Late-Night TV Shows Announce Return After Hollywood Writers Strike Ends
At The Oscars, 'Parasite' Makes Best Picture History
The Weird and (Not Very) Wonderful History of the Super Bowl Halftime Show
Latino Movie Producer Opens Theaters in Rural, Poor Areas
Golden Globes Draws Talent From the Northern Part of the Golden State
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At KQED, Penny was an anchor, host, producer and editor.","avatar":"https://secure.gravatar.com/avatar/986e19a6d0bd017e82bf77481175c4ad?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["author"]},{"site":"news","roles":["subscriber"]}],"headData":{"title":"Penny Nelson | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/986e19a6d0bd017e82bf77481175c4ad?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/986e19a6d0bd017e82bf77481175c4ad?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/pnelson"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"news","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"news_11962547":{"type":"posts","id":"news_11962547","meta":{"index":"posts_1591205157","site":"news","id":"11962547","score":null,"sort":[1695840863000]},"guestAuthors":[],"slug":"late-night-tv-shows-announce-return-after-hollywood-writers-strike-ends","title":"Late-Night TV Shows Announce Return After Hollywood Writers Strike Ends","publishDate":1695840863,"format":"standard","headTitle":"Late-Night TV Shows Announce Return After Hollywood Writers Strike Ends | KQED","labelTerm":{"site":"news"},"content":"\u003cp>Hollywood’s writers’ strike was declared over after nearly five months Tuesday night when board members from their union approved a \u003ca href=\"https://www.kqed.org/news/11962299/writers-studios-reach-tentative-deal\">contract agreement with studios\u003c/a>, bringing the industry at least partly back from a historic halt in production.\u003c/p>\n\u003cp>The governing boards of the eastern and western branches of the Writers Guild of America and their joint negotiating committee all voted to accept the deal, two days after the tentative agreement was reached with a coalition of Hollywood’s biggest studios, streaming services and production companies. After the vote, they declared that the strike would be over and writers would be free to start on scripts at 12:01 a.m. Wednesday.\u003c/p>\n\u003cp>TV’s late-night hosts planned to return to their evening sketches and monologues by next week, reinstating the flow of topical humor silenced for five months by \u003ca href=\"https://apnews.com/article/writers-strike-deal-hollywood-vote-actors-d3119d670a4fd3449773bf8f4026fb2b\">the newly-ended Hollywood writers’ strike\u003c/a>.\u003c/p>\n\u003cp>Bill Maher led the charge back to work by announcing early Wednesday that his HBO show \u003cem>Real Time with Bill Maher\u003c/em> would be back on the air Friday. By mid-morning, the hosts of NBC’s \u003cem>The Tonight Show Starring Jimmy Fallon\u003c/em> and \u003cem>Late Night with Seth Meyers\u003c/em>, ABC’s \u003cem>Jimmy Kimmel Live\u003c/em>, and \u003cem>The Late Show With Stephen Colbert\u003c/em> on CBS had announced they’d also return, all by Monday. \u003cem>Last Week Tonight\u003c/em> with John Oliver was slated to return to the air on Sunday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fallon, Meyers, Kimmel, Colbert and Oliver had spent the latter part of the strike teaming up for a popular podcast called \u003ca href=\"https://apnews.com/article/latenight-hosts-podcast-strike-force-five-f57d2b60642ded98799c4b57c627e5d6\">Strike Force Five\u003c/a> — named after their personal text chain and with all proceeds benefiting their out-of-work writers. On Instagram on Wednesday, \u003ca href=\"https://www.instagram.com/p/CxsxO2QrU-6/\">they announced “their mission complete.”\u003c/a>\u003c/p>\n\u003cp>The writers still have to vote to ratify the contract themselves in early October, but lifting the strike will allow them to work during that process, the guild told members in an email.\u003c/p>\n\u003cp>After Tuesday’s board votes, the contracts were released for the first time to the writers, who had not yet been given any details on the deal, which their leaders called “exceptional.”\u003c/p>\n\u003cp>The three-year agreement includes significant wins in the main areas writers had fought for — compensation, length of employment, size of staffs and \u003ca href=\"https://apnews.com/article/artificial-intelligence-hollywood-strikes-explained-writers-actors-e872bd63ab52c3ea9f7d6e825240a202\">control of artificial intelligence\u003c/a> — matching or nearly equaling what they had sought at the outset of the strike.\u003c/p>\n\u003cp>The union had sought minimum increases in pay and future residual earnings from shows of between 5% and 6%, depending on the position of the writer. The studios had wanted between 2% and 4%. The compromise deal was a raise of between 3.5% and 5%.\u003c/p>\n\u003cfigure id=\"attachment_11962300\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11962300\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/09/GettyImages-1696594985-scaled.jpg\" alt=\"writer's strike\" width=\"2560\" height=\"1994\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/09/GettyImages-1696594985-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/GettyImages-1696594985-800x623.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/GettyImages-1696594985-1020x794.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/GettyImages-1696594985-160x125.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/GettyImages-1696594985-1536x1196.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/GettyImages-1696594985-2048x1595.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/GettyImages-1696594985-1920x1495.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The governing boards of the eastern and western branches of the Writers Guild of America and their joint negotiating committee all voted to accept the deal, 2 days after the tentative agreement was reached with a coalition of Hollywood’s biggest studios, streaming services and production companies. \u003ccite>(Albert L. Ortega/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The guild also negotiated new residual payments based on the popularity of streaming shows, where writers will get bonuses for being a part of the most popular shows on Netflix, Max and other services, a proposal studios initially rejected. Many writers on picket lines had complained that they weren’t properly paid for helping create heavily watched properties.\u003c/p>\n\u003cp>The writers also got the requirement they sought that shows intended to run at least 13 episodes will have at least six writers on staff, with the numbers shifting based on the number of episodes. They did not get their desire for guaranteed staffs of six on shows that had not yet been ordered to series, settling instead for a guaranteed three.\u003c/p>\n\u003cp>Writers also got a guarantee that staff on shows in initial development will be employed for at least 10 weeks and that staff on shows that go to air will be employed for three weeks per episode.\u003c/p>\n\u003cp>On artificial intelligence, the writers got the regulation and control of the emerging technology they had sought. Under the contract, raw, AI-generated storylines will not be regarded as “literary material” — a term in their contracts for scripts and other story forms a screenwriter produces. This means they won’t be competing with computers for screen credits. Nor will AI-generated stories be considered “source” material, their contractual language for the novels, video games or other works that writers may adapt into scripts.\u003c/p>\n\u003cp>Writers have the right under the deal to use AI in their process if the company they are working for agrees and other conditions are met. But companies cannot require a writer to use AI.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Marissa Cuevas, actor, ‘Kung Fu’ and ‘The Big Bang Theory’\"]‘For a hot second, I really thought that this was going to go on until next year. Knowing that at least one of us has gotten a good deal gives a lot of hope that we will also get a good deal.’[/pullquote]Still-striking members of the Screen Actors Guild-American Federation of Television and Radio Artists returned to the picket lines earlier Tuesday for the first time since the writers struck their tentative deal, and they were animated by a new spirit of optimism.\u003c/p>\n\u003cp>“For a hot second, I really thought that this was going to go on until next year,” said Marissa Cuevas, an actor who has appeared on the TV series \u003cem>Kung Fu\u003c/em> and \u003cem>The Big Bang Theory\u003c/em>. “Knowing that at least one of us has gotten a good deal gives a lot of hope that we will also get a good deal.”\u003c/p>\n\u003cp>Writers’ picket lines had been suspended, but they were encouraged to walk in solidarity with actors, and many were on the lines Tuesday, including \u003cem>Mad Men\u003c/em> creator Matthew Weiner, who picketed alongside friend and \u003cem>ER\u003c/em> actor Noah Wyle as he has throughout the strikes.\u003c/p>\n\u003cp>“We would never have had the leverage we had if SAG had not gone out,” Weiner said. “They were very brave to do it.”\u003c/p>\n\u003cp>The Alliance of Motion Picture and Television Producers, which represents the studios in negotiations, chose to deal with the longer-striking writers first, and leaders of SAG-AFTRA said they had received no overtures on resuming talks. That’s likely to change soon.\u003c/p>\n\u003cp>\u003ca href=\"https://apnews.com/hub/hollywood-strikes/\">Actors\u003c/a> also voted to authorize their leadership to potentially expand their walkout to include the lucrative video game market, a step that could put new pressure on Hollywood studios to make a deal with the performers who provide voices and stunts for games.\u003c/p>\n\u003cp>SAG-AFTRA announced the move late Monday, saying that 98% of its members voted to go on strike against video game companies if ongoing negotiations are not successful.\u003c/p>\n\u003cp>Acting in video games can include a variety of roles, from voice performances to motion capture work as well as stunts.\u003c/p>\n\u003cp>[aside postID=news_11961243 hero='https://ww2.kqed.org/app/uploads/sites/10/2023/09/GettyImages-1645167120-1020x681.jpg']Some of the same issues are at play in the video game negotiations as in the film and TV strike, including wages, safety measures and protections on the use of artificial intelligence. The companies involved include gaming giants Activision, Electronic Arts, Epic Games, Take 2 Productions as well as Disney and Warner Bros.’ video game divisions.\u003c/p>\n\u003cp>“It’s time for the video game companies to stop playing games and get serious about reaching an agreement on this contract,” SAG-AFTRA President Fran Drescher said in a statement.