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Not only were they unworthy of \u003cem>The Twilight Zone\u003c/em> of old, but they also weren't nearly as good, or as smart, as a show that had begun in England in 2011,\u003cem> Black Mirror.\u003c/em>\u003c/p>\n\u003cp>Watching \u003cem>Black Mirror\u003c/em>'s three brand-new installments on Netflix makes it clear that the series, in our current TV universe, claims and holds the fantasy anthology series crown. Charlie Brooker and Annabel Jones head the team behind this show, which uses the technology of today—and the possible technology of tomorrow—to frame, inform or drive its stories.\u003c/p>\n\u003cp>Brooker wrote all three of these new episodes, and their scope is as wide as their impact is deep. One story is about a pop star whose personality is marketed in an Alexa-style computer figurine. Another is about a driver for an Uber-type company who blames a social media company for his personal tragedy. And a third—the most haunting and daring of the three—is about two buddies who try out a new, virtual reality version of a favorite hand-to-hand combat video game they played some 10 years earlier.\u003c/p>\n\u003cp>The video game episode is titled \"Striking Vipers,\" after the new VR game, and it's my favorite of the three, because I haven't been able to stop thinking about it. I was pretty sure I knew where this episode was going once the two characters dove into their game, but I was so wrong—and the larger questions that began being posed were so challenging—that I ended up being as blown away by the ideas as by the truly dazzling special effects.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2bVik34nWws\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That's not to slight the other new episodes, by the way. Each of them creates a new world, introduces new characters and sets in motion a story that ultimately goes deep in very uncharted territory. The episode called \"Smithereens\" stars Andrew Scott—the sexy priest \u003ca href=\"https://www.npr.org/2019/05/16/723961358/fleabag-returns-for-a-raunchy-2nd-season-and-quits-while-it-s-ahead\">in the new season of\u003c/a> Amazon's \u003cem>Fleabag\u003c/em>—as a hired driver who kidnaps a passenger. That passenger is played by Damson Idris—who, oddly enough, also appears in the new \u003cem>Twilight Zone\u003c/em> series. In that show's time-loop episode, called \"Replay,\" he plays a student heading for college who is confronted by one dangerous situation after another.\u003c/p>\n\u003cp>The \u003cem>Black Mirror\u003c/em> episode titled \"Rachel, Jack and Ashley Too\" stars Miley Cyrus as a pink-wigged pop star whose manipulative manager has found a new way to exploit her using a tiny new high-tech toy called Ashley Too. The toy, which is part artificial intelligence, part talking-and-dancing action figure, is aimed at teenage fans. And it clearly hits the target when a young girl named Rachel (Angourie Rice) gets Ashley Too as a gift, and turns it on with a voice command.\u003c/p>\n\u003cp>Fans of the original \u003cem>Twilight Zone\u003c/em> may be flashing back to the spooky \"Living Doll\" episode, in which a talking doll named Talky Tina ended up terrorizing Telly Savalas—and jumpstarting a generation of \u003cem>Chucky \u003c/em>movies. But once again, \u003cem>Black Mirror \u003c/em>is interested in going somewhere new. By the end, not only do we get a strong performance from Cyrus—but we also get to consider some very intriguing questions about the nature of celebrity, and the limits and expectations of fandom.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Notice that I've said almost nothing about what actually happens in these new episodes. That's because originality and uncertainty and unpredictability aren't just ingredients in the \u003cem>Black Mirror\u003c/em> stew. They \u003cem>are \u003c/em>the stew. And to experience just how good, and how different, this anthology series is—and has been, from the very start—you just have to sample it for yourself.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Originality+And+Uncertainty+Still+Reign+As+%27Black+Mirror%27+Enters+Its+5th+Season&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"The anthology series returns to Netflix with three thought-provoking new installments that help solidify the show's hold on the fantasy anthology series crown.","status":"publish","parent":0,"modified":1559804639,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":677},"headData":{"title":"Shocking Surprises Still Reign in 'Black Mirror' Season 5 | KQED","description":"The anthology series returns to Netflix with three thought-provoking new installments that help solidify the show's hold on the fantasy anthology series crown.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"112270 https://ww2.kqed.org/pop/?p=112270","disqusUrl":"https://ww2.kqed.org/pop/2019/06/05/horrifying-surprises-still-reign-supreme-in-season-5-of-black-mirror/","disqusTitle":"Shocking Surprises Still Reign in 'Black Mirror' Season 5","nprByline":"David Bianculli","nprImageAgency":"Netflix","nprStoryId":"729701805","nprApiLink":"http://api.npr.org/query?id=729701805&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/06/05/729701805/originality-and-uncertainty-still-reign-as-black-mirror-enters-its-5th-season?ft=nprml&f=729701805","nprRetrievedStory":"1","nprPubDate":"Wed, 05 Jun 2019 13:37:00 -0400","nprStoryDate":"Wed, 05 Jun 2019 11:40:49 -0400","nprLastModifiedDate":"Wed, 05 Jun 2019 12:31:28 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2019/06/20190605_fa_02.mp3?orgId=427869011&topicId=1163&d=457&p=13&story=729701805&ft=nprml&f=729701805","nprAudioM3u":"http://api.npr.org/m3u/1729997932-897199.m3u?orgId=427869011&topicId=1163&d=457&p=13&story=729701805&ft=nprml&f=729701805","audioTrackLength":458,"path":"/pop/112270/horrifying-surprises-still-reign-supreme-in-season-5-of-black-mirror","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2019/06/20190605_fa_02.mp3?orgId=427869011&topicId=1163&d=457&p=13&story=729701805&ft=nprml&f=729701805","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When CBS All Access unveiled its new version of \u003cem>The Twilight Zone\u003c/em> earlier this year, the general consensus was that the initial episodes in the new series had \u003ca href=\"https://www.npr.org/2019/03/29/707977719/new-twilight-zone-reboot-pales-in-comparison-to-the-original\">fallen short\u003c/a> of Rod Serling's original version. Not only were they unworthy of \u003cem>The Twilight Zone\u003c/em> of old, but they also weren't nearly as good, or as smart, as a show that had begun in England in 2011,\u003cem> Black Mirror.