of what happens when the confusion around a horrific crime meets a gravitational pull for closure. It’s a mess.\u003c/p>\n\u003cp>At the heart of \u003cem>The Coldest Case in Laramie\u003c/em> is an interest in the unreliability of memory and the slipperiness of truth. One of the podcast’s more striking moments revolves around a woman who had been living with the victim at the time. The woman had a memory of being sent a letter with a bunch of money and a warning to skip town not long after the murder. The message had seared into her brain for decades, but, as revealed through Barker’s reporting, few things about that memory are what they seem. Barker later presents the woman with pieces of evidence that radically challenge her core memory, and you can almost hear a mind change.\u003c/p>\n\u003cp>[aside postid='pop_109009']\u003cem>The Coldest Case in Laramie\u003c/em> is undeniably compelling, but there’s also something about the show’s underlying themes that feels oddly commonplace. We’re currently neck-deep in a documentary boom so utterly dominated by true crime stories that we’re pretty much well past the point of saturation. At this point, these themes of unreliable memory and subjective truths feel like they should be starting points for a story like this. And given the pedigree of Serial Productions, responsible for seminal projects like \u003ca href=\"https://www.npr.org/2017/04/07/522912205/pop-culture-happy-hour-s-town-and-chewing-gum\">\u003cem>S-Town\u003c/em>\u003c/a>, \u003ca href=\"https://www.npr.org/2020/10/12/922092481/podcast-examines-how-nice-white-parents-become-obstacles-in-integrated-schools\">\u003cem>Nice White Parents\u003c/em>\u003c/a> — and, you know, \u003ca href=\"https://www.npr.org/2022/09/20/1124141699/serial-adnan-syed\">\u003cem>Serial\u003c/em>\u003c/a> — it’s hard not to feel accustomed to expecting something more; a bigger, newer idea on which to hang this story.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, none of this is to undercut the reporting as well as the still very much important ideas driving the podcast. It will always be terrifying how our justice system depends so much on something as capricious as memory, and how different people might look at the same piece of information only to arrive at completely different conclusions. By the end of the series, even Barker begins to reconsider how she remembers the Laramie where she grew up. But the increasing expected nature of these themes in nonfiction crime narratives start to beg the question: Where do we go from here?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Coldest+Case%27+is+Serial%27s+latest+podcast+on+murder+and+memory&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"In 1985, a student was murdered in Wyoming. Now, a new podcast about the unsolved crime grapples the slipperiness of truth.","status":"publish","parent":0,"modified":1705005789,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":701},"headData":{"title":"Review: ‘The Coldest Case in Laramie,’ a New True Crime Podcast | KQED","description":"In 1985, a student was murdered in Wyoming. Now, a new podcast about the unsolved crime grapples the slipperiness of truth.","ogTitle":"‘The Coldest Case’ is Serial’s Latest Podcast on Murder and Memory","ogDescription":"","ogImgId":"","twTitle":"‘The Coldest Case’ is Serial’s Latest Podcast on Murder and Memory","twDescription":"","twImgId":"","socialTitle":"Review: ‘The Coldest Case in Laramie,’ a New True Crime Podcast %%page%% %%sep%% KQED"},"sticky":false,"nprImageCredit":"Patrick T. Fallon","nprByline":"Nick Quah","nprImageAgency":"AFP via Getty Images","nprStoryId":"1159786894","nprApiLink":"http://api.npr.org/query?id=1159786894&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/02/28/1159786894/serial-podcast-coldest-case-laramie-wyoming-murder-review?ft=nprml&f=1159786894","nprRetrievedStory":"1","nprPubDate":"Tue, 28 Feb 2023 13:22:00 -0500","nprStoryDate":"Tue, 28 Feb 2023 11:30:13 -0500","nprLastModifiedDate":"Tue, 28 Feb 2023 11:33:22 -0500","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2023/02/20230228_fa_bdc8773b-ba5d-4e76-952a-141bdce76673.mp3?orgId=427869011&topicId=1048&d=431&p=13&story=1159786894&ft=nprml&f=1159786894","nprAudioM3u":"http://api.npr.org/m3u/11160100525-be8578.m3u?orgId=427869011&topicId=1048&d=431&p=13&story=1159786894&ft=nprml&f=1159786894","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13925754/the-coldest-case-is-serials-latest-podcast-on-murder-and-memory","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2023/02/20230228_fa_bdc8773b-ba5d-4e76-952a-141bdce76673.mp3?orgId=427869011&topicId=1048&d=431&p=13&story=1159786894&ft=nprml&f=1159786894","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Kim Barker’s memory, the city of Laramie, Wyo. — where she spent some years as a teenager — was a miserable place. A seasoned journalist with \u003cem>The New York Times\u003c/em>, Barker is now also the host of \u003ca href=\"https://www.nytimes.com/2023/02/16/podcasts/serial-laramie-cold-case.html\">\u003cem>The Coldest Case in Laramie\u003c/em>\u003c/a>, a new audio documentary series from Serial Productions that brings her back into the jagged edges of her former home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13878051","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The cold case in question took place almost four decades ago. In 1985, Shelli Wiley, a University of Wyoming student, was brutally killed in her apartment, which was also set ablaze. The ensuing police investigation brought nothing definite. Two separate arrests were eventually made for the crime, but neither stuck. And so, for a long time, the case was left to freeze.\u003c/p>\n\u003cp>At the time of the murder, Barker was a kid in Laramie. The case had stuck with her: its brutality, its open-endedness. Decades later, while waylaid by the pandemic, she found herself checking back on the murder — only to find a fresh development.\u003c/p>\n\u003cp>In 2016, a former police officer, who had lived near Wiley’s apartment, was arrested for the murder on the basis of blood evidence linking him to the scene. As it turned out, many in the area had long harbored suspicions that he was the culprit. This felt like a definite resolution. But that lead went nowhere as well. Shortly after the arrest, the charges against him were surprisingly dropped, and no new charges have been filed since.\u003c/p>\n\u003cp>What, exactly, is going on here? This is where Barker enters the scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/q0ZcQWOsnO8'\n title='//www.youtube.com/embed/q0ZcQWOsnO8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Coldest Case in Laramie\u003c/em> isn’t quite a conventional true crime story. It certainly doesn’t want to be; even the creators explicitly insist the podcast is not “a case of whodunit.” Instead, the show is best described as an extensive accounting of what happens when the confusion around a horrific crime meets a gravitational pull for closure. It’s a mess.\u003c/p>\n\u003cp>At the heart of \u003cem>The Coldest Case in Laramie\u003c/em> is an interest in the unreliability of memory and the slipperiness of truth. One of the podcast’s more striking moments revolves around a woman who had been living with the victim at the time. The woman had a memory of being sent a letter with a bunch of money and a warning to skip town not long after the murder. The message had seared into her brain for decades, but, as revealed through Barker’s reporting, few things about that memory are what they seem. Barker later presents the woman with pieces of evidence that radically challenge her core memory, and you can almost hear a mind change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_109009","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Coldest Case in Laramie\u003c/em> is undeniably compelling, but there’s also something about the show’s underlying themes that feels oddly commonplace. We’re currently neck-deep in a documentary boom so utterly dominated by true crime stories that we’re pretty much well past the point of saturation. At this point, these themes of unreliable memory and subjective truths feel like they should be starting points for a story like this. And given the pedigree of Serial Productions, responsible for seminal projects like \u003ca href=\"https://www.npr.org/2017/04/07/522912205/pop-culture-happy-hour-s-town-and-chewing-gum\">\u003cem>S-Town\u003c/em>\u003c/a>, \u003ca href=\"https://www.npr.org/2020/10/12/922092481/podcast-examines-how-nice-white-parents-become-obstacles-in-integrated-schools\">\u003cem>Nice White Parents\u003c/em>\u003c/a> — and, you know, \u003ca href=\"https://www.npr.org/2022/09/20/1124141699/serial-adnan-syed\">\u003cem>Serial\u003c/em>\u003c/a> — it’s hard not to feel accustomed to expecting something more; a bigger, newer idea on which to hang this story.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, none of this is to undercut the reporting as well as the still very much important ideas driving the podcast. It will always be terrifying how our justice system depends so much on something as capricious as memory, and how different people might look at the same piece of information only to arrive at completely different conclusions. By the end of the series, even Barker begins to reconsider how she remembers the Laramie where she grew up. But the increasing expected nature of these themes in nonfiction crime narratives start to beg the question: Where do we go from here?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Coldest+Case%27+is+Serial%27s+latest+podcast+on+murder+and+memory&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13925754/the-coldest-case-is-serials-latest-podcast-on-murder-and-memory","authors":["byline_arts_13925754"],"programs":["arts_140"],"categories":["arts_1","arts_75"],"tags":["arts_3837","arts_12987","arts_585","arts_8366"],"affiliates":["arts_137"],"featImg":"arts_13925755","label":"arts_140"},"arts_13924925":{"type":"posts","id":"arts_13924925","meta":{"index":"posts_1591205157","site":"arts","id":"13924925","score":null,"sort":[1675983043000]},"guestAuthors":[],"slug":"ear-hustle-podcast-co-host-rahsaan-thomas-is-free-from-san-quentin-prison","title":"‘Ear Hustle’ Podcast Co-Host Rahsaan Thomas is Free From San Quentin Prison","publishDate":1675983043,"format":"standard","headTitle":"‘Ear Hustle’ Podcast Co-Host Rahsaan Thomas is Free From San Quentin Prison | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>A co-host of \u003cem>Ear Hustle\u003c/em>, the Pulitzer Prize-nominated podcast produced behind bars, was released from San Quentin State Prison on Wednesday, a year after California Gov. Gavin Newsom commuted his sentence.