\u003c/p>\n\u003cp>Audrey Cooling, a spokesperson for video game producers, said they are “continuing to negotiate in good faith” and have reached tentative agreements on more than half of the proposals on the table.\u003c/p>\n\u003cp>\u003cem>Associated Press video journalists Leslie Ambriz and Krysta Fauria in Los Angeles contributed to this report.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Late-night talk shows are likely the first shows to resume. Scripted series will take longer to return with actors still on strike and no negotiations on the horizon.","status":"publish","parent":0,"modified":1695869502,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":1335},"headData":{"title":"Late-Night TV Shows Announce Return After Hollywood Writers Strike Ends | KQED","description":"Late-night talk shows are likely the first shows to resume. Scripted series will take longer to return with actors still on strike and no negotiations on the horizon.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"nprByline":"\u003ca href=\"https://twitter.com/andyjamesdalton\">Andrew Dalton\u003c/a>\u003cbr>The Associated Press","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/news/11962547/late-night-tv-shows-announce-return-after-hollywood-writers-strike-ends","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hollywood’s writers’ strike was declared over after nearly five months Tuesday night when board members from their union approved a \u003ca href=\"https://www.kqed.org/news/11962299/writers-studios-reach-tentative-deal\">contract agreement with studios\u003c/a>, bringing the industry at least partly back from a historic halt in production.\u003c/p>\n\u003cp>The governing boards of the eastern and western branches of the Writers Guild of America and their joint negotiating committee all voted to accept the deal, two days after the tentative agreement was reached with a coalition of Hollywood’s biggest studios, streaming services and production companies. After the vote, they declared that the strike would be over and writers would be free to start on scripts at 12:01 a.m. Wednesday.\u003c/p>\n\u003cp>TV’s late-night hosts planned to return to their evening sketches and monologues by next week, reinstating the flow of topical humor silenced for five months by \u003ca href=\"https://apnews.com/article/writers-strike-deal-hollywood-vote-actors-d3119d670a4fd3449773bf8f4026fb2b\">the newly-ended Hollywood writers’ strike\u003c/a>.\u003c/p>\n\u003cp>Bill Maher led the charge back to work by announcing early Wednesday that his HBO show \u003cem>Real Time with Bill Maher\u003c/em> would be back on the air Friday. By mid-morning, the hosts of NBC’s \u003cem>The Tonight Show Starring Jimmy Fallon\u003c/em> and \u003cem>Late Night with Seth Meyers\u003c/em>, ABC’s \u003cem>Jimmy Kimmel Live\u003c/em>, and \u003cem>The Late Show With Stephen Colbert\u003c/em> on CBS had announced they’d also return, all by Monday. \u003cem>Last Week Tonight\u003c/em> with John Oliver was slated to return to the air on Sunday.\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>Fallon, Meyers, Kimmel, Colbert and Oliver had spent the latter part of the strike teaming up for a popular podcast called \u003ca href=\"https://apnews.com/article/latenight-hosts-podcast-strike-force-five-f57d2b60642ded98799c4b57c627e5d6\">Strike Force Five\u003c/a> — named after their personal text chain and with all proceeds benefiting their out-of-work writers. On Instagram on Wednesday, \u003ca href=\"https://www.instagram.com/p/CxsxO2QrU-6/\">they announced “their mission complete.”\u003c/a>\u003c/p>\n\u003cp>The writers still have to vote to ratify the contract themselves in early October, but lifting the strike will allow them to work during that process, the guild told members in an email.\u003c/p>\n\u003cp>After Tuesday’s board votes, the contracts were released for the first time to the writers, who had not yet been given any details on the deal, which their leaders called “exceptional.”\u003c/p>\n\u003cp>The three-year agreement includes significant wins in the main areas writers had fought for — compensation, length of employment, size of staffs and \u003ca href=\"https://apnews.com/article/artificial-intelligence-hollywood-strikes-explained-writers-actors-e872bd63ab52c3ea9f7d6e825240a202\">control of artificial intelligence\u003c/a> — matching or nearly equaling what they had sought at the outset of the strike.\u003c/p>\n\u003cp>The union had sought minimum increases in pay and future residual earnings from shows of between 5% and 6%, depending on the position of the writer. The studios had wanted between 2% and 4%. The compromise deal was a raise of between 3.5% and 5%.\u003c/p>\n\u003cfigure id=\"attachment_11962300\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11962300\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/09/GettyImages-1696594985-scaled.jpg\" alt=\"writer's strike\" width=\"2560\" height=\"1994\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/09/GettyImages-1696594985-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/GettyImages-1696594985-800x623.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/GettyImages-1696594985-1020x794.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/GettyImages-1696594985-160x125.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/GettyImages-1696594985-1536x1196.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/GettyImages-1696594985-2048x1595.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2023/09/GettyImages-1696594985-1920x1495.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The governing boards of the eastern and western branches of the Writers Guild of America and their joint negotiating committee all voted to accept the deal, 2 days after the tentative agreement was reached with a coalition of Hollywood’s biggest studios, streaming services and production companies. \u003ccite>(Albert L. Ortega/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The guild also negotiated new residual payments based on the popularity of streaming shows, where writers will get bonuses for being a part of the most popular shows on Netflix, Max and other services, a proposal studios initially rejected. Many writers on picket lines had complained that they weren’t properly paid for helping create heavily watched properties.\u003c/p>\n\u003cp>The writers also got the requirement they sought that shows intended to run at least 13 episodes will have at least six writers on staff, with the numbers shifting based on the number of episodes. They did not get their desire for guaranteed staffs of six on shows that had not yet been ordered to series, settling instead for a guaranteed three.\u003c/p>\n\u003cp>Writers also got a guarantee that staff on shows in initial development will be employed for at least 10 weeks and that staff on shows that go to air will be employed for three weeks per episode.\u003c/p>\n\u003cp>On artificial intelligence, the writers got the regulation and control of the emerging technology they had sought. Under the contract, raw, AI-generated storylines will not be regarded as “literary material” — a term in their contracts for scripts and other story forms a screenwriter produces. This means they won’t be competing with computers for screen credits. Nor will AI-generated stories be considered “source” material, their contractual language for the novels, video games or other works that writers may adapt into scripts.\u003c/p>\n\u003cp>Writers have the right under the deal to use AI in their process if the company they are working for agrees and other conditions are met. But companies cannot require a writer to use AI.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘For a hot second, I really thought that this was going to go on until next year. Knowing that at least one of us has gotten a good deal gives a lot of hope that we will also get a good deal.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Marissa Cuevas, actor, ‘Kung Fu’ and ‘The Big Bang Theory’","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Still-striking members of the Screen Actors Guild-American Federation of Television and Radio Artists returned to the picket lines earlier Tuesday for the first time since the writers struck their tentative deal, and they were animated by a new spirit of optimism.\u003c/p>\n\u003cp>“For a hot second, I really thought that this was going to go on until next year,” said Marissa Cuevas, an actor who has appeared on the TV series \u003cem>Kung Fu\u003c/em> and \u003cem>The Big Bang Theory\u003c/em>. “Knowing that at least one of us has gotten a good deal gives a lot of hope that we will also get a good deal.”\u003c/p>\n\u003cp>Writers’ picket lines had been suspended, but they were encouraged to walk in solidarity with actors, and many were on the lines Tuesday, including \u003cem>Mad Men\u003c/em> creator Matthew Weiner, who picketed alongside friend and \u003cem>ER\u003c/em> actor Noah Wyle as he has throughout the strikes.\u003c/p>\n\u003cp>“We would never have had the leverage we had if SAG had not gone out,” Weiner said. “They were very brave to do it.”\u003c/p>\n\u003cp>The Alliance of Motion Picture and Television Producers, which represents the studios in negotiations, chose to deal with the longer-striking writers first, and leaders of SAG-AFTRA said they had received no overtures on resuming talks. That’s likely to change soon.\u003c/p>\n\u003cp>\u003ca href=\"https://apnews.com/hub/hollywood-strikes/\">Actors\u003c/a> also voted to authorize their leadership to potentially expand their walkout to include the lucrative video game market, a step that could put new pressure on Hollywood studios to make a deal with the performers who provide voices and stunts for games.\u003c/p>\n\u003cp>SAG-AFTRA announced the move late Monday, saying that 98% of its members voted to go on strike against video game companies if ongoing negotiations are not successful.\u003c/p>\n\u003cp>Acting in video games can include a variety of roles, from voice performances to motion capture work as well as stunts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11961243","hero":"https://ww2.kqed.org/app/uploads/sites/10/2023/09/GettyImages-1645167120-1020x681.jpg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Some of the same issues are at play in the video game negotiations as in the film and TV strike, including wages, safety measures and protections on the use of artificial intelligence. The companies involved include gaming giants Activision, Electronic Arts, Epic Games, Take 2 Productions as well as Disney and Warner Bros.’ video game divisions.\u003c/p>\n\u003cp>“It’s time for the video game companies to stop playing games and get serious about reaching an agreement on this contract,” SAG-AFTRA President Fran Drescher said in a statement.