\u003c/em>\u003c/p>\n\u003cp>Watching \u003cem>Black Mirror\u003c/em>'s three brand-new installments on Netflix makes it clear that the series, in our current TV universe, claims and holds the fantasy anthology series crown. Charlie Brooker and Annabel Jones head the team behind this show, which uses the technology of today—and the possible technology of tomorrow—to frame, inform or drive its stories.\u003c/p>\n\u003cp>Brooker wrote all three of these new episodes, and their scope is as wide as their impact is deep. One story is about a pop star whose personality is marketed in an Alexa-style computer figurine. Another is about a driver for an Uber-type company who blames a social media company for his personal tragedy. And a third—the most haunting and daring of the three—is about two buddies who try out a new, virtual reality version of a favorite hand-to-hand combat video game they played some 10 years earlier.\u003c/p>\n\u003cp>The video game episode is titled \"Striking Vipers,\" after the new VR game, and it's my favorite of the three, because I haven't been able to stop thinking about it. I was pretty sure I knew where this episode was going once the two characters dove into their game, but I was so wrong—and the larger questions that began being posed were so challenging—that I ended up being as blown away by the ideas as by the truly dazzling special effects.\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/2bVik34nWws'\n title='//www.youtube.com/embed/2bVik34nWws'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That's not to slight the other new episodes, by the way. Each of them creates a new world, introduces new characters and sets in motion a story that ultimately goes deep in very uncharted territory. The episode called \"Smithereens\" stars Andrew Scott—the sexy priest \u003ca href=\"https://www.npr.org/2019/05/16/723961358/fleabag-returns-for-a-raunchy-2nd-season-and-quits-while-it-s-ahead\">in the new season of\u003c/a> Amazon's \u003cem>Fleabag\u003c/em>—as a hired driver who kidnaps a passenger. That passenger is played by Damson Idris—who, oddly enough, also appears in the new \u003cem>Twilight Zone\u003c/em> series. In that show's time-loop episode, called \"Replay,\" he plays a student heading for college who is confronted by one dangerous situation after another.\u003c/p>\n\u003cp>The \u003cem>Black Mirror\u003c/em> episode titled \"Rachel, Jack and Ashley Too\" stars Miley Cyrus as a pink-wigged pop star whose manipulative manager has found a new way to exploit her using a tiny new high-tech toy called Ashley Too. The toy, which is part artificial intelligence, part talking-and-dancing action figure, is aimed at teenage fans. And it clearly hits the target when a young girl named Rachel (Angourie Rice) gets Ashley Too as a gift, and turns it on with a voice command.\u003c/p>\n\u003cp>Fans of the original \u003cem>Twilight Zone\u003c/em> may be flashing back to the spooky \"Living Doll\" episode, in which a talking doll named Talky Tina ended up terrorizing Telly Savalas—and jumpstarting a generation of \u003cem>Chucky \u003c/em>movies. But once again, \u003cem>Black Mirror \u003c/em>is interested in going somewhere new. By the end, not only do we get a strong performance from Cyrus—but we also get to consider some very intriguing questions about the nature of celebrity, and the limits and expectations of fandom.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Notice that I've said almost nothing about what actually happens in these new episodes. That's because originality and uncertainty and unpredictability aren't just ingredients in the \u003cem>Black Mirror\u003c/em> stew. They \u003cem>are \u003c/em>the stew. And to experience just how good, and how different, this anthology series is—and has been, from the very start—you just have to sample it for yourself.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Originality+And+Uncertainty+Still+Reign+As+%27Black+Mirror%27+Enters+Its+5th+Season&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/112270/horrifying-surprises-still-reign-supreme-in-season-5-of-black-mirror","authors":["byline_pop_112270"],"categories":["pop_3"],"tags":["pop_3114","pop_3116","pop_721","pop_438","pop_648","pop_3439"],"featImg":"pop_112274","label":"pop"},"pop_108198":{"type":"posts","id":"pop_108198","meta":{"index":"posts_1591205157","site":"pop","id":"108198","score":null,"sort":[1546049266000]},"guestAuthors":[],"slug":"black-mirror-bandersnatch-makes-you-choose-your-own-adventure","title":"'Black Mirror: Bandersnatch' Makes You Choose Your Own Adventure","publishDate":1546049266,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Netflix is hungry, and it's got its eye on a juicy slice of interactivity.\u003c/p>\n\u003cp>The streaming service started its originals business with prestige dramas and comedies. But its appetite increases, and now it also wants to be your source for holiday schlock, baking competitions, home renovation shows, documentaries, animation, stand-up specials, and romantic comedies. And it's looking for new areas that it can own, new ways it can make itself essential, new worlds it can dominate. A new film that can follow a variety of paths depending on choices made by the viewer—a film that's almost a game—is the next direction