\u003c/p>\n\u003cp>Rahsaan “New York” Thomas, 52, left the lockup near San Francisco and was greeted by his fellow podcast co-hosts Walter “Earlonne” Woods, who was freed in 2019, and Nigel Poor.\u003c/p>\n\u003cp>“We’re thrilled to welcome him home,” the podcast posted on its Twitter feed, along with photos of Thomas.\u003c/p>\n\u003cp>https://twitter.com/earhustlesq/status/1623392364394848258\u003c/p>\n\u003cp>Thomas’ sentence was commuted by Newsom in Jan. 2022 and the state parole board granted his release on parole in August.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“While in prison, Mr. Thomas has dedicated himself to his rehabilitation,” Newsom wrote in the commutation.\u003c/p>\n\u003cp>Thomas was serving a 55 1/2 years-to-life sentence for a second-degree murder conviction in 2000 and related charges after he fatally shot one victim and injured another during a drug deal. A Los Angeles County jury rejected his self-defense claim that he fatally shot a man who was trying to rob him.\u003c/p>\n\u003cp>[aside postid='arts_13847946']Since 2019, Thomas has been a co-producer and co-host of \u003cem>Ear Hustle\u003c/em>— named after prison slang for eavesdropping. He was also a regular contributor to the San Quentin News, along with publications outside prison walls. He served as chairman of the Society of Professional Journalists’ San Quentin satellite chapter and worked with several criminal justice reform groups.\u003c/p>\n\u003cp>Former governor Jerry Brown in 2018 commuted the sentence of Woods, the podcast’s co-creator, leading to his release. Woods continues to work on the outside as a full-time producer and co-host for the podcast.\u003c/p>\n\u003cp>\u003cem>Ear Hustle\u003c/em>, which began in 2017, bills itself as “the first podcast created and produced in prison, featuring stories of the daily realities of life inside California’s San Quentin State Prison, shared by those living it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 AP. To see more, visit \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener\">the AP\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Thomas, of the Pulitzer Prize-nominated podcast, was released from San Quentin on Wednesday.","status":"publish","parent":0,"modified":1705005863,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":347},"headData":{"title":"Rahsaan ‘New York’ Thomas Freed From San Quentin Prison | KQED","description":"Thomas, of the Pulitzer Prize-nominated podcast, was released from San Quentin on Wednesday.","ogTitle":"‘Ear Hustle’ Podcast Co-Host Rahsaan Thomas is Free From San Quentin Prison","ogDescription":"","ogImgId":"","twTitle":"‘Ear Hustle’ Podcast Co-Host Rahsaan Thomas is Free From San Quentin Prison","twDescription":"","twImgId":"","socialTitle":"Rahsaan ‘New York’ Thomas Freed From San Quentin Prison %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13924925/ear-hustle-podcast-co-host-rahsaan-thomas-is-free-from-san-quentin-prison","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A co-host of \u003cem>Ear Hustle\u003c/em>, the Pulitzer Prize-nominated podcast produced behind bars, was released from San Quentin State Prison on Wednesday, a year after California Gov. Gavin Newsom commuted his sentence.\u003c/p>\n\u003cp>Rahsaan “New York” Thomas, 52, left the lockup near San Francisco and was greeted by his fellow podcast co-hosts Walter “Earlonne” Woods, who was freed in 2019, and Nigel Poor.\u003c/p>\n\u003cp>“We’re thrilled to welcome him home,” the podcast posted on its Twitter feed, along with photos of Thomas.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1623392364394848258"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Thomas’ sentence was commuted by Newsom in Jan. 2022 and the state parole board granted his release on parole in August.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“While in prison, Mr. Thomas has dedicated himself to his rehabilitation,” Newsom wrote in the commutation.\u003c/p>\n\u003cp>Thomas was serving a 55 1/2 years-to-life sentence for a second-degree murder conviction in 2000 and related charges after he fatally shot one victim and injured another during a drug deal. A Los Angeles County jury rejected his self-defense claim that he fatally shot a man who was trying to rob him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13847946","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Since 2019, Thomas has been a co-producer and co-host of \u003cem>Ear Hustle\u003c/em>— named after prison slang for eavesdropping. He was also a regular contributor to the San Quentin News, along with publications outside prison walls. He served as chairman of the Society of Professional Journalists’ San Quentin satellite chapter and worked with several criminal justice reform groups.\u003c/p>\n\u003cp>Former governor Jerry Brown in 2018 commuted the sentence of Woods, the podcast’s co-creator, leading to his release. Woods continues to work on the outside as a full-time producer and co-host for the podcast.\u003c/p>\n\u003cp>\u003cem>Ear Hustle\u003c/em>, which began in 2017, bills itself as “the first podcast created and produced in prison, featuring stories of the daily realities of life inside California’s San Quentin State Prison, shared by those living it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 AP. To see more, visit \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener\">the AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13924925/ear-hustle-podcast-co-host-rahsaan-thomas-is-free-from-san-quentin-prison","authors":["92"],"categories":["arts_1","arts_235","arts_75"],"tags":["arts_1893","arts_3837","arts_1526","arts_12987","arts_1985"],"featImg":"arts_13862094","label":"arts"},"arts_13919440":{"type":"posts","id":"arts_13919440","meta":{"index":"posts_1591205157","site":"arts","id":"13919440","score":null,"sort":[1663790006000]},"guestAuthors":[],"slug":"how-the-investigation-of-adnan-syed-became-a-podcast-phenomenon","title":"How the Investigation of Adnan Syed Became a Podcast Phenomenon","publishDate":1663790006,"format":"standard","headTitle":"How the Investigation of Adnan Syed Became a Podcast Phenomenon | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>“Adnan’s case was a mess. Is a mess. That’s where we were when we stopped reporting in 2014,” says \u003cem>Serial\u003c/em> host Sarah Koenig in her straightforward, personal style in the new episode titled “\u003ca href=\"https://serialpodcast.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Adnan is Out\u003c/a>.”\u003c/p>\n\u003cp>In 2014, over the course of 12 episodes, \u003cem>Serial\u003c/em> probed the details of the murder case of Hae Min Lee, Adnan Syed’s former girlfriend. Lee was found strangled to death in Baltimore’s Leakin Park in 1999.\u003c/p>\n\u003cp>[aside postid='pop_109009']In 2000, Syed was convicted of murdering Lee when he was 17 years old. He spent 23 years in prison. On Monday, in a Baltimore courtroom, a judge \u003ca href=\"https://www.npr.org/2022/09/19/1123878679/adnan-syed-released-serial\" target=\"_blank\" rel=\"noopener noreferrer\">ruled\u003c/a> to vacate his conviction.\u003c/p>\n\u003cp>Beyond the tremendous impact \u003cem>Serial\u003c/em> has had on Syed’s case and on exposing the flaws in the legal system, the podcast broke new ground in episodic, audio storytelling.\u003c/p>\n\u003cp>Created and produced by Koenig and Julie Snyder, \u003cem>Serial\u003c/em> was a spinoff of \u003ca href=\"https://www.thisamericanlife.org/about/our-other-shows#:~:text=Released%20in%2012%20episodes%2C%20Serial,more%20than%20300%20million%20downloads.\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>This American Life\u003c/em>\u003c/a>. With some 300 million downloads, the first season broke podcast records and spawned a cottage industry of true crime podcasts. It won just about every major journalism award including a DuPont and a Peabody, the first ever awarded to a podcast. Koenig was named one of \u003cem>Time\u003c/em>‘s \u003ca href=\"https://time.com/collection-post/3823276/sarah-koenig-2015-time-100/\" target=\"_blank\" rel=\"noopener noreferrer\">Most Influential People\u003c/a> of 2015.\u003c/p>\n\u003cfigure id=\"attachment_13919442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/gettyimages-475459240_custom-a900006c0c1464b294dc3b53d78b3e441a600753-800x555.jpg\" alt=\"A woman wearing black dress, white pearls and black spectacles smiles as she holds up a trophy.\" width=\"800\" height=\"555\">\u003cfigcaption class=\"wp-caption-text\">Sarah Koenig with her award at The 74th Annual Peabody Awards Ceremony at Cipriani Wall Street in New York City on May 31, 2015. \u003ccite>(Jemal Countess/Getty Images for Peabody Awards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barry Scheck, co-director of The Innocence Project, learned about \u003cem>Serial\u003c/em> from his kids. At the time, podcasting experienced something of a generational divide. He believes dogged reporting, a reliance on experts and propulsive storytelling were key to its success.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He says the way Koenig connected the audience with \u003cem>Serial\u003c/em>‘s reporting made for compelling listening. “One of the intriguing parts of the \u003cem>Serial\u003c/em> podcast is that everybody heard her thought processes out loud,” says Scheck, “and that’s part of the appeal of it. You know, we’re all in this together trying to think, ‘Is he innocent? Is he guilty?'”\u003c/p>\n\u003cp>There’s the story and then there’s the discussion it provoked. In the case of \u003cem>Serial\u003c/em>, they worked in tandem.