\u003c/p>\n\u003cp>Audrey Cooling, a spokesperson for video game producers, said they are “continuing to negotiate in good faith” and have reached tentative agreements on more than half of the proposals on the table.\u003c/p>\n\u003cp>\u003cem>Associated Press video journalists Leslie Ambriz and Krysta Fauria in Los Angeles contributed to this report.\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11962547/late-night-tv-shows-announce-return-after-hollywood-writers-strike-ends","authors":["byline_news_11962547"],"categories":["news_29992","news_8"],"tags":["news_19133","news_22328","news_24590","news_3414","news_33254"],"featImg":"news_11962560","label":"news"},"arts_13874634":{"type":"posts","id":"arts_13874634","meta":{"index":"posts_1591205157","site":"arts","id":"13874634","score":null,"sort":[1581350862000]},"guestAuthors":[],"slug":"at-the-oscars-parasite-makes-best-picture-history","title":"At The Oscars, 'Parasite' Makes Best Picture History","publishDate":1581350862,"format":"standard","headTitle":"At The Oscars, ‘Parasite’ Makes Best Picture History | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>At Sunday’s Oscars, on a night when almost everything went as planned and as usual, the one true surprise came in the biggest moment of all.\u003c/p>\n\u003cp>For the first time ever, a film in a foreign language won best picture when Bong Joon-ho’s \u003ca href=\"https://www.npr.org/2019/10/10/768638368/parasite-hooks-you-with-its-emotional-power-and-extraordinary-cunning\">\u003cem>Parasite\u003c/em>,\u003c/a> a comedy-drama-thriller about class and secrets, took the big prize. \u003ca href=\"https://www.npr.org/2019/12/10/785090210/parasite-director-bong-joon-ho-wanted-to-reflect-the-truth-of-current-times\">Bong\u003c/a> also won the awards for best director and best original screenplay. He delivered three warm and generous speeches, including one when he won for his directing and thanked fellow nominees Martin Scorsese and Quentin Tarantino for inspiring him and boosting his career, respectively. (He acknowledged Sam Mendes and Todd Phillips, too.)\u003c/p>\n\u003cp>And, while he gave most of his speeches in Korean with interpreter Sharon Choi, when he won the first one, he stopped and noted in English: “This is very first Oscar to South Korea.” The affection in the room for the film was evident every time it was mentioned, as well as in its strong haul of awards (though it absurdly landed not a single nomination for its uniformly excellent cast).\u003c/p>\n\u003cp>The evening began three and a half hours earlier with a combination of the old and the new: the kind of themed singing-dancing number that used to be the typical Oscars opening, but in the absence of a traditional host, it was performed by the thoroughly modern Janelle Monáe. A version of her own song “Come Alive” was accompanied by dancers dressed in costumes saluting not just nominated films like \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>,\u003c/a> but also conspicuously snubbed ones — several of them, but not all, from black filmmakers — including \u003ca href=\"https://www.npr.org/2019/03/21/705470655/when-you-meet-the-enemy-and-it-is-us\">\u003cem>Us\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/11/27/782574993/a-first-date-turns-into-a-stylish-nightmare-in-queen-slim\">\u003cem>Queen and Slim\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/10/06/765150318/a-breezy-look-at-the-making-of-a-blaxploitation-classic-dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2019/07/03/738422258/midsommar-shines-a-solstice-nightmare-unfolds-in-broad-daylight\">\u003cem>Midsommar\u003c/em>.\u003c/a> The monologue that followed, however, was much more creaky and awkward, despite the best efforts of Chris Rock and Steve Martin (the latter of whom regrettably blew the name of best actress nominee Cynthia Erivo).\u003c/p>\n\u003cp>The awards in general, and the ones this season in general, have been heavily criticized for how white the nominees are, the failure to nominate any women directors in a year when several made highly regarded films, and plenty of other shortfalls in inclusivity. The Academy’s discomfort with that criticism seemed evident: There may not have been a lot of performers of color among the nominees, but there were a lot among the presenters and speakers and performers. Several presenters — as well as Monáe in her opening number — made mention of the limitations at issue, which is the kind of thing that happens when people are placed in a situation they don’t want to ignore but also aren’t there to challenge \u003cem>too\u003c/em> much.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One new inclusion was a land acknowledgment — a custom that’s commonly observed in other places, including Canada, at cultural events (I’ve personally seen them at the Toronto International Film Festival). In this case, it was writer-director \u003ca href=\"https://www.npr.org/2019/10/18/771219868/director-taika-waititi-on-jojo-rabbit\">Taika Waititi,\u003c/a> nominated for\u003ca href=\"https://www.npr.org/2019/10/17/770262214/jojo-rabbit-your-reich-is-calling\"> \u003cem>Jojo Rabbit\u003c/em>,\u003c/a> who read an acknowledgment of the indigenous people who have lived on the land where the event — in this case, the Academy Awards — takes place. Whether this gesture will be followed up by any action as to the broadening of the Academy’s taste remains, of course, to be seen.\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>‘s win for best picture stood out particularly because almost all of the other awards that had seemed likely to go a particular way did: Legendary cinematographer \u003ca href=\"https://www.wbur.org/hereandnow/2019/12/26/1917-world-war-i-cinematography\">Roger Deakins\u003c/a> won for his work on \u003ca href=\"https://www.npr.org/2019/12/24/790207374/1917-is-gripping-visceral-and-strangely-beautiful\">\u003cem>1917\u003c/em>,\u003c/a> the WWI film engineered to look like a \u003ca href=\"https://www.npr.org/2020/02/09/802248145/who-needs-high-tech-film-editing-when-theres-the-thrill-of-the-single-shot\">continuous shot. \u003c/a>Film editing is often a precursor to other big awards, and this year the winners were the editors of racing drama \u003ca href=\"https://www.npr.org/2019/11/14/777254954/ford-v-ferrari-will-get-your-heart-racing\">\u003cem>Ford v. Ferrari\u003c/em>.\u003c/a> \u003cem>Parasite \u003c/em>had been expected to win (or at least to contend strongly) in the categories of best international feature film and for Bong Joon-ho’s original screenplay. Waititi was a favorite for best adapted screenplay, which he won.\u003c/p>\n\u003cp>The acting awards this year had heavy favorites going into the ceremony: Joaquin Phoenix as best actor in \u003ca href=\"https://www.npr.org/2019/10/02/766529122/in-joker-joaquin-phoenix-gives-a-big-performance-in-a-flat-film\">\u003cem>Joker\u003c/em>, \u003c/a>Renée Zellweger as best actress in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\">\u003cem>Judy\u003c/em>,\u003c/a> Brad Pitt as best supporting actor in \u003ca href=\"https://www.npr.org/2019/07/25/744189964/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in Hollywood\u003c/em> \u003c/a>and Laura Dern as best supporting actress in \u003ca href=\"https://www.npr.org/2019/11/14/775397877/a-couple-faces-the-painful-end-of-the-line-in-marriage-story\">\u003cem>Marriage Story.\u003c/em>\u003c/a> They all won. Most of them said about what you might expect (although Phoenix surprised many of us by adding to his speech about fighting injustice a mention of the cruelty of artificially inseminating cows and then stealing their offspring, while Zellweger listed many of her heroes in a speech that matched his, meander for meander).\u003c/p>\n\u003cp>The lower-profile (but critical) behind-the-scenes awards were spread across a bunch of films. Best production design went to Quentin Tarantino’s \u003cem>Once Upon a Time in Hollywood\u003c/em>, which re-created the late-’70s L.A. landscape and aesthetic with a lot of loving attention. \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem> \u003c/em>won its only award of the night for Jacqueline Durran’s costume design, full of beautiful dresses both fancy and not. The transformation of actors into familiar faces from the news won an award for the hair and makeup team from \u003ca href=\"https://www.npr.org/2019/12/12/787112042/bombshell-imitates-but-fails-to-enlighten\">\u003cem>Bombshell\u003c/em>.\u003c/a> The sound editing award went to \u003cem>Ford v. Ferrari\u003c/em> and both sound mixing and visual effects went to \u003cem>1917\u003c/em>.\u003c/p>\n\u003cp>The non-surprises kept coming: \u003ca href=\"https://www.npr.org/2019/06/19/733908788/to-infinity-and-be-done-after-4-films-have-we-finally-outgrown-toy-story\">\u003cem>Toy Story 4\u003c/em>\u003c/a>\u003cem> \u003c/em>won best animated feature. Best documentary feature was awarded to \u003ca href=\"https://www.npr.org/2019/08/23/753109643/work-cultures-clash-when-a-chinese-company-reopens-an-american-factory\">\u003cem>American Factory\u003c/em>,\u003c/a> which boasts Barack and Michelle Obama as producers and which comes from Netflix. \u003ca href=\"https://www.npr.org/local/309/2020/02/06/802739449/animated-short-hair-love-brings-diverse-storytelling-to-the-oscars\">\u003cem>Hair Love\u003c/em>,\u003c/a> a lovely film about a father learning to do his daughter’s hair for the first time, written and directed by Matthew A. Cherry, won best animated short, and Cherry dedicated the award to Kobe Bryant: “May we all have a second act as great as his was.” Best live action short film went to \u003cem>The Neighbor’s Window\u003c/em>, and best documentary short subject went to \u003cem>Learning to Skateboard in a Warzone (If You’re a Girl)\u003c/em>.\u003c/p>\n\u003cp>The nominated \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">best original songs\u003c/a> were performed on stage as usual. Introducer Josh Gad had some fun pointing out that Idina Menzel’s name is “pronounced exactly as it’s spelled” (take that, John Travolta) before she performed “Into the Unknown” from\u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\"> \u003cem>Frozen 2\u003c/em>\u003c/a>. Menzel was joined by some of the singers who have performed the song in other languages in one of the evening’s better innovations. Chrissy Metz performed “I’m Standing With You” from \u003cem>Breakthrough\u003c/em>, accompanied by the choir that’s nearly obligatory. Randy Newman performed “I Can’t Let You Throw Yourself Away” from \u003cem>Toy Story 4\u003c/em>, and Cynthia Erivo (also nominated for best actress) performed the song “Stand Up (From \u003cem>Harriet\u003c/em>),” which, as its title suggests, is from \u003cem>Harriet\u003c/em>. Elton John performed “(I’m Gonna) Love Me Again” from\u003ca href=\"https://www.npr.org/2019/05/31/728226594/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular\"> \u003cem>Rocketman\u003c/em>,\u003c/a> seemingly hamstrung by a bad sound mix.\u003c/p>\n\u003cp>When they’d all been heard, “I’m Gonna Love Me Again” was victorious. Hildur Guðnadóttir won best original score for her work on \u003cem>Joker\u003c/em>.\u003c/p>\n\u003cp>The musical moment you probably would not have expected — because, really, who could? — was that actor Anthony Ramos introduced Lin-Manuel Miranda; Lin-Manuel Miranda introduced a montage saluting the music used in movies over many decades; and that montage led to Eminem performing the Oscar-winning “Lose Yourself” from \u003cem>8 Mile\u003c/em>, to which the audience responded rapturously. It wasn’t an obvious move to throw in that performance, given that it’s not celebrating any kind of round-numbered anniversary; it won at the 2003 ceremony, though Eminem didn’t perform it then. But it made people happy and got the crowd going like nothing else did all evening except \u003cem>Parasite \u003c/em>winning awards, and there’s something to be said for that. Not long after, there was a recap rap from Utkarsh Ambudkar, an actor who appeared this year in \u003ca href=\"https://www.npr.org/2019/08/22/752755460/a-fun-but-familiar-story-of-making-yourself-over-in-brittany-runs-a-marathon\">\u003cem>Brittany Runs a Marathon\u003c/em>,\u003c/a> reminding everyone what had happened so far. That’s a lot of rap for an Oscars ceremony.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Last year’s ceremony also went without a host, and it wound up being dominated by the actual wins and losses. That made big nights for \u003ca href=\"https://www.npr.org/2018/11/21/669234619/green-book-offers-by-the-book-uplift\">\u003cem>Green Book \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>, \u003c/a>neither of which seemed to excite the crowd, very disappointing. But this year, the fact that there’s good feeling around so many different films — and enormous respect and love for both \u003cem>Parasite \u003c/em>and Bong Joon-ho — means that this ceremony fared much better. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+The+Oscars%2C+%27Parasite%27+Makes+Best+Picture+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"Bong Joon-ho's film about families, class and keeping secrets won best picture. It's the first time a film in a language other than English has won the top prize.","status":"publish","parent":0,"modified":1705021326,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1465},"headData":{"title":"At The Oscars, 'Parasite' Makes Best Picture History | KQED","description":"Bong Joon-ho's film about families, class and keeping secrets won best picture. It's the first time a film in a language other than English has won the top prize.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Kevin Winter","nprByline":"Linda Holmes","nprImageAgency":"Getty Images","nprStoryId":"804373857","nprApiLink":"http://api.npr.org/query?id=804373857&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2020/02/10/804373857/at-the-oscars-parasite-makes-best-picture-history?ft=nprml&f=804373857","nprRetrievedStory":"1","nprPubDate":"Mon, 10 Feb 2020 10:57:00 -0500","nprStoryDate":"Mon, 10 Feb 2020 00:34:00 -0500","nprLastModifiedDate":"Mon, 10 Feb 2020 10:57:00 -0500","templateType":"standard","featuredImageType":"standard","path":"/arts/13874634/at-the-oscars-parasite-makes-best-picture-history","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>At Sunday’s Oscars, on a night when almost everything went as planned and as usual, the one true surprise came in the biggest moment of all.\u003c/p>\n\u003cp>For the first time ever, a film in a foreign language won best picture when Bong Joon-ho’s \u003ca href=\"https://www.npr.org/2019/10/10/768638368/parasite-hooks-you-with-its-emotional-power-and-extraordinary-cunning\">\u003cem>Parasite\u003c/em>,\u003c/a> a comedy-drama-thriller about class and secrets, took the big prize. \u003ca href=\"https://www.npr.org/2019/12/10/785090210/parasite-director-bong-joon-ho-wanted-to-reflect-the-truth-of-current-times\">Bong\u003c/a> also won the awards for best director and best original screenplay. He delivered three warm and generous speeches, including one when he won for his directing and thanked fellow nominees Martin Scorsese and Quentin Tarantino for inspiring him and boosting his career, respectively. (He acknowledged Sam Mendes and Todd Phillips, too.)\u003c/p>\n\u003cp>And, while he gave most of his speeches in Korean with interpreter Sharon Choi, when he won the first one, he stopped and noted in English: “This is very first Oscar to South Korea.” The affection in the room for the film was evident every time it was mentioned, as well as in its strong haul of awards (though it absurdly landed not a single nomination for its uniformly excellent cast).\u003c/p>\n\u003cp>The evening began three and a half hours earlier with a combination of the old and the new: the kind of themed singing-dancing number that used to be the typical Oscars opening, but in the absence of a traditional host, it was performed by the thoroughly modern Janelle Monáe. A version of her own song “Come Alive” was accompanied by dancers dressed in costumes saluting not just nominated films like \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>,\u003c/a> but also conspicuously snubbed ones — several of them, but not all, from black filmmakers — including \u003ca href=\"https://www.npr.org/2019/03/21/705470655/when-you-meet-the-enemy-and-it-is-us\">\u003cem>Us\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/11/27/782574993/a-first-date-turns-into-a-stylish-nightmare-in-queen-slim\">\u003cem>Queen and Slim\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/10/06/765150318/a-breezy-look-at-the-making-of-a-blaxploitation-classic-dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2019/07/03/738422258/midsommar-shines-a-solstice-nightmare-unfolds-in-broad-daylight\">\u003cem>Midsommar\u003c/em>.\u003c/a> The monologue that followed, however, was much more creaky and awkward, despite the best efforts of Chris Rock and Steve Martin (the latter of whom regrettably blew the name of best actress nominee Cynthia Erivo).\u003c/p>\n\u003cp>The awards in general, and the ones this season in general, have been heavily criticized for how white the nominees are, the failure to nominate any women directors in a year when several made highly regarded films, and plenty of other shortfalls in inclusivity. The Academy’s discomfort with that criticism seemed evident: There may not have been a lot of performers of color among the nominees, but there were a lot among the presenters and speakers and performers. Several presenters — as well as Monáe in her opening number — made mention of the limitations at issue, which is the kind of thing that happens when people are placed in a situation they don’t want to ignore but also aren’t there to challenge \u003cem>too\u003c/em> much.\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>One new inclusion was a land acknowledgment — a custom that’s commonly observed in other places, including Canada, at cultural events (I’ve personally seen them at the Toronto International Film Festival). In this case, it was writer-director \u003ca href=\"https://www.npr.org/2019/10/18/771219868/director-taika-waititi-on-jojo-rabbit\">Taika Waititi,\u003c/a> nominated for\u003ca href=\"https://www.npr.org/2019/10/17/770262214/jojo-rabbit-your-reich-is-calling\"> \u003cem>Jojo Rabbit\u003c/em>,\u003c/a> who read an acknowledgment of the indigenous people who have lived on the land where the event — in this case, the Academy Awards — takes place. Whether this gesture will be followed up by any action as to the broadening of the Academy’s taste remains, of course, to be seen.\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>‘s win for best picture stood out particularly because almost all of the other awards that had seemed likely to go a particular way did: Legendary cinematographer \u003ca href=\"https://www.wbur.org/hereandnow/2019/12/26/1917-world-war-i-cinematography\">Roger Deakins\u003c/a> won for his work on \u003ca href=\"https://www.npr.org/2019/12/24/790207374/1917-is-gripping-visceral-and-strangely-beautiful\">\u003cem>1917\u003c/em>,\u003c/a> the WWI film engineered to look like a \u003ca href=\"https://www.npr.org/2020/02/09/802248145/who-needs-high-tech-film-editing-when-theres-the-thrill-of-the-single-shot\">continuous shot. \u003c/a>Film editing is often a precursor to other big awards, and this year the winners were the editors of racing drama \u003ca href=\"https://www.npr.org/2019/11/14/777254954/ford-v-ferrari-will-get-your-heart-racing\">\u003cem>Ford v. Ferrari\u003c/em>.\u003c/a> \u003cem>Parasite \u003c/em>had been expected to win (or at least to contend strongly) in the categories of best international feature film and for Bong Joon-ho’s original screenplay. Waititi was a favorite for best adapted screenplay, which he won.\u003c/p>\n\u003cp>The acting awards this year had heavy favorites going into the ceremony: Joaquin Phoenix as best actor in \u003ca href=\"https://www.npr.org/2019/10/02/766529122/in-joker-joaquin-phoenix-gives-a-big-performance-in-a-flat-film\">\u003cem>Joker\u003c/em>, \u003c/a>Renée Zellweger as best actress in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\">\u003cem>Judy\u003c/em>,\u003c/a> Brad Pitt as best supporting actor in \u003ca href=\"https://www.npr.org/2019/07/25/744189964/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in Hollywood\u003c/em> \u003c/a>and Laura Dern as best supporting actress in \u003ca href=\"https://www.npr.org/2019/11/14/775397877/a-couple-faces-the-painful-end-of-the-line-in-marriage-story\">\u003cem>Marriage Story.\u003c/em>\u003c/a> They all won. Most of them said about what you might expect (although Phoenix surprised many of us by adding to his speech about fighting injustice a mention of the cruelty of artificially inseminating cows and then stealing their offspring, while Zellweger listed many of her heroes in a speech that matched his, meander for meander).\u003c/p>\n\u003cp>The lower-profile (but critical) behind-the-scenes awards were spread across a bunch of films. Best production design went to Quentin Tarantino’s \u003cem>Once Upon a Time in Hollywood\u003c/em>, which re-created the late-’70s L.A. landscape and aesthetic with a lot of loving attention. \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem> \u003c/em>won its only award of the night for Jacqueline Durran’s costume design, full of beautiful dresses both fancy and not. The transformation of actors into familiar faces from the news won an award for the hair and makeup team from \u003ca href=\"https://www.npr.org/2019/12/12/787112042/bombshell-imitates-but-fails-to-enlighten\">\u003cem>Bombshell\u003c/em>.