\u003c/p>\n\u003cp>[aside postid='pop_19352']The \u003cem>Serial\u003c/em> phenomenon was not just about trying to solve the crime itself. It was also about the vast community devouring each episode and then picking it apart online. Journalists at \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2014/12/serial-episode-10-cristinas-world/383432/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Atlantic\u003c/em>\u003c/a> blogged about it. \u003ca href=\"https://www.reddit.com/r/serialpodcast/\" target=\"_blank\" rel=\"noopener noreferrer\">A place to discuss Serial: The Podcast\u003c/a> on Reddit reached more than 72,000 members.\u003c/p>\n\u003cp>As Christopher Dunn, Legal Director of the New York Civil Liberties Union, \u003ca href=\"https://www.nyclu.org/en/publications/column-serial-podcast-and-disparate-impact-civil-rights-and-real-world-new-york-law\" target=\"_blank\" rel=\"noopener noreferrer\">marveled\u003c/a> in 2015, \u003cem>Serial\u003c/em> “unleashed a spirited and wide-ranging civil rights debate on the internet,” he wrote. “Most significantly, the discussion forum Reddit, which is enormously popular with young people, exploded with commentary from tens of thousands of people who debated and investigated every aspect of the case, many of which the podcast had not addressed.”\u003c/p>\n\u003cp>The idea to delve into Syed’s case originated with Rabia Chaudry, a lawyer and one of Syed’s friends and supporters. She pitched the idea to Koenig. As \u003cem>Serial \u003c/em>unfolded, \u003ca href=\"https://www.patheos.com/blogs/splitthemoon/category/adnan-syed/\" target=\"_blank\" rel=\"noopener noreferrer\">Chaudry blogged\u003c/a> about each episode, sharing her knowledge of the case and airing complaints about the way she felt producers were handling aspects of the story.\u003c/p>\n\u003cp>\u003ca href=\"https://www.patheos.com/blogs/splitthemoon/2014/10/lets-give-them-something-to-talk-about/\" target=\"_blank\" rel=\"noopener noreferrer\">Chaudry was also struck\u003c/a> by how her views were becoming part of the narrative. “I realized that while I and others close to Adnan were mired in the minutiae of both the case and show, we were part of that case and show for the public. \u003ca href=\"http://www.slate.com/blogs/browbeat/2014/10/27/rabia_chaudry_blogs_about_adnan_syed_and_recaps_the_serial_podcast_on_split.html\" target=\"_blank\" rel=\"noopener noreferrer\">Our interactions online were being discussed\u003c/a>, we were being judged and assessed, we were adding both entertainment and substantive value to the discourse. We were also characters in the larger story,” she wrote.\u003c/p>\n\u003cp>Chaudry went on to write her book and produce a podcast about Syed. She’s also an Executive Producer on \u003ca href=\"https://www.hbo.com/the-case-against-adnan-syed\">\u003cem>The Case Against Adnan Syed\u003c/em>\u003c/a>, a four-part HBO documentary series.\u003c/p>\n\u003cp>While Scheck is pleased to see all of the other true crime podcasts \u003cem>Serial\u003c/em> inspired, he urges caution to anyone who thinks it’s easy to do it well.\u003c/p>\n\u003cp>[aside postid='pop_14701']“It’s one thing to have a podcast and try to tell a story. It’s quite another to get into the business of exposing a wrongful conviction,” he says.\u003c/p>\n\u003cp>Scheck says \u003cem>Serial\u003c/em> benefitted from a team that knew what they didn’t know.\u003c/p>\n\u003cp>“What was great about \u003cem>Serial\u003c/em> is that they made no pretense at every turn,” says Scheck. “They were trying to turn to investigators, they were trying to turn to experts. They were relying on the audience for leads. And they went about it in a very professional way.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“To say it was addictive is an understatement,” Scottish actor Ewan McGregor wrote in \u003cem>Time’s Most Influential People\u003c/em> entry for Sarah Koenig. “Suddenly, investigative journalism became our hobby, our passion. People were talking about it everywhere you went. It was a true cultural phenomenon.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.patheos.com/blogs/splitthemoon/category/adnan-syed/\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+the+investigation+of+Adnan+Syed+became+a+podcast+phenomenon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Adnan Syed had his conviction overturned this week after 2015's 'Serial' podcast brought national attention to his case.","status":"publish","parent":0,"modified":1705006354,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":877},"headData":{"title":"How the Investigation of Adnan Syed Became a Podcast Phenomenon | KQED","description":"Adnan Syed had his conviction overturned this week after 2015's 'Serial' podcast brought national attention to his case.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Brian Witte","nprByline":"Elizabeth Blair","nprImageAgency":"AP","nprStoryId":"1124141699","nprApiLink":"http://api.npr.org/query?id=1124141699&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2022/09/20/1124141699/serial-adnan-syed?ft=nprml&f=1124141699","nprRetrievedStory":"1","nprPubDate":"Wed, 21 Sep 2022 10:19:00 -0400","nprStoryDate":"Tue, 20 Sep 2022 17:43:21 -0400","nprLastModifiedDate":"Wed, 21 Sep 2022 10:19:30 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13919440/how-the-investigation-of-adnan-syed-became-a-podcast-phenomenon","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Adnan’s case was a mess. Is a mess. That’s where we were when we stopped reporting in 2014,” says \u003cem>Serial\u003c/em> host Sarah Koenig in her straightforward, personal style in the new episode titled “\u003ca href=\"https://serialpodcast.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Adnan is Out\u003c/a>.”\u003c/p>\n\u003cp>In 2014, over the course of 12 episodes, \u003cem>Serial\u003c/em> probed the details of the murder case of Hae Min Lee, Adnan Syed’s former girlfriend. Lee was found strangled to death in Baltimore’s Leakin Park in 1999.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_109009","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In 2000, Syed was convicted of murdering Lee when he was 17 years old. He spent 23 years in prison. On Monday, in a Baltimore courtroom, a judge \u003ca href=\"https://www.npr.org/2022/09/19/1123878679/adnan-syed-released-serial\" target=\"_blank\" rel=\"noopener noreferrer\">ruled\u003c/a> to vacate his conviction.\u003c/p>\n\u003cp>Beyond the tremendous impact \u003cem>Serial\u003c/em> has had on Syed’s case and on exposing the flaws in the legal system, the podcast broke new ground in episodic, audio storytelling.\u003c/p>\n\u003cp>Created and produced by Koenig and Julie Snyder, \u003cem>Serial\u003c/em> was a spinoff of \u003ca href=\"https://www.thisamericanlife.org/about/our-other-shows#:~:text=Released%20in%2012%20episodes%2C%20Serial,more%20than%20300%20million%20downloads.\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>This American Life\u003c/em>\u003c/a>. With some 300 million downloads, the first season broke podcast records and spawned a cottage industry of true crime podcasts. It won just about every major journalism award including a DuPont and a Peabody, the first ever awarded to a podcast. Koenig was named one of \u003cem>Time\u003c/em>‘s \u003ca href=\"https://time.com/collection-post/3823276/sarah-koenig-2015-time-100/\" target=\"_blank\" rel=\"noopener noreferrer\">Most Influential People\u003c/a> of 2015.\u003c/p>\n\u003cfigure id=\"attachment_13919442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/gettyimages-475459240_custom-a900006c0c1464b294dc3b53d78b3e441a600753-800x555.jpg\" alt=\"A woman wearing black dress, white pearls and black spectacles smiles as she holds up a trophy.\" width=\"800\" height=\"555\">\u003cfigcaption class=\"wp-caption-text\">Sarah Koenig with her award at The 74th Annual Peabody Awards Ceremony at Cipriani Wall Street in New York City on May 31, 2015. \u003ccite>(Jemal Countess/Getty Images for Peabody Awards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barry Scheck, co-director of The Innocence Project, learned about \u003cem>Serial\u003c/em> from his kids. At the time, podcasting experienced something of a generational divide. He believes dogged reporting, a reliance on experts and propulsive storytelling were key to its success.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He says the way Koenig connected the audience with \u003cem>Serial\u003c/em>‘s reporting made for compelling listening. “One of the intriguing parts of the \u003cem>Serial\u003c/em> podcast is that everybody heard her thought processes out loud,” says Scheck, “and that’s part of the appeal of it. You know, we’re all in this together trying to think, ‘Is he innocent? Is he guilty?'”\u003c/p>\n\u003cp>There’s the story and then there’s the discussion it provoked. In the case of \u003cem>Serial\u003c/em>, they worked in tandem.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_19352","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The \u003cem>Serial\u003c/em> phenomenon was not just about trying to solve the crime itself. It was also about the vast community devouring each episode and then picking it apart online. Journalists at \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2014/12/serial-episode-10-cristinas-world/383432/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Atlantic\u003c/em>\u003c/a> blogged about it. \u003ca href=\"https://www.reddit.com/r/serialpodcast/\" target=\"_blank\" rel=\"noopener noreferrer\">A place to discuss Serial: The Podcast\u003c/a> on Reddit reached more than 72,000 members.\u003c/p>\n\u003cp>As Christopher Dunn, Legal Director of the New York Civil Liberties Union, \u003ca href=\"https://www.nyclu.org/en/publications/column-serial-podcast-and-disparate-impact-civil-rights-and-real-world-new-york-law\" target=\"_blank\" rel=\"noopener noreferrer\">marveled\u003c/a> in 2015, \u003cem>Serial\u003c/em> “unleashed a spirited and wide-ranging civil rights debate on the internet,” he wrote. “Most significantly, the discussion forum Reddit, which is enormously popular with young people, exploded with commentary from tens of thousands of people who debated and investigated every aspect of the case, many of which the podcast had not addressed.”