\u003c/a> The sound editing award went to \u003cem>Ford v. Ferrari\u003c/em> and both sound mixing and visual effects went to \u003cem>1917\u003c/em>.\u003c/p>\n\u003cp>The non-surprises kept coming: \u003ca href=\"https://www.npr.org/2019/06/19/733908788/to-infinity-and-be-done-after-4-films-have-we-finally-outgrown-toy-story\">\u003cem>Toy Story 4\u003c/em>\u003c/a>\u003cem> \u003c/em>won best animated feature. Best documentary feature was awarded to \u003ca href=\"https://www.npr.org/2019/08/23/753109643/work-cultures-clash-when-a-chinese-company-reopens-an-american-factory\">\u003cem>American Factory\u003c/em>,\u003c/a> which boasts Barack and Michelle Obama as producers and which comes from Netflix. \u003ca href=\"https://www.npr.org/local/309/2020/02/06/802739449/animated-short-hair-love-brings-diverse-storytelling-to-the-oscars\">\u003cem>Hair Love\u003c/em>,\u003c/a> a lovely film about a father learning to do his daughter’s hair for the first time, written and directed by Matthew A. Cherry, won best animated short, and Cherry dedicated the award to Kobe Bryant: “May we all have a second act as great as his was.” Best live action short film went to \u003cem>The Neighbor’s Window\u003c/em>, and best documentary short subject went to \u003cem>Learning to Skateboard in a Warzone (If You’re a Girl)\u003c/em>.\u003c/p>\n\u003cp>The nominated \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">best original songs\u003c/a> were performed on stage as usual. Introducer Josh Gad had some fun pointing out that Idina Menzel’s name is “pronounced exactly as it’s spelled” (take that, John Travolta) before she performed “Into the Unknown” from\u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\"> \u003cem>Frozen 2\u003c/em>\u003c/a>. Menzel was joined by some of the singers who have performed the song in other languages in one of the evening’s better innovations. Chrissy Metz performed “I’m Standing With You” from \u003cem>Breakthrough\u003c/em>, accompanied by the choir that’s nearly obligatory. Randy Newman performed “I Can’t Let You Throw Yourself Away” from \u003cem>Toy Story 4\u003c/em>, and Cynthia Erivo (also nominated for best actress) performed the song “Stand Up (From \u003cem>Harriet\u003c/em>),” which, as its title suggests, is from \u003cem>Harriet\u003c/em>. Elton John performed “(I’m Gonna) Love Me Again” from\u003ca href=\"https://www.npr.org/2019/05/31/728226594/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular\"> \u003cem>Rocketman\u003c/em>,\u003c/a> seemingly hamstrung by a bad sound mix.\u003c/p>\n\u003cp>When they’d all been heard, “I’m Gonna Love Me Again” was victorious. Hildur Guðnadóttir won best original score for her work on \u003cem>Joker\u003c/em>.\u003c/p>\n\u003cp>The musical moment you probably would not have expected — because, really, who could? — was that actor Anthony Ramos introduced Lin-Manuel Miranda; Lin-Manuel Miranda introduced a montage saluting the music used in movies over many decades; and that montage led to Eminem performing the Oscar-winning “Lose Yourself” from \u003cem>8 Mile\u003c/em>, to which the audience responded rapturously. It wasn’t an obvious move to throw in that performance, given that it’s not celebrating any kind of round-numbered anniversary; it won at the 2003 ceremony, though Eminem didn’t perform it then. But it made people happy and got the crowd going like nothing else did all evening except \u003cem>Parasite \u003c/em>winning awards, and there’s something to be said for that. Not long after, there was a recap rap from Utkarsh Ambudkar, an actor who appeared this year in \u003ca href=\"https://www.npr.org/2019/08/22/752755460/a-fun-but-familiar-story-of-making-yourself-over-in-brittany-runs-a-marathon\">\u003cem>Brittany Runs a Marathon\u003c/em>,\u003c/a> reminding everyone what had happened so far. That’s a lot of rap for an Oscars ceremony.\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>Last year’s ceremony also went without a host, and it wound up being dominated by the actual wins and losses. That made big nights for \u003ca href=\"https://www.npr.org/2018/11/21/669234619/green-book-offers-by-the-book-uplift\">\u003cem>Green Book \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>, \u003c/a>neither of which seemed to excite the crowd, very disappointing. But this year, the fact that there’s good feeling around so many different films — and enormous respect and love for both \u003cem>Parasite \u003c/em>and Bong Joon-ho — means that this ceremony fared much better. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+The+Oscars%2C+%27Parasite%27+Makes+Best+Picture+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13874634/at-the-oscars-parasite-makes-best-picture-history","authors":["byline_arts_13874634"],"categories":["arts_74","arts_235","arts_75","arts_990"],"tags":["arts_3701","arts_9943","arts_1118","arts_977","arts_3698"],"affiliates":["arts_137"],"featImg":"arts_13874637","label":"arts_137"},"arts_13873945":{"type":"posts","id":"arts_13873945","meta":{"index":"posts_1591205157","site":"arts","id":"13873945","score":null,"sort":[1580417708000]},"guestAuthors":[],"slug":"the-weird-and-not-very-wonderful-history-of-the-super-bowl-halftime-show","title":"The Weird and (Not Very) Wonderful History of the Super Bowl Halftime Show","publishDate":1580417708,"format":"standard","headTitle":"The Weird and (Not Very) Wonderful History of the Super Bowl Halftime Show | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>For non-football types, the Super Bowl halftime show can be the only life raft in a confusing sea of frowning men wearing shoulder pads and over-long commercial breaks. And, since 1993, when Michael Jackson turned in his game-changing, five-song performance in Pasadena, standards for a successful halftime have been incredibly high.\u003c/p>\n\u003cp>No wonder. Super Bowl \u003ca href=\"https://en.wikipedia.org/wiki/Super_Bowl_television_ratings\" target=\"_blank\" rel=\"noopener noreferrer\">viewing figures\u003c/a> haven’t fallen under 100 million since 1981, and are more commonly closer to the 150 million mark—and that’s in America alone.\u003c/p>\n\u003cp>[aside postid='pop_20247']When it’s done right, the halftime show can be a source of national pride (as when \u003ca href=\"https://www.youtube.com/watch?v=pH5tHgXS-2M\" target=\"_blank\" rel=\"noopener noreferrer\">U2 tried to heal\u003c/a> the nation after 9/11). It can have an immediate and lasting impact on pop culture (Katy Perry’s \u003ca href=\"https://www.youtube.com/watch?v=ZD1QrIe--_Y\" target=\"_blank\" rel=\"noopener noreferrer\">Left Shark\u003c/a> will live on as a\u003ca href=\"https://knowyourmeme.com/memes/super-bowl-xlix-halftime-left-shark\" target=\"_blank\" rel=\"noopener noreferrer\"> meme\u003c/a> forever). And it can bring the country together during turbulent times (everyone stopped thinking about 2017’s divisive inauguration the second \u003ca href=\"https://www.youtube.com/watch?v=txXwg712zw4\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga threw herself\u003c/a> off the top of that stadium).\u003c/p>\n\u003cp>So it’s easy to forget quite how much the pre-Jackson Super Bowl halftime, well, sucked.\u003c/p>\n\u003cp>Going all the way back to the beginning, the first three halftime shows (’67-’69) consisted simply of \u003ca href=\"https://www.youtube.com/watch?v=IGj3SFf_VOk\" target=\"_blank\" rel=\"noopener noreferrer\">marching bands\u003c/a>. In 1970, when the NFL decided to jazz things up \u003ca href=\"https://www.theguardian.com/sport/2016/feb/06/carol-channing-super-bowl-broadway\" target=\"_blank\" rel=\"noopener noreferrer\">for Super Bowl IV\u003c/a> in New Orleans, it saw fit to give America \u003ca href=\"https://www.youtube.com/watch?v=IGj3SFf_VOk\" target=\"_blank\" rel=\"noopener noreferrer\">a surreal reenactment\u003c/a> of the 1815 Battle of New Orleans. Cannons, on-field “deaths” and Carol Channing singing “When the Saints Go Marching In” were all involved. (All of which makes \u003ca href=\"https://www.youtube.com/watch?v=NGRfz5_Cuo8\" target=\"_blank\" rel=\"noopener noreferrer\">Black Eyed Peas’ \u003cem>Tron\u003c/em> musical \u003c/a>in 2011 look perfectly reasonable.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Carol Channing was invited back again two years later, when Ella Fitzgerald and Al Hirt performed a rendition of “Mack the Knife” as part of a single-song “tribute to Louis Armstrong.” And by ’73, Andy Williams had been dragged in to pelt the crowd with two easy listening gems while the Michigan Marching Band did its thing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ny-1Q6qxn-A\u003c/p>\n\u003cp>Despite the fact that the flashiest thing about Williams’ performance was his belt, in subsequent years, the decision was made to return to simpler times. For the next 15 years, marching bands performing a grab bag of “themes” dominated.\u003c/p>\n\u003cp>These regimented “salutes” ranged from fairly reasonable celebrations (America’s bicentennial, “the Big Band era,” Hollywood’s 100th Anniversary), to totally random subjects (Duke Ellington, the Caribbean, Motown). And in between, there were moments of abject surreality (“World of Children’s Dreams,” “KaleidoSUPERscope” and “Beat of the Future,” anyone?)\u003c/p>\n\u003cp>Occasionally, flagrant advertising would interrupt proceedings—even more so than Pepsi does now. The most egregious example of this was 1977’s “It’s a Small World.” Produced by The Walt Disney Company, the halftime exhibition featured grinning but under-utilized Mouseketeers, a human reproduction of Disneyland’s “It’s a Small World” ride and, for reasons that remain unclear, green-hooded figures waving white sheets in formations that made… nothing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-K-7je-6Dk0\u003c/p>\n\u003cp>1987’s “\u003ca href=\"https://www.youtube.com/watch?v=oSXMNbK2e98\" target=\"_blank\" rel=\"noopener noreferrer\">Hollywood’s 100th Anniversary\u003c/a>” special with George Burns, as well as New Kids On The Block’s \u003ca href=\"https://www.youtube.com/watch?v=ZTOt6CjYaHc\" target=\"_blank\" rel=\"noopener noreferrer\">weird, child-laden\u003c/a> set in 1991 also served as thinly-veiled Disney commercials.\u003c/p>\n\u003cp>[aside postid='arts_13863975']As late as 1989, the Super Bowl halftime show was such a mess, \u003ca href=\"https://www.youtube.com/watch?v=VqusO8PegFI&t=381s\" target=\"_blank\" rel=\"noopener noreferrer\">the NFL thought nothing of bringing in Elvis Presto, a magician and Elvis impersonator\u003c/a> who spent his time on the field doing one large-scale card trick for the stadium, then a bunch of smaller illusions while singing “Do You Love Me” by The Contours—instead of, you know, an Elvis song.\u003c/p>\n\u003cp>The most noteworthy halftime of that period came in 1988 with a show that answered the question: What happens when you have too many ideas and decide to do all of them at the same time?\u003c/p>\n\u003cp>The final result, featuring 88 grand pianos, 44 Rockettes, four dudes on roller skates, an untold number of “dancersizers,” hundreds of cheerleaders, “the biggest big band ever to swing” and—wouldn’t you know it?—Chubby Checker, is the single most entertaining (and unintentionally hilarious) halftime show of all time. Behold its majesty:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wqrksVDVO6w\u003c/p>\n\u003cp>In the last 25 years, the strides made by the Super Bowl halftime show are immense. But we still find reasons to quibble. For every \u003ca href=\"https://www.youtube.com/watch?v=sLrOSZi2pfw\" target=\"_blank\" rel=\"noopener noreferrer\">Destiny’s Child reunion\u003c/a>, there is a \u003ca href=\"https://www.youtube.com/watch?v=0wL8sAr1Ym0\" target=\"_blank\" rel=\"noopener noreferrer\">Bruno Mars trying\u003c/a> (and failing) to make it work with Red Hot Chili Peppers. For every \u003ca href=\"https://www.youtube.com/watch?v=7NN3gsSf-Ys&t=105s\" target=\"_blank\" rel=\"noopener noreferrer\">Prince flawlessly powering through\u003c/a> a thunderstorm, there is an \u003ca href=\"https://www.youtube.com/watch?v=zIwkhEqVq4s\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Levine\u003c/a> assuming that removing his shirt constitutes a grand finale. And for every \u003ca href=\"https://www.youtube.com/watch?v=i4-0nbHFi4o\" target=\"_blank\" rel=\"noopener noreferrer\">inter-generationally loved Bruce Springsteen set\u003c/a>, there’s an \u003ca href=\"https://www.youtube.com/watch?v=X3ik_8QjM3U\" target=\"_blank\" rel=\"noopener noreferrer\">M.I.A. middle finger\u003c/a> or a \u003ca href=\"https://www.kqed.org/pop/20175/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology\" target=\"_blank\" rel=\"noopener noreferrer\">Janet Jackson nipple guard\u003c/a>.\u003c/p>\n\u003cp>[aside postid='pop_20175']In 2020, there are three guarantees when it comes to the Super Bowl halftime show. It \u003cem>will\u003c/em> be spectacular, it \u003cem>won’t\u003c/em> please everyone and, even at its worst, it’s still about a million times better than it was in its fledgling years. So this Sunday, if you happen to end up sitting next to someone complaining about Jennifer Lopez and Shakira not shimmying hard enough, feel free to send them a gentle reminder of how bad things used to be. The \u003cem>Peanuts\u003c/em>-related fever dream below ought to do it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X4zzu4Jrl4o\u003c/p>\n\n","blocks":[],"excerpt":"The Super Bowl halftime show used to be terrible. Simply terrible.","status":"publish","parent":0,"modified":1705021390,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":958},"headData":{"title":"The Weird and (Not Very) Wonderful History of the Super Bowl Halftime Show | KQED","description":"The Super Bowl halftime show used to be terrible. Simply terrible.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13873945/the-weird-and-not-very-wonderful-history-of-the-super-bowl-halftime-show","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For non-football types, the Super Bowl halftime show can be the only life raft in a confusing sea of frowning men wearing shoulder pads and over-long commercial breaks. And, since 1993, when Michael Jackson turned in his game-changing, five-song performance in Pasadena, standards for a successful halftime have been incredibly high.\u003c/p>\n\u003cp>No wonder. Super Bowl \u003ca href=\"https://en.wikipedia.org/wiki/Super_Bowl_television_ratings\" target=\"_blank\" rel=\"noopener noreferrer\">viewing figures\u003c/a> haven’t fallen under 100 million since 1981, and are more commonly closer to the 150 million mark—and that’s in America alone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_20247","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>When it’s done right, the halftime show can be a source of national pride (as when \u003ca href=\"https://www.youtube.com/watch?v=pH5tHgXS-2M\" target=\"_blank\" rel=\"noopener noreferrer\">U2 tried to heal\u003c/a> the nation after 9/11). It can have an immediate and lasting impact on pop culture (Katy Perry’s \u003ca href=\"https://www.youtube.com/watch?v=ZD1QrIe--_Y\" target=\"_blank\" rel=\"noopener noreferrer\">Left Shark\u003c/a> will live on as a\u003ca href=\"https://knowyourmeme.com/memes/super-bowl-xlix-halftime-left-shark\" target=\"_blank\" rel=\"noopener noreferrer\"> meme\u003c/a> forever). And it can bring the country together during turbulent times (everyone stopped thinking about 2017’s divisive inauguration the second \u003ca href=\"https://www.youtube.com/watch?v=txXwg712zw4\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga threw herself\u003c/a> off the top of that stadium).\u003c/p>\n\u003cp>So it’s easy to forget quite how much the pre-Jackson Super Bowl halftime, well, sucked.\u003c/p>\n\u003cp>Going all the way back to the beginning, the first three halftime shows (’67-’69) consisted simply of \u003ca href=\"https://www.youtube.com/watch?v=IGj3SFf_VOk\" target=\"_blank\" rel=\"noopener noreferrer\">marching bands\u003c/a>. In 1970, when the NFL decided to jazz things up \u003ca href=\"https://www.theguardian.com/sport/2016/feb/06/carol-channing-super-bowl-broadway\" target=\"_blank\" rel=\"noopener noreferrer\">for Super Bowl IV\u003c/a> in New Orleans, it saw fit to give America \u003ca href=\"https://www.youtube.com/watch?v=IGj3SFf_VOk\" target=\"_blank\" rel=\"noopener noreferrer\">a surreal reenactment\u003c/a> of the 1815 Battle of New Orleans. Cannons, on-field “deaths” and Carol Channing singing “When the Saints Go Marching In” were all involved. (All of which makes \u003ca href=\"https://www.youtube.com/watch?v=NGRfz5_Cuo8\" target=\"_blank\" rel=\"noopener noreferrer\">Black Eyed Peas’ \u003cem>Tron\u003c/em> musical \u003c/a>in 2011 look perfectly reasonable.)\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>Carol Channing was invited back again two years later, when Ella Fitzgerald and Al Hirt performed a rendition of “Mack the Knife” as part of a single-song “tribute to Louis Armstrong.” And by ’73, Andy Williams had been dragged in to pelt the crowd with two easy listening gems while the Michigan Marching Band did its thing.\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/ny-1Q6qxn-A'\n title='//www.youtube.com/embed/ny-1Q6qxn-A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite the fact that the flashiest thing about Williams’ performance was his belt, in subsequent years, the decision was made to return to simpler times. For the next 15 years, marching bands performing a grab bag of “themes” dominated.\u003c/p>\n\u003cp>These regimented “salutes” ranged from fairly reasonable celebrations (America’s bicentennial, “the Big Band era,” Hollywood’s 100th Anniversary), to totally random subjects (Duke Ellington, the Caribbean, Motown). And in between, there were moments of abject surreality (“World of Children’s Dreams,” “KaleidoSUPERscope” and “Beat of the Future,” anyone?)\u003c/p>\n\u003cp>Occasionally, flagrant advertising would interrupt proceedings—even more so than Pepsi does now. The most egregious example of this was 1977’s “It’s a Small World.” Produced by The Walt Disney Company, the halftime exhibition featured grinning but under-utilized Mouseketeers, a human reproduction of Disneyland’s “It’s a Small World” ride and, for reasons that remain unclear, green-hooded figures waving white sheets in formations that made… nothing.\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/-K-7je-6Dk0'\n title='//www.youtube.com/embed/-K-7je-6Dk0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1987’s “\u003ca href=\"https://www.youtube.com/watch?v=oSXMNbK2e98\" target=\"_blank\" rel=\"noopener noreferrer\">Hollywood’s 100th Anniversary\u003c/a>” special with George Burns, as well as New Kids On The Block’s \u003ca href=\"https://www.youtube.com/watch?v=ZTOt6CjYaHc\" target=\"_blank\" rel=\"noopener noreferrer\">weird, child-laden\u003c/a> set in 1991 also served as thinly-veiled Disney commercials.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13863975","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As late as 1989, the Super Bowl halftime show was such a mess, \u003ca href=\"https://www.youtube.com/watch?v=VqusO8PegFI&t=381s\" target=\"_blank\" rel=\"noopener noreferrer\">the NFL thought nothing of bringing in Elvis Presto, a magician and Elvis impersonator\u003c/a> who spent his time on the field doing one large-scale card trick for the stadium, then a bunch of smaller illusions while singing “Do You Love Me” by The Contours—instead of, you know, an Elvis song.\u003c/p>\n\u003cp>The most noteworthy halftime of that period came in 1988 with a show that answered the question: What happens when you have too many ideas and decide to do all of them at the same time?\u003c/p>\n\u003cp>The final result, featuring 88 grand pianos, 44 Rockettes, four dudes on roller skates, an untold number of “dancersizers,” hundreds of cheerleaders, “the biggest big band ever to swing” and—wouldn’t you know it?—Chubby Checker, is the single most entertaining (and unintentionally hilarious) halftime show of all time. Behold its majesty:\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/wqrksVDVO6w'\n title='//www.youtube.com/embed/wqrksVDVO6w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the last 25 years, the strides made by the Super Bowl halftime show are immense. But we still find reasons to quibble. For every \u003ca href=\"https://www.youtube.com/watch?v=sLrOSZi2pfw\" target=\"_blank\" rel=\"noopener noreferrer\">Destiny’s Child reunion\u003c/a>, there is a \u003ca href=\"https://www.youtube.com/watch?v=0wL8sAr1Ym0\" target=\"_blank\" rel=\"noopener noreferrer\">Bruno Mars trying\u003c/a> (and failing) to make it work with Red Hot Chili Peppers. For every \u003ca href=\"https://www.youtube.com/watch?v=7NN3gsSf-Ys&t=105s\" target=\"_blank\" rel=\"noopener noreferrer\">Prince flawlessly powering through\u003c/a> a thunderstorm, there is an \u003ca href=\"https://www.youtube.com/watch?v=zIwkhEqVq4s\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Levine\u003c/a> assuming that removing his shirt constitutes a grand finale. And for every \u003ca href=\"https://www.youtube.com/watch?v=i4-0nbHFi4o\" target=\"_blank\" rel=\"noopener noreferrer\">inter-generationally loved Bruce Springsteen set\u003c/a>, there’s an \u003ca href=\"https://www.youtube.com/watch?v=X3ik_8QjM3U\" target=\"_blank\" rel=\"noopener noreferrer\">M.I.A. middle finger\u003c/a> or a \u003ca href=\"https://www.kqed.org/pop/20175/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology\" target=\"_blank\" rel=\"noopener noreferrer\">Janet Jackson nipple guard\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_20175","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In 2020, there are three guarantees when it comes to the Super Bowl halftime show. It \u003cem>will\u003c/em> be spectacular, it \u003cem>won’t\u003c/em> please everyone and, even at its worst, it’s still about a million times better than it was in its fledgling years. So this Sunday, if you happen to end up sitting next to someone complaining about Jennifer Lopez and Shakira not shimmying hard enough, feel free to send them a gentle reminder of how bad things used to be. The \u003cem>Peanuts\u003c/em>-related fever dream below ought to do it.