\u003c/p>\n\u003cp>The idea to delve into Syed’s case originated with Rabia Chaudry, a lawyer and one of Syed’s friends and supporters. She pitched the idea to Koenig. As \u003cem>Serial \u003c/em>unfolded, \u003ca href=\"https://www.patheos.com/blogs/splitthemoon/category/adnan-syed/\" target=\"_blank\" rel=\"noopener noreferrer\">Chaudry blogged\u003c/a> about each episode, sharing her knowledge of the case and airing complaints about the way she felt producers were handling aspects of the story.\u003c/p>\n\u003cp>\u003ca href=\"https://www.patheos.com/blogs/splitthemoon/2014/10/lets-give-them-something-to-talk-about/\" target=\"_blank\" rel=\"noopener noreferrer\">Chaudry was also struck\u003c/a> by how her views were becoming part of the narrative. “I realized that while I and others close to Adnan were mired in the minutiae of both the case and show, we were part of that case and show for the public. \u003ca href=\"http://www.slate.com/blogs/browbeat/2014/10/27/rabia_chaudry_blogs_about_adnan_syed_and_recaps_the_serial_podcast_on_split.html\" target=\"_blank\" rel=\"noopener noreferrer\">Our interactions online were being discussed\u003c/a>, we were being judged and assessed, we were adding both entertainment and substantive value to the discourse. We were also characters in the larger story,” she wrote.\u003c/p>\n\u003cp>Chaudry went on to write her book and produce a podcast about Syed. She’s also an Executive Producer on \u003ca href=\"https://www.hbo.com/the-case-against-adnan-syed\">\u003cem>The Case Against Adnan Syed\u003c/em>\u003c/a>, a four-part HBO documentary series.\u003c/p>\n\u003cp>While Scheck is pleased to see all of the other true crime podcasts \u003cem>Serial\u003c/em> inspired, he urges caution to anyone who thinks it’s easy to do it well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_14701","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“It’s one thing to have a podcast and try to tell a story. It’s quite another to get into the business of exposing a wrongful conviction,” he says.\u003c/p>\n\u003cp>Scheck says \u003cem>Serial\u003c/em> benefitted from a team that knew what they didn’t know.\u003c/p>\n\u003cp>“What was great about \u003cem>Serial\u003c/em> is that they made no pretense at every turn,” says Scheck. “They were trying to turn to investigators, they were trying to turn to experts. They were relying on the audience for leads. And they went about it in a very professional way.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“To say it was addictive is an understatement,” Scottish actor Ewan McGregor wrote in \u003cem>Time’s Most Influential People\u003c/em> entry for Sarah Koenig. “Suddenly, investigative journalism became our hobby, our passion. People were talking about it everywhere you went. It was a true cultural phenomenon.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.patheos.com/blogs/splitthemoon/category/adnan-syed/\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+the+investigation+of+Adnan+Syed+became+a+podcast+phenomenon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13919440/how-the-investigation-of-adnan-syed-became-a-podcast-phenomenon","authors":["byline_arts_13919440"],"categories":["arts_1","arts_75"],"tags":["arts_8350","arts_3837","arts_12987","arts_8366"],"affiliates":["arts_137"],"featImg":"arts_13919441","label":"arts_137"},"arts_13914457":{"type":"posts","id":"arts_13914457","meta":{"index":"posts_1591205157","site":"arts","id":"13914457","score":null,"sort":[1654855238000]},"guestAuthors":[],"slug":"rightnowish-searching-for-a-kiki-sfs-first-black-owned-gay-bar","title":"Searching for a Kiki: SF's First Black-Owned Gay Bar","publishDate":1654855238,"format":"standard","headTitle":"Searching for a Kiki: SF’s First Black-Owned Gay Bar | KQED","labelTerm":{},"content":"\u003cp>When Rodney Barnette first moved to San Francisco in 1969, he noticed that “it wasn’t all rah rah gay capital of the world.” His experiences with racism in San Francisco’s historic gay community led him to open the New Eagle Creek Saloon, the city’s first Black-owned gay bar, in 1990. Over 30 years later, Barnette speaks about why Black-affirming queer spaces are still needed, and what he took away from his experience operating one.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5125278989\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of the episode with Rodney Barnette and his daughter Sadie Barnette.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: Tell me about your first time getting adjusted to the gay community here in San Francisco.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: When I first moved here, it wasn’t known as the gay capital of the United States. Most of the activity was on Polk Street, but eventually things shifted to the Castro district. They started opening more restaurants … and the more white gay men that came, the more racist it got. That’s when we started getting carded, three pieces of I.D. to go in these bars. The bartender, they were always white and they would bypass you. Some of them had goons as security guards. There were fights that broke out at places that I went to that got so humiliating that I swore I would not go back because it can be dangerous for me or somebody else to be there.\u003c/p>\n\u003cp>You know, things were so bad that they even created racist language to depict if a white gay guy had Black gay friends or was attracted to Black people. They came up with the term Dinge queen—Dinge means dirty. That’s how thorough the racism was.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: (narration) We brunch now, but back in the day, the bars were the cornerstone of the queer social scene … How are you supposed to feel welcome in a community if you have to defend your humanity every time you go out? \u003c/em>\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: Eventually you got the impetus to start to own a bar, to start a bar. But where did it come from?\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: There was a bar back in the 70s that Black people felt comfortable going to. It was not in the Castro, It was called Bojangles. But … when we left the bar, the San Francisco Police Department was waiting outside with paddy wagons and arresting Black gay people who were standing around talking, trying to exchange numbers. So you always felt like you had to almost run to get away from being arrested.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: You told me a story earlier about Deniece Williams at a bar.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: She had a new album out, and it was so beautiful. It turned out that she was going to be performing at one of these bars up in North Beach. And we had already had bad experiences trying to get in there, carding us with three pieces of I.D. and dress codes, so we never really went there. But we said, OK, we’re going to go see Deniece Williams. Deniece Williams came out and she started performing and singing beautiful songs, and we started clapping and cheering and then between songs, she said, ‘Wow, you guys really liked the music. I can see that you’re responding. How come there aren’t more people here?’ And almost in unison we all said, ‘Because it’s a racist gay bar.’ It’s not that she wasn’t popular, there were things restricting access to her performance.\u003c/p>\n\u003cp>Rodney Barnette: I felt like we had an opportunity to make a difference in the community. I always knew that there weren’t any Black-owned gay bars in San Francisco. This was in the late 80s, like 1989. There was a bar. It was actually called the Eagle Creek Saloon. And the owner was selling the bar. The white man’s name was John, and I knew him, and he approached me and he said, ‘Rodney, do you want to buy my bar?’ I said, ‘Wow, I’d love to, but I don’t have money.’ So he said, ‘I want to sell this bar to a Black man.’ I said, ‘Wow, OK, I’mma figure on how to get money together and buy this bar.’ We got enough money to buy the bar and my family was active in every way to get it going. And finally, when it got transferred into my name, my brothers came up, I had one brother who was a contractor, another brother who was an electrician.\u003c/p>\n\u003cp>My brothers always knew that I was gay and I never tried to hide it, but they got a lot closer and understood every aspect of being gay. They became friends with other gay customers and so forth, and they weren’t gay. But you know, it was a good experience, a good family venture that we went into.\u003c/p>\n\u003cp>And I never expected the bar would be just for Black people. I wanted everybody to be welcome there. And when it finally got turned over into my name, it was a big relief because something could have happened along the way. The neighbors could have contested a liquor license being transferred in that building and so forth, so it was a big relief.\u003c/p>\n\u003cp>I changed the name to the New Eagle Creek Saloon instead of just the Eagle Creek. The idea is that you keep the old name because people from different countries come looking for it and so forth. So it was great cause for a great celebration. We wound up having eight bartenders. We had women DJs, which they didn’t have at that time in any of these gay bars. They didn’t have any Black DJs. So we were able to provide the entertainment that people wanted and provide employment for talented Black people that weren’t able to express themselves in other establishments in San Francisco.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: And in that way, I guess it was sort of like, yes, it’s a bar, but then it sort of functions as a community center.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: Exactly. And that’s what we would call it, a community center that served alcohol … We celebrated people’s birthdays when they had a birthday, we had food and cakes and champagne … Our customers were able to get involved and somebody came up and said, ‘Well, here’s a slogan Rodney: A friendly place with a funky bass for every race.’ And that was perfect because we wanted to let people know everybody was invited and welcomed there.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): The New Eagle Creek Saloon had the formula for success: a dedicated clientele, a passionate owner, and a catchy slogan. It was also everything they needed to attract haters. Soon after the bar opened, the Bay Area Reporter ran a story that tried to scare other people from going.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: [The article was] pretty much implying that somebody got killed one time for hanging around with Black people or rough trade or whatever. So, you know, they were advising people to be leery of going to places like the New Eagle Creek Saloon. So our customers once again were outraged at that, and we sat down with a couple of our customers and wrote up a reply, demanding that they retract that article. And they actually did.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): This was 1991 in San Francisco. The same year Magic Johnson publicly announced that he was HIV-positive, a year before AIDS would become a leading cause of death for young American men and several years after Rodney lost a brother to AIDS. \u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: I saw how badly he suffered with the illness, but that was one of the things that drove me to want to do something about the AIDS epidemic… So we did fundraisers, and eventually there were marches and candlelight vigils that took place right on Market Street. So we would shut the bar down when people were marching by and participate in the march to City Hall demanding that they fund AIDS research. We had a group of people that put in an interactive video game that showed people what safe sex was. And that might sound crazy, or anybody should know it, but it showed people a safe way to have safe sex. It was interactive and it was the first of its kind and we were honored to have it in our bar. It wasn’t put anywhere else before it was put in the Eagle Creek.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): It was an arcade-style machine, where the goal was to pick the safest sexual option, a sort of choose your own adventure. And while a video game that teaches safe sex may sound obsolete now, most of the government-sponsored campaigns advertising safe sex as a way to prevent AIDS weren’t really aimed at Black people. So Rodney giving his patrons a lil’ education with the libation is community activism at its core. \u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: One of the things that people wanted, they said, ‘Rodney, we never had representation in the gay pride parade.’ So we figured out, well, maybe we can raise money – because it’s expensive. We sold 50 cent plastic cups of beer on Sunday. And a lot of people would come out. So we raised money that way and we got an actual committee together to get the float in the parade. We had one guy whose name was Mario. He designed all these costumes for people that were going to be on the float. We had a Black lesbian woman as the DJ. She played music in the bar a lot. And my daughter was six years old and she had a special costume made for her. And we dressed reflecting different generations of Black people.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: And we’re actually also joined by Rodney’s daughter, Sadie Barnette, who is an amazing artist in her own right… What do you remember about this parade?\u003c/em>\u003c/p>\n\u003cp>Sadie Barnette: I would have been, yes, six or seven years old, and I definitely remember it almost as a fairy tale. I remember going to the bar to try on my costume and just feeling so special and like a princess. I can’t remember the name on the float … I call it like Black people through the ages because it was like Egyptian costumes, Victorian costumes … throughout the arc of human history…\u003c/p>\n\u003cp>Rodney Barnette: When we turned the corner, there was a roar that went out the entire length of the parade. People were cheering us because it’s clearly a different float from everybody else’s float. We’re not just observers, people standing on the sideline watching gay pride. We’re part of it.\u003c/p>\n\u003cp>Rodney Barnette: … Something happened to the economy and all the bars were kind of suffering. I didn’t own the property, or the building that the bar was in. And rent skyrocketed. It was on Market Street, one of the most expensive rental places in the city, and I couldn’t keep paying the rent; the bar closed at the end of 1993.\u003c/p>\n\u003cp>What’s so ironic is some of these bars came out with Black Night, right? You could come on a Wednesday night and that’s when we play Black music and we won’t ask you for three pieces of I.D. So that’s what they had to resort to to stay in business.\u003c/p>\n\u003cp>Any time I would run into somebody that went to the [New Eagle Creek Saloon], they had this feeling of, ‘Wow, I wish it was still here.’\u003c/p>\n\u003cp>To tell you the truth, last night I ran into somebody I hadn’t seen in many years, and he realized it was me that I had owned the bar. He came there and we had a birthday party for him. And he came up and hugged me and just started crying and talked about the need for us to get together because there’s never been a place like that since then. So it touched people in a real meaningful way.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): And Sadie commemorates that place—the beauty, history, and resistance—in dope art installations. Since making exhibits featuring the FBI files on her father and photos from his time with the Black Panthers, she was also commissioned [by \u003ca href=\"https://www.thelab.org/commissions\">The Lab]\u003c/a> to build a re-imagined version of the New Eagle Creek Saloon’s bar, a recreation that you can actually step inside.\u003c/em>\u003c/p>\n\u003cp>Sadie Barnette: The name of the Eagle Creek Saloon, while it was in people’s hearts and meant so much to people who were there, it wasn’t something that was referenced in Netflix’s documentaries. It wasn’t something that grad students were studying. There was not a big paper trail of the Eagle Creek Saloon. And so for me, it was important to make sure that the name wasn’t lost and to do that through having really fun parties seemed like a great way to do it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The New Eagle Creek Saloon, long known as the city’s first Black-owned gay bar, opened in 1990.","status":"publish","parent":0,"modified":1705006744,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":36,"wordCount":2333},"headData":{"title":"Searching for a Kiki: SF's First Black-Owned Gay Bar | KQED","description":"The New Eagle Creek Saloon, long known as the city’s first Black-owned gay bar, opened in 1990.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"source":"Rightnowish","sourceUrl":"https://www.kqed.org/podcasts/rightnowish","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC5125278989.mp3?updated=1654561416","sticky":false,"excludeFromSiteSearch":"Include","path":"/arts/13914457/rightnowish-searching-for-a-kiki-sfs-first-black-owned-gay-bar","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Rodney Barnette first moved to San Francisco in 1969, he noticed that “it wasn’t all rah rah gay capital of the world.” His experiences with racism in San Francisco’s historic gay community led him to open the New Eagle Creek Saloon, the city’s first Black-owned gay bar, in 1990. Over 30 years later, Barnette speaks about why Black-affirming queer spaces are still needed, and what he took away from his experience operating one.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5125278989\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of the episode with Rodney Barnette and his daughter Sadie Barnette.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: Tell me about your first time getting adjusted to the gay community here in San Francisco.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: When I first moved here, it wasn’t known as the gay capital of the United States. Most of the activity was on Polk Street, but eventually things shifted to the Castro district. They started opening more restaurants … and the more white gay men that came, the more racist it got. That’s when we started getting carded, three pieces of I.D. to go in these bars. The bartender, they were always white and they would bypass you. Some of them had goons as security guards. There were fights that broke out at places that I went to that got so humiliating that I swore I would not go back because it can be dangerous for me or somebody else to be there.\u003c/p>\n\u003cp>You know, things were so bad that they even created racist language to depict if a white gay guy had Black gay friends or was attracted to Black people. They came up with the term Dinge queen—Dinge means dirty. That’s how thorough the racism was.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: (narration) We brunch now, but back in the day, the bars were the cornerstone of the queer social scene … How are you supposed to feel welcome in a community if you have to defend your humanity every time you go out? \u003c/em>\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: Eventually you got the impetus to start to own a bar, to start a bar. But where did it come from?\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: There was a bar back in the 70s that Black people felt comfortable going to. It was not in the Castro, It was called Bojangles. But … when we left the bar, the San Francisco Police Department was waiting outside with paddy wagons and arresting Black gay people who were standing around talking, trying to exchange numbers. So you always felt like you had to almost run to get away from being arrested.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: You told me a story earlier about Deniece Williams at a bar.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: She had a new album out, and it was so beautiful. It turned out that she was going to be performing at one of these bars up in North Beach. And we had already had bad experiences trying to get in there, carding us with three pieces of I.D. and dress codes, so we never really went there. But we said, OK, we’re going to go see Deniece Williams. Deniece Williams came out and she started performing and singing beautiful songs, and we started clapping and cheering and then between songs, she said, ‘Wow, you guys really liked the music. I can see that you’re responding. How come there aren’t more people here?’ And almost in unison we all said, ‘Because it’s a racist gay bar.’ It’s not that she wasn’t popular, there were things restricting access to her performance.\u003c/p>\n\u003cp>Rodney Barnette: I felt like we had an opportunity to make a difference in the community. I always knew that there weren’t any Black-owned gay bars in San Francisco. This was in the late 80s, like 1989. There was a bar. It was actually called the Eagle Creek Saloon. And the owner was selling the bar. The white man’s name was John, and I knew him, and he approached me and he said, ‘Rodney, do you want to buy my bar?’ I said, ‘Wow, I’d love to, but I don’t have money.’ So he said, ‘I want to sell this bar to a Black man.’ I said, ‘Wow, OK, I’mma figure on how to get money together and buy this bar.’ We got enough money to buy the bar and my family was active in every way to get it going. And finally, when it got transferred into my name, my brothers came up, I had one brother who was a contractor, another brother who was an electrician.\u003c/p>\n\u003cp>My brothers always knew that I was gay and I never tried to hide it, but they got a lot closer and understood every aspect of being gay. They became friends with other gay customers and so forth, and they weren’t gay. But you know, it was a good experience, a good family venture that we went into.\u003c/p>\n\u003cp>And I never expected the bar would be just for Black people. I wanted everybody to be welcome there. And when it finally got turned over into my name, it was a big relief because something could have happened along the way. The neighbors could have contested a liquor license being transferred in that building and so forth, so it was a big relief.\u003c/p>\n\u003cp>I changed the name to the New Eagle Creek Saloon instead of just the Eagle Creek. The idea is that you keep the old name because people from different countries come looking for it and so forth. So it was great cause for a great celebration. We wound up having eight bartenders. We had women DJs, which they didn’t have at that time in any of these gay bars. They didn’t have any Black DJs. So we were able to provide the entertainment that people wanted and provide employment for talented Black people that weren’t able to express themselves in other establishments in San Francisco.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: And in that way, I guess it was sort of like, yes, it’s a bar, but then it sort of functions as a community center.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: Exactly. And that’s what we would call it, a community center that served alcohol … We celebrated people’s birthdays when they had a birthday, we had food and cakes and champagne … Our customers were able to get involved and somebody came up and said, ‘Well, here’s a slogan Rodney: A friendly place with a funky bass for every race.’ And that was perfect because we wanted to let people know everybody was invited and welcomed there.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): The New Eagle Creek Saloon had the formula for success: a dedicated clientele, a passionate owner, and a catchy slogan. It was also everything they needed to attract haters. Soon after the bar opened, the Bay Area Reporter ran a story that tried to scare other people from going.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: [The article was] pretty much implying that somebody got killed one time for hanging around with Black people or rough trade or whatever. So, you know, they were advising people to be leery of going to places like the New Eagle Creek Saloon. So our customers once again were outraged at that, and we sat down with a couple of our customers and wrote up a reply, demanding that they retract that article. And they actually did.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): This was 1991 in San Francisco. The same year Magic Johnson publicly announced that he was HIV-positive, a year before AIDS would become a leading cause of death for young American men and several years after Rodney lost a brother to AIDS. \u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: I saw how badly he suffered with the illness, but that was one of the things that drove me to want to do something about the AIDS epidemic… So we did fundraisers, and eventually there were marches and candlelight vigils that took place right on Market Street. So we would shut the bar down when people were marching by and participate in the march to City Hall demanding that they fund AIDS research. We had a group of people that put in an interactive video game that showed people what safe sex was. And that might sound crazy, or anybody should know it, but it showed people a safe way to have safe sex. It was interactive and it was the first of its kind and we were honored to have it in our bar. It wasn’t put anywhere else before it was put in the Eagle Creek.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): It was an arcade-style machine, where the goal was to pick the safest sexual option, a sort of choose your own adventure. And while a video game that teaches safe sex may sound obsolete now, most of the government-sponsored campaigns advertising safe sex as a way to prevent AIDS weren’t really aimed at Black people. So Rodney giving his patrons a lil’ education with the libation is community activism at its core. \u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: One of the things that people wanted, they said, ‘Rodney, we never had representation in the gay pride parade.’ So we figured out, well, maybe we can raise money – because it’s expensive. We sold 50 cent plastic cups of beer on Sunday. And a lot of people would come out. So we raised money that way and we got an actual committee together to get the float in the parade. We had one guy whose name was Mario. He designed all these costumes for people that were going to be on the float. We had a Black lesbian woman as the DJ. She played music in the bar a lot. And my daughter was six years old and she had a special costume made for her. And we dressed reflecting different generations of Black people.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: And we’re actually also joined by Rodney’s daughter, Sadie Barnette, who is an amazing artist in her own right… What do you remember about this parade?\u003c/em>\u003c/p>\n\u003cp>Sadie Barnette: I would have been, yes, six or seven years old, and I definitely remember it almost as a fairy tale. I remember going to the bar to try on my costume and just feeling so special and like a princess. I can’t remember the name on the float … I call it like Black people through the ages because it was like Egyptian costumes, Victorian costumes … throughout the arc of human history…\u003c/p>\n\u003cp>Rodney Barnette: When we turned the corner, there was a roar that went out the entire length of the parade. People were cheering us because it’s clearly a different float from everybody else’s float. We’re not just observers, people standing on the sideline watching gay pride. We’re part of it.\u003c/p>\n\u003cp>Rodney Barnette: … Something happened to the economy and all the bars were kind of suffering. I didn’t own the property, or the building that the bar was in. And rent skyrocketed. It was on Market Street, one of the most expensive rental places in the city, and I couldn’t keep paying the rent; the bar closed at the end of 1993.\u003c/p>\n\u003cp>What’s so ironic is some of these bars came out with Black Night, right? You could come on a Wednesday night and that’s when we play Black music and we won’t ask you for three pieces of I.D. So that’s what they had to resort to to stay in business.\u003c/p>\n\u003cp>Any time I would run into somebody that went to the [New Eagle Creek Saloon], they had this feeling of, ‘Wow, I wish it was still here.’\u003c/p>\n\u003cp>To tell you the truth, last night I ran into somebody I hadn’t seen in many years, and he realized it was me that I had owned the bar. He came there and we had a birthday party for him. And he came up and hugged me and just started crying and talked about the need for us to get together because there’s never been a place like that since then. So it touched people in a real meaningful way.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): And Sadie commemorates that place—the beauty, history, and resistance—in dope art installations. Since making exhibits featuring the FBI files on her father and photos from his time with the Black Panthers, she was also commissioned [by \u003ca href=\"https://www.thelab.org/commissions\">The Lab]\u003c/a> to build a re-imagined version of the New Eagle Creek Saloon’s bar, a recreation that you can actually step inside.\u003c/em>\u003c/p>\n\u003cp>Sadie Barnette: The name of the Eagle Creek Saloon, while it was in people’s hearts and meant so much to people who were there, it wasn’t something that was referenced in Netflix’s documentaries. It wasn’t something that grad students were studying. There was not a big paper trail of the Eagle Creek Saloon. And so for me, it was important to make sure that the name wasn’t lost and to do that through having really fun parties seemed like a great way to do it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13914457/rightnowish-searching-for-a-kiki-sfs-first-black-owned-gay-bar","authors":["11808"],"programs":["arts_8720"],"categories":["arts_835","arts_21759"],"tags":["arts_1118","arts_3226","arts_5351","arts_3837","arts_5158","arts_4640","arts_6764","arts_1146","arts_6680","arts_901"],"featImg":"arts_13914630","label":"source_arts_13914457"},"arts_13908465":{"type":"posts","id":"arts_13908465","meta":{"index":"posts_1591205157","site":"arts","id":"13908465","score":null,"sort":[1642807382000]},"guestAuthors":[],"slug":"what-the-joe-rogan-podcast-controversy-says-about-the-online-misinformation-ecosystem","title":"What the Joe Rogan Podcast Controversy Says About Online Misinformation","publishDate":1642807382,"format":"standard","headTitle":"What the Joe Rogan Podcast Controversy Says About Online Misinformation | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>An open letter urging Spotify to crack down on COVID-19 misinformation has gained the signatures of more than a thousand doctors, scientists and health professionals spurred by growing concerns over anti-vaccine rhetoric on the audio app’s hit podcast, \u003cem>The Joe Rogan Experience\u003c/em>.\u003c/p>\n\u003cp>The medical and scientific experts \u003ca href=\"https://spotifyopenletter.wordpress.com/2022/01/10/an-open-letter-to-spotify/\" target=\"_blank\" rel=\"noopener noreferrer\">slammed\u003c/a> Rogan’s track record of airing false claims about the coronavirus pandemic, vaccines and unproven treatments, calling it “a sociological issue of devastating proportions.” Spotify, they say, has enabled him.\u003c/p>\n\u003cp>While audio apps so far have escaped the scrutiny that has befallen social media platforms such as \u003ca href=\"https://www.npr.org/2021/08/21/1030038616/facebooks-most-viewed-article-in-early-2021-raised-doubt-about-covid-vaccine\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> and Twitter, the pressure on Spotify illustrates how podcasts have emerged as an influential source of misinformation.\u003c/p>\n\u003cp>In a December episode of his podcast, Rogan interviewed Dr. \u003ca href=\"https://www.politifact.com/article/2022/jan/06/who-robert-malone-joe-rogans-guest-was-vaccine-sci/\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Malone\u003c/a>, a scientist who worked on early research into the mRNA technology behind top COVID-19 vaccines, but who is now critical of the mRNA vaccines.\u003c/p>\n\u003cp>Malone made baseless and disproven claims, including falsely stating that getting vaccinated puts people who already have had COVID-19 at higher risk.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The episode immediately raised alarm bells for Katrine Wallace, an epidemiologist at the University of Illinois Chicago’s School of Public Health, who signed the letter. She is part of a community of experts who debunk medical misinformation on social media, and she says she received hundreds of messages from followers about Rogan’s Malone interview.\u003c/p>\n\u003cp>“Their friends and family were sending it to them as evidence that the vaccines are dangerous and that they shouldn’t get it,” she said. “It provides a sense of false balance, like there’s two sides to the scientific evidence when, really, there is not. The overwhelming evidence is that the vaccines are safe and that they’re effective.”\u003c/p>\n\u003ch3>Rogan’s reach worries health experts\u003c/h3>\n\u003cp>Wallace was particularly worried because Rogan, a stand-up comedian and TV personality, has such a big audience. While Spotify does not disclose how many people listen, his show ranked as the platform’s most popular podcast globally for the last two years. And he’s worth a lot to the company: In 2020, he signed an exclusive licensing deal with Spotify reportedly worth \u003ca href=\"https://www.wsj.com/articles/spotify-strikes-exclusive-podcast-deal-with-joe-rogan-11589913814\" target=\"_blank\" rel=\"noopener noreferrer\">$100 million\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13895601,arts_13847946,arts_13876775,arts_13890474']“We are in a global health emergency, and streaming platforms like Spotify that provide content to the public have a responsibility not to add to the problem,” Wallace said.\u003c/p>\n\u003cp>It wasn’t the first time Rogan or his \u003ca href=\"https://healthfeedback.org/claimreview/joe-rogan-interview-with-peter-mccullough-contains-multiple-false-and-unsubstantiated-claims-about-the-covid-19-pandemic-and-vaccines/\" target=\"_blank\" rel=\"noopener noreferrer\">guests\u003c/a> have floated dubious or outright false information about the pandemic. He has claimed young and healthy people don’t need COVID-19 vaccines. He has \u003ca href=\"https://www.npr.org/2021/09/01/1033485152/joe-rogan-covid-ivermectin\" target=\"_blank\" rel=\"noopener noreferrer\">promoted taking ivermectin\u003c/a> as a treatment, which the Food and Drug Administration has \u003ca href=\"https://www.npr.org/sections/health-shots/2021/09/19/1038369557/ivermectin-anti-vaccine-movement-culture-wars\" target=\"_blank\" rel=\"noopener noreferrer\">warned against\u003c/a>.\u003c/p>\n\u003cp>Wallace and the other letter signers are not asking Spotify to kick Rogan off its platform. But they want the company to be more transparent about its rules, do more to moderate misinformation and make it easier to flag these kinds of baseless claims.\u003c/p>\n\u003cp>Spotify declined to comment to NPR. It has previously said it bans “dangerous false, deceptive, or misleading content about COVID-19 that may cause offline harm and/or pose a direct threat to public health.”\u003c/p>\n\u003cp>The company says it has taken down 20,000 podcast episodes for breaking that policy since the start of the pandemic. It has also taken down other episodes of Rogan’s show, including an interview with conspiracy theorist Alex Jones. But Rogan’s Malone interview is still available.\u003c/p>\n\u003cp>Last year, Spotify CEO \u003ca href=\"https://www.axios.com/spotify-ceo-daniel-ek-talks-future-of-podcasts-93925d11-d002-478b-81fb-c371743f6c3c.html\" target=\"_blank\" rel=\"noopener noreferrer\">Daniel Ek told Axios\u003c/a> that the company does not take responsibility for what Rogan or his guests say. He compared the podcaster to “really well-paid rappers” on Spotify, saying, “We don’t dictate what they’re putting in their songs, either.”\u003c/p>\n\u003cp>Rogan did not respond to NPR’s request for comment.\u003c/p>\n\u003ch3>Researchers say scrutiny of podcasts is overdue\u003c/h3>\n\u003cp>Misinformation researchers say it was only a matter of time until the spotlight turned to podcasts.\u003c/p>\n\u003cp>“Wherever you have users generating content, you’re going to have all of the same content moderation issues and controversies that you have in any other space,” said Evelyn Douek, a research fellow at Columbia University’s Knight First Amendment Institute.\u003c/p>\n\u003cp>So why haven’t podcasts gotten the same kind of attention as social networks?\u003c/p>\n\u003cp>For one thing, it’s a fragmented medium. Podcasts exist across lots of different platforms and apps.\u003c/p>\n\u003cp>Douek says it’s also harder to ferret out falsehoods and hate speech in podcasts compared with posts written on Facebook and Twitter.\u003c/p>\n\u003cp>But audio can be a powerful way to spread misinformation because of all the qualities that make the format so compelling to listeners, said Valerie Wirtschafter, a senior data analyst at the Brookings Institution.\u003c/p>\n\u003cp>“The podcaster is in your ear,” she said. “It’s a really unique relationship in that respect, and so the podcaster gains a level of authority and a level of credibility among listeners.”\u003c/p>\n\u003cp>Wirtschafter says as more people become aware of how misinformation spreads online, audio deserves the same scrutiny as social media.\u003c/p>\n\u003cp>She has studied how the “\u003ca href=\"https://www.npr.org/2021/12/23/1065277246/trump-big-lie-jan-6-election\" target=\"_blank\" rel=\"noopener noreferrer\">Big Lie\u003c/a>” that the 2020 presidential election was stolen from Donald Trump spread on \u003ca href=\"https://www.brookings.edu/techstream/prominent-political-podcasters-played-key-role-in-spreading-the-big-lie/\" target=\"_blank\" rel=\"noopener noreferrer\">political podcasts\u003c/a> in the lead-up to the insurrection at the U.S. Capitol. She found that half the episodes of the most popular shows released between Election Day and Jan. 6, 2021, contained misleading or false claims about voter fraud and election integrity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re not talking about fringe ideas,” she said. “These are the most popular podcasts in the United States.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+the+Joe+Rogan+podcast+controversy+says+about+the+online+misinformation+ecosystem&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"More than a thousand health professionals are calling on Spotify to crack down on COVID-19 falsehoods aired on Rogan's show.","status":"publish","parent":0,"modified":1705007285,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":979},"headData":{"title":"What the Joe Rogan Podcast Controversy Says About Online Misinformation | KQED","description":"More than a thousand health professionals are calling on Spotify to crack down on COVID-19 falsehoods aired on Rogan's show.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Douglas P. DeFelice","nprByline":"Shannon Bond","nprImageAgency":"Getty Images","nprStoryId":"1074442185","nprApiLink":"http://api.npr.org/query?id=1074442185&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2022/01/21/1074442185/joe-rogan-doctor-covid-podcast-spotify-misinformation?ft=nprml&f=1074442185","nprRetrievedStory":"1","nprPubDate":"Fri, 21 Jan 2022 08:13:00 -0500","nprStoryDate":"Fri, 21 Jan 2022 05:11:00 -0500","nprLastModifiedDate":"Fri, 21 Jan 2022 10:15:00 -0500","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2022/01/20220121_me_what_the_joe_rogan_podcast_controversy_says_about_the_online_misinformation_ecosystem.mp3?orgId=1&topicId=1019&aggIds=973275370&d=263&p=3&story=1074442185&ft=nprml&f=1074442185","nprAudioM3u":"http://api.npr.org/m3u/11074664420-5d7a9b.m3u?orgId=1&topicId=1019&aggIds=973275370&d=263&p=3&story=1074442185&ft=nprml&f=1074442185","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13908465/what-the-joe-rogan-podcast-controversy-says-about-the-online-misinformation-ecosystem","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2022/01/20220121_me_what_the_joe_rogan_podcast_controversy_says_about_the_online_misinformation_ecosystem.mp3?orgId=1&topicId=1019&aggIds=973275370&d=263&p=3&story=1074442185&ft=nprml&f=1074442185","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>An open letter urging Spotify to crack down on COVID-19 misinformation has gained the signatures of more than a thousand doctors, scientists and health professionals spurred by growing concerns over anti-vaccine rhetoric on the audio app’s hit podcast, \u003cem>The Joe Rogan Experience\u003c/em>.\u003c/p>\n\u003cp>The medical and scientific experts \u003ca href=\"https://spotifyopenletter.wordpress.com/2022/01/10/an-open-letter-to-spotify/\" target=\"_blank\" rel=\"noopener noreferrer\">slammed\u003c/a> Rogan’s track record of airing false claims about the coronavirus pandemic, vaccines and unproven treatments, calling it “a sociological issue of devastating proportions.” Spotify, they say, has enabled him.\u003c/p>\n\u003cp>While audio apps so far have escaped the scrutiny that has befallen social media platforms such as \u003ca href=\"https://www.npr.org/2021/08/21/1030038616/facebooks-most-viewed-article-in-early-2021-raised-doubt-about-covid-vaccine\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> and Twitter, the pressure on Spotify illustrates how podcasts have emerged as an influential source of misinformation.\u003c/p>\n\u003cp>In a December episode of his podcast, Rogan interviewed Dr. \u003ca href=\"https://www.politifact.com/article/2022/jan/06/who-robert-malone-joe-rogans-guest-was-vaccine-sci/\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Malone\u003c/a>, a scientist who worked on early research into the mRNA technology behind top COVID-19 vaccines, but who is now critical of the mRNA vaccines.\u003c/p>\n\u003cp>Malone made baseless and disproven claims, including falsely stating that getting vaccinated puts people who already have had COVID-19 at higher risk.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The episode immediately raised alarm bells for Katrine Wallace, an epidemiologist at the University of Illinois Chicago’s School of Public Health, who signed the letter. She is part of a community of experts who debunk medical misinformation on social media, and she says she received hundreds of messages from followers about Rogan’s Malone interview.\u003c/p>\n\u003cp>“Their friends and family were sending it to them as evidence that the vaccines are dangerous and that they shouldn’t get it,” she said. “It provides a sense of false balance, like there’s two sides to the scientific evidence when, really, there is not. The overwhelming evidence is that the vaccines are safe and that they’re effective.”\u003c/p>\n\u003ch3>Rogan’s reach worries health experts\u003c/h3>\n\u003cp>Wallace was particularly worried because Rogan, a stand-up comedian and TV personality, has such a big audience. While Spotify does not disclose how many people listen, his show ranked as the platform’s most popular podcast globally for the last two years. And he’s worth a lot to the company: In 2020, he signed an exclusive licensing deal with Spotify reportedly worth \u003ca href=\"https://www.wsj.com/articles/spotify-strikes-exclusive-podcast-deal-with-joe-rogan-11589913814\" target=\"_blank\" rel=\"noopener noreferrer\">$100 million\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13895601,arts_13847946,arts_13876775,arts_13890474","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“We are in a global health emergency, and streaming platforms like Spotify that provide content to the public have a responsibility not to add to the problem,” Wallace said.\u003c/p>\n\u003cp>It wasn’t the first time Rogan or his \u003ca href=\"https://healthfeedback.org/claimreview/joe-rogan-interview-with-peter-mccullough-contains-multiple-false-and-unsubstantiated-claims-about-the-covid-19-pandemic-and-vaccines/\" target=\"_blank\" rel=\"noopener noreferrer\">guests\u003c/a> have floated dubious or outright false information about the pandemic. He has claimed young and healthy people don’t need COVID-19 vaccines. He has \u003ca href=\"https://www.npr.org/2021/09/01/1033485152/joe-rogan-covid-ivermectin\" target=\"_blank\" rel=\"noopener noreferrer\">promoted taking ivermectin\u003c/a> as a treatment, which the Food and Drug Administration has \u003ca href=\"https://www.npr.org/sections/health-shots/2021/09/19/1038369557/ivermectin-anti-vaccine-movement-culture-wars\" target=\"_blank\" rel=\"noopener noreferrer\">warned against\u003c/a>.\u003c/p>\n\u003cp>Wallace and the other letter signers are not asking Spotify to kick Rogan off its platform. But they want the company to be more transparent about its rules, do more to moderate misinformation and make it easier to flag these kinds of baseless claims.\u003c/p>\n\u003cp>Spotify declined to comment to NPR. It has previously said it bans “dangerous false, deceptive, or misleading content about COVID-19 that may cause offline harm and/or pose a direct threat to public health.”\u003c/p>\n\u003cp>The company says it has taken down 20,000 podcast episodes for breaking that policy since the start of the pandemic. It has also taken down other episodes of Rogan’s show, including an interview with conspiracy theorist Alex Jones. But Rogan’s Malone interview is still available.\u003c/p>\n\u003cp>Last year, Spotify CEO \u003ca href=\"https://www.axios.com/spotify-ceo-daniel-ek-talks-future-of-podcasts-93925d11-d002-478b-81fb-c371743f6c3c.html\" target=\"_blank\" rel=\"noopener noreferrer\">Daniel Ek told Axios\u003c/a> that the company does not take responsibility for what Rogan or his guests say. He compared the podcaster to “really well-paid rappers” on Spotify, saying, “We don’t dictate what they’re putting in their songs, either.”\u003c/p>\n\u003cp>Rogan did not respond to NPR’s request for comment.\u003c/p>\n\u003ch3>Researchers say scrutiny of podcasts is overdue\u003c/h3>\n\u003cp>Misinformation researchers say it was only a matter of time until the spotlight turned to podcasts.\u003c/p>\n\u003cp>“Wherever you have users generating content, you’re going to have all of the same content moderation issues and controversies that you have in any other space,” said Evelyn Douek, a research fellow at Columbia University’s Knight First Amendment Institute.\u003c/p>\n\u003cp>So why haven’t podcasts gotten the same kind of attention as social networks?\u003c/p>\n\u003cp>For one thing, it’s a fragmented medium. Podcasts exist across lots of different platforms and apps.\u003c/p>\n\u003cp>Douek says it’s also harder to ferret out falsehoods and hate speech in podcasts compared with posts written on Facebook and Twitter.\u003c/p>\n\u003cp>But audio can be a powerful way to spread misinformation because of all the qualities that make the format so compelling to listeners, said Valerie Wirtschafter, a senior data analyst at the Brookings Institution.\u003c/p>\n\u003cp>“The podcaster is in your ear,” she said. “It’s a really unique relationship in that respect, and so the podcaster gains a level of authority and a level of credibility among listeners.”\u003c/p>\n\u003cp>Wirtschafter says as more people become aware of how misinformation spreads online, audio deserves the same scrutiny as social media.\u003c/p>\n\u003cp>She has studied how the “\u003ca href=\"https://www.npr.org/2021/12/23/1065277246/trump-big-lie-jan-6-election\" target=\"_blank\" rel=\"noopener noreferrer\">Big Lie\u003c/a>” that the 2020 presidential election was stolen from Donald Trump spread on \u003ca href=\"https://www.brookings.edu/techstream/prominent-political-podcasters-played-key-role-in-spreading-the-big-lie/\" target=\"_blank\" rel=\"noopener noreferrer\">political podcasts\u003c/a> in the lead-up to the insurrection at the U.S. Capitol. She found that half the episodes of the most popular shows released between Election Day and Jan. 6, 2021, contained misleading or false claims about voter fraud and election integrity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re not talking about fringe ideas,” she said. “These are the most popular podcasts in the United States.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+the+Joe+Rogan+podcast+controversy+says+about+the+online+misinformation+ecosystem&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13908465/what-the-joe-rogan-podcast-controversy-says-about-the-online-misinformation-ecosystem","authors":["byline_arts_13908465"],"categories":["arts_1","arts_75"],"tags":["arts_10127","arts_3837","arts_4136"],"affiliates":["arts_137"],"featImg":"arts_13908466","label":"arts_137"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","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?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"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.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","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","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"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","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","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. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us","airtime":"SUN 2pm-3pm, MON 12am-1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png","officialWebsiteLink":"https://www.wnycstudios.org/shows/otm","meta":{"site":"news","source":"wnyc"},"link":"/radio/program/on-the-media","subscribe":{"apple":"https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2","tuneIn":"https://tunein.com/radio/On-the-Media-p69/","rss":"http://feeds.wnyc.org/onthemedia"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"pbs-newshour":{"id":"pbs-newshour","title":"PBS NewsHour","info":"Analysis, background reports and updates from the PBS NewsHour putting today's news in context.","airtime":"MON-FRI 3pm-4pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.pbs.org/newshour/","meta":{"site":"news","source":"pbs"},"link":"/radio/program/pbs-newshour","subscribe":{"apple":"https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2","tuneIn":"https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/","rss":"https://www.pbs.org/newshour/feeds/rss/podcasts/show"}},"perspectives":{"id":"perspectives","title":"Perspectives","tagline":"KQED's series of of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"link":"/perspectives","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/id73801135","npr":"https://www.npr.org/podcasts/432309616/perspectives","rss":"https://ww2.kqed.org/perspectives/category/perspectives/feed/","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"}},"planet-money":{"id":"planet-money","title":"Planet Money","info":"The economy explained. 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The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.","airtime":"SAT 4pm-5pm","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png","officialWebsiteLink":"https://www.revealnews.org/episodes/","meta":{"site":"news","source":"npr"},"link":"/radio/program/reveal","subscribe":{"apple":"https://itunes.apple.com/us/podcast/reveal/id886009669","tuneIn":"https://tunein.com/radio/Reveal-p679597/","rss":"http://feeds.revealradio.org/revealpodcast"}},"says-you":{"id":"says-you","title":"Says You!","info":"Public radio's game show of bluff and bluster, words and whimsy. 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