\u003c/p>\n\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/X4zzu4Jrl4o'\n title='//www.youtube.com/embed/X4zzu4Jrl4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13873945/the-weird-and-not-very-wonderful-history-of-the-super-bowl-halftime-show","authors":["11242"],"categories":["arts_2303","arts_69","arts_235","arts_75"],"tags":["arts_11323","arts_1942","arts_2767","arts_3114","arts_1118","arts_8273","arts_4417","arts_2797","arts_1712","arts_4919","arts_6012","arts_4506","arts_3842"],"featImg":"arts_13874055","label":"arts"},"news_11672268":{"type":"posts","id":"news_11672268","meta":{"index":"posts_1591205157","site":"news","id":"11672268","score":null,"sort":[1528047563000]},"guestAuthors":[],"slug":"latino-movie-producer-opens-theaters-in-rural-poor-areas","title":"Latino Movie Producer Opens Theaters in Rural, Poor Areas","publishDate":1528047563,"format":"image","headTitle":"The California Report | KQED News","labelTerm":{},"content":"\u003cp>For nearly 10 years, residents in a Central Valley farming community have had to drive nearly 40 miles to see the latest film, a rare trip for some in a place where a third of the population lives in poverty.\u003c/p>\n\u003cp>That all changed in May when Moctesuma Esparza, a Latino movie producer, opened his latest Maya Cinemas theater in Delano in his ongoing effort to open theaters in poor, rural areas in the U.S. that lack entertainment options. The $20 million project gives Delano's 53,000 residents access to recent movie releases in a high-end experience with luxury seating. In 1965, Delano helped spark Cesar Chavez's farm worker union movement.\u003c/p>\n\u003cp>Esparza, who produced the 1997 movie \"Selena\" and has opened up four identical theaters in poor areas in California, said poverty shouldn't sentence residents to \"movie deserts\" where inexpensive leisure is limited. He has vowed to do his part to change the landscape in rural America.\u003c/p>\n\u003cp>For years, rural communities in Appalachia, the American Southwest and the Mississippi Delta have seen small theaters close due to the high cost of technology updates and to economic downturns that discourage investors from taking over struggling movie houses.\u003c/p>\n\u003cp>Data from the National Association of Theater Owners, the trade organization that represents exhibitors, also found that the overall number of U.S. cinema sites fell 25 percent from 1995 to 2018. However, the number of screens spiked 45 percent, largely as a result of an increase in megaplex movie theaters opening in urban areas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The group estimates about 10,000 screens could go dark soon because small independent and rural theaters can't afford to make digital upgrades that modern movies require.\u003c/p>\n\u003cp>Being in a rural area that may lack broadband or have spotty cell service that makes streaming services like Netflix and Hulu difficult to access, combined with the absence of a movie theater, can be isolating or just boring.\u003c/p>\n\u003cp>\"We have nothing out here,\" said Chanika Green, 18, of Shelby, Mississippi, a town of around 3,000 residents two hours south of Memphis, Tennessee. \"No movie theater, nothing. It'd be nice to have something so we could do something.\"\u003c/p>\n\u003cp>The lack of a movie theater and basic leisure like skating rinks hurts struggling regions that have seen jobs leave, said Robby Moore, mayor of Lobelville, Tennessee. Residents in rural areas often have to travel more than an hour to watch a movie.\u003c/p>\n\u003cp>That's why Esparza began building theaters in underserved areas in 2000. The theaters also provide jobs.\u003c/p>\n\u003cp>\"I saw a business opportunity. But what I soon realized was that I have to become a developer, too,\" Esparza said. \"Few people were investing in these communities.\"\u003c/p>\n\u003cfigure id=\"attachment_11672271\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11672271\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/06/GettyImages-89996832-800x1025.jpg\" alt=\"Moctesuma Esparza, a well-known Latino movie producer, opened his latest Maya Cinemas theater in May 2018 in the Central California city of 53,000 people as part of his ongoing effort to open movie theaters in poor, U.S. rural areas that lack basic entertainment options.\" width=\"800\" height=\"1025\">\u003cfigcaption class=\"wp-caption-text\">Moctesuma Esparza, a well-known Latino movie producer, opened his latest Maya Cinemas theater in May 2018 in Delano, a Central California city of 53,000, as part of his ongoing effort to open movie theaters in poor, U.S. rural areas that lack basic entertainment options. \u003ccite>( Alberto E. Rodriguez/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Esparza is erecting megaplex movie theaters in rural Latino areas in California. Besides Delano, theaters have opened in Salinas, Bakersfield, Pittsburg and Fresno.\u003c/p>\n\u003cp>His next theater is being planned for North Las Vegas. He says a developer could do the same for rural areas in Kentucky, West Virginia and the Deep South, if they research the need and build complexes that give moviegoers a special experience.\u003c/p>\n\u003cp>Some states are encouraging local communities to take active steps to bring movies to town.\u003c/p>\n\u003cp>New Mexico announced two years ago that it was joining other states in pushing an initiative to revitalize downtown districts in isolated small towns by rehabilitating aging, historic theaters.\u003c/p>\n\u003cp>An economic development program, similar to efforts in Iowa and Illinois, seeks to save often-forgotten facilities like the Shuler Theater in Raton, New Mexico — a poor and rural area. The program helps refurbish buildings and gives grants for new digital projection and sound equipment.\u003c/p>\n\u003cp>New Mexico officials believe that reviving theaters in ranching towns and small cities near American Indian reservations will help create jobs in struggling downtown districts and spark excitement in entertainment deserts.\u003c/p>\n\u003cp>The Gates Family Foundation also is awarding $10,000 to $30,000 grants to rural communities to purchase new digital equipment for movie theaters.\u003c/p>\n\u003cp>Esparza says that, like food and shelter, all people need the communal experience that movies provide.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Everyone should have a right to dream,\" Esparza said. \"Movies allow people to dream, to think of a world outside their experiences.\"\u003c/p>\n\n","blocks":[],"excerpt":"Moctesuma Esparza opened his latest theater in Delano as part of his ongoing effort to open movie theaters in poor U.S. rural areas that lack basic entertainment options. ","status":"publish","parent":0,"modified":1528155965,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":754},"headData":{"title":"Latino Movie Producer Opens Theaters in Rural, Poor Areas | KQED","description":"Moctesuma Esparza opened his latest theater in Delano as part of his ongoing effort to open movie theaters in poor U.S. rural areas that lack basic entertainment options. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"11672268 https://ww2.kqed.org/news/?p=11672268","disqusUrl":"https://ww2.kqed.org/news/2018/06/03/latino-movie-producer-opens-theaters-in-rural-poor-areas/","disqusTitle":"Latino Movie Producer Opens Theaters in Rural, Poor Areas","source":"Associated Press","nprByline":"\u003cstrong>Russell Contreras\u003c/strong> \u003c/br>Associated Press","path":"/news/11672268/latino-movie-producer-opens-theaters-in-rural-poor-areas","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For nearly 10 years, residents in a Central Valley farming community have had to drive nearly 40 miles to see the latest film, a rare trip for some in a place where a third of the population lives in poverty.\u003c/p>\n\u003cp>That all changed in May when Moctesuma Esparza, a Latino movie producer, opened his latest Maya Cinemas theater in Delano in his ongoing effort to open theaters in poor, rural areas in the U.S. that lack entertainment options. The $20 million project gives Delano's 53,000 residents access to recent movie releases in a high-end experience with luxury seating. In 1965, Delano helped spark Cesar Chavez's farm worker union movement.\u003c/p>\n\u003cp>Esparza, who produced the 1997 movie \"Selena\" and has opened up four identical theaters in poor areas in California, said poverty shouldn't sentence residents to \"movie deserts\" where inexpensive leisure is limited. He has vowed to do his part to change the landscape in rural America.\u003c/p>\n\u003cp>For years, rural communities in Appalachia, the American Southwest and the Mississippi Delta have seen small theaters close due to the high cost of technology updates and to economic downturns that discourage investors from taking over struggling movie houses.\u003c/p>\n\u003cp>Data from the National Association of Theater Owners, the trade organization that represents exhibitors, also found that the overall number of U.S. cinema sites fell 25 percent from 1995 to 2018. However, the number of screens spiked 45 percent, largely as a result of an increase in megaplex movie theaters opening in urban areas.\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 group estimates about 10,000 screens could go dark soon because small independent and rural theaters can't afford to make digital upgrades that modern movies require.\u003c/p>\n\u003cp>Being in a rural area that may lack broadband or have spotty cell service that makes streaming services like Netflix and Hulu difficult to access, combined with the absence of a movie theater, can be isolating or just boring.\u003c/p>\n\u003cp>\"We have nothing out here,\" said Chanika Green, 18, of Shelby, Mississippi, a town of around 3,000 residents two hours south of Memphis, Tennessee. \"No movie theater, nothing. It'd be nice to have something so we could do something.\"\u003c/p>\n\u003cp>The lack of a movie theater and basic leisure like skating rinks hurts struggling regions that have seen jobs leave, said Robby Moore, mayor of Lobelville, Tennessee. Residents in rural areas often have to travel more than an hour to watch a movie.\u003c/p>\n\u003cp>That's why Esparza began building theaters in underserved areas in 2000. The theaters also provide jobs.\u003c/p>\n\u003cp>\"I saw a business opportunity. But what I soon realized was that I have to become a developer, too,\" Esparza said. \"Few people were investing in these communities.\"\u003c/p>\n\u003cfigure id=\"attachment_11672271\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11672271\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/06/GettyImages-89996832-800x1025.jpg\" alt=\"Moctesuma Esparza, a well-known Latino movie producer, opened his latest Maya Cinemas theater in May 2018 in the Central California city of 53,000 people as part of his ongoing effort to open movie theaters in poor, U.S. rural areas that lack basic entertainment options.\" width=\"800\" height=\"1025\">\u003cfigcaption class=\"wp-caption-text\">Moctesuma Esparza, a well-known Latino movie producer, opened his latest Maya Cinemas theater in May 2018 in Delano, a Central California city of 53,000, as part of his ongoing effort to open movie theaters in poor, U.S. rural areas that lack basic entertainment options. \u003ccite>( Alberto E. Rodriguez/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Esparza is erecting megaplex movie theaters in rural Latino areas in California. Besides Delano, theaters have opened in Salinas, Bakersfield, Pittsburg and Fresno.\u003c/p>\n\u003cp>His next theater is being planned for North Las Vegas. He says a developer could do the same for rural areas in Kentucky, West Virginia and the Deep South, if they research the need and build complexes that give moviegoers a special experience.\u003c/p>\n\u003cp>Some states are encouraging local communities to take active steps to bring movies to town.\u003c/p>\n\u003cp>New Mexico announced two years ago that it was joining other states in pushing an initiative to revitalize downtown districts in isolated small towns by rehabilitating aging, historic theaters.\u003c/p>\n\u003cp>An economic development program, similar to efforts in Iowa and Illinois, seeks to save often-forgotten facilities like the Shuler Theater in Raton, New Mexico — a poor and rural area. The program helps refurbish buildings and gives grants for new digital projection and sound equipment.\u003c/p>\n\u003cp>New Mexico officials believe that reviving theaters in ranching towns and small cities near American Indian reservations will help create jobs in struggling downtown districts and spark excitement in entertainment deserts.\u003c/p>\n\u003cp>The Gates Family Foundation also is awarding $10,000 to $30,000 grants to rural communities to purchase new digital equipment for movie theaters.\u003c/p>\n\u003cp>Esparza says that, like food and shelter, all people need the communal experience that movies provide.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Everyone should have a right to dream,\" Esparza said. \"Movies allow people to dream, to think of a world outside their experiences.\"\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11672268/latino-movie-producer-opens-theaters-in-rural-poor-areas","authors":["byline_news_11672268"],"programs":["news_72"],"categories":["news_223","news_8"],"tags":["news_5968","news_22328","news_701","news_4889","news_4731"],"featImg":"news_11672269","label":"source_news_11672268"},"news_11640555":{"type":"posts","id":"news_11640555","meta":{"index":"posts_1591205157","site":"news","id":"11640555","score":null,"sort":[1515351644000]},"guestAuthors":[],"slug":"golden-globes-draws-talent-from-the-northern-part-of-the-golden-state","title":"Golden Globes Draws Talent From the Northern Part of the Golden State","publishDate":1515351644,"format":"standard","headTitle":"News Fix | KQED News","labelTerm":{"term":6944,"site":"news"},"content":"\u003cp>The Golden Globe Awards, a mix of TV, movies and fun, takes place tonight. And the Bay Area will be well-represented.\u003c/p>\n\u003cp>If Oakland’s own Tom Hanks is in a movie, he’s likely at the awards shows as well. That’ll be the case this year with his nomination for Best Performance by an Actor in a Motion Picture Drama for his role as newspaper heavy-hitter Ben Bradlee in “The Post.” \u003c/p>\n\u003cp>Meanwhile, in the Best Actress category, Sacramento is showing off its native child Jessica Chastain, who is up for her gritty portrayal in \"Molly’s Game.\" But, the Bay Area can also claim Chastain as their own since she developed early acting chops at \u003ca href=\"https://theatreworks.org/\" rel=\"noopener\" target=\"_blank\">TheatreWorks Silicon Valley\u003c/a>.\u003c/p>\n\u003cp>Speaking of Silicon Valley, James Franco, the Palo Alto kid who started performing on the stage at Palo Alto High School is recognized this year in multiple categories. He earned a nomination for Best Actor in a Comedy or Musical for his lead role in \"The Disaster Artist,\" a film he also produced and directed. The film is also nominated for Best Motion Picture Comedy or Musical. [contextly_sidebar id=\"AGtRObXvKGShnBKARHptzSGjrriPkADW\"]\u003c/p>\n\u003cp>Franco is still seen down at Palo Alto High School, known locally as \"Paly,\" now and again. In the last few years he’s painted around the campus as well taught some film classes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Daly City gets a nod with a supporting actor nomination going to their own Sam Rockwell for his role in \"Three Billboards Outside Ebbing, Missouri.\"\u003c/p>\n\u003cp>Never rule Emeryville’s Pixar out. They pulled in a nomination for Best Animated Film with their last feature \"Coco.\" The movie earned another nomination with the song \"Remember Me,\" which just happened to be performed by San Francisco native Benjamin Bratt.\u003c/p>\n\u003cp>When it comes to TV, Stanford's alum Issa Rae '07 is nominated for Best Actress in a Comedy or Musical for her show \"Insecure.\" Fellow alum Sterling K. Brown ‘98, from \"This is Us,\" is nominated for Best Actor in a Drama. He will be up against another San Francisco native - Liev Schreiber for his role as Ray Donovan in the show of the same name.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And think how much other talent from the Bay Area has made an impact on the films of 2017. Not bad.\u003c/p>\n\n","blocks":[],"excerpt":"The Bay Area will be well-represented in tonight's Golden Globe Awards. ","status":"publish","parent":0,"modified":1515347300,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":391},"headData":{"title":"Golden Globes Draws Talent From the Northern Part of the Golden State | KQED","description":"The Bay Area will be well-represented in tonight's Golden Globe Awards. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"11640555 https://ww2.kqed.org/news/?p=11640555","disqusUrl":"https://ww2.kqed.org/news/2018/01/07/golden-globes-draws-talent-from-the-northern-part-of-the-golden-state/","disqusTitle":"Golden Globes Draws Talent From the Northern Part of the Golden State","path":"/news/11640555/golden-globes-draws-talent-from-the-northern-part-of-the-golden-state","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Golden Globe Awards, a mix of TV, movies and fun, takes place tonight. And the Bay Area will be well-represented.\u003c/p>\n\u003cp>If Oakland’s own Tom Hanks is in a movie, he’s likely at the awards shows as well. That’ll be the case this year with his nomination for Best Performance by an Actor in a Motion Picture Drama for his role as newspaper heavy-hitter Ben Bradlee in “The Post.” \u003c/p>\n\u003cp>Meanwhile, in the Best Actress category, Sacramento is showing off its native child Jessica Chastain, who is up for her gritty portrayal in \"Molly’s Game.\" But, the Bay Area can also claim Chastain as their own since she developed early acting chops at \u003ca href=\"https://theatreworks.org/\" rel=\"noopener\" target=\"_blank\">TheatreWorks Silicon Valley\u003c/a>.\u003c/p>\n\u003cp>Speaking of Silicon Valley, James Franco, the Palo Alto kid who started performing on the stage at Palo Alto High School is recognized this year in multiple categories. He earned a nomination for Best Actor in a Comedy or Musical for his lead role in \"The Disaster Artist,\" a film he also produced and directed. The film is also nominated for Best Motion Picture Comedy or Musical. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Franco is still seen down at Palo Alto High School, known locally as \"Paly,\" now and again. In the last few years he’s painted around the campus as well taught some film classes.\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>Daly City gets a nod with a supporting actor nomination going to their own Sam Rockwell for his role in \"Three Billboards Outside Ebbing, Missouri.\"\u003c/p>\n\u003cp>Never rule Emeryville’s Pixar out. They pulled in a nomination for Best Animated Film with their last feature \"Coco.\" The movie earned another nomination with the song \"Remember Me,\" which just happened to be performed by San Francisco native Benjamin Bratt.\u003c/p>\n\u003cp>When it comes to TV, Stanford's alum Issa Rae '07 is nominated for Best Actress in a Comedy or Musical for her show \"Insecure.\" Fellow alum Sterling K. Brown ‘98, from \"This is Us,\" is nominated for Best Actor in a Drama. He will be up against another San Francisco native - Liev Schreiber for his role as Ray Donovan in the show of the same name.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And think how much other talent from the Bay Area has made an impact on the films of 2017. Not bad.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11640555/golden-globes-draws-talent-from-the-northern-part-of-the-golden-state","authors":["11293"],"programs":["news_6944"],"categories":["news_223","news_8"],"tags":["news_22328","news_22329","news_701","news_3414"],"featImg":"news_11640566","label":"news_6944"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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You ask the questions. You decide what Bay Curious investigates. 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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. 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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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Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.","airtime":"MON-FRI 3am-9am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/morning-edition/","meta":{"site":"news","source":"npr"},"link":"/radio/program/morning-edition"},"onourwatch":{"id":"onourwatch","title":"On Our Watch","tagline":"Police secrets, unsealed","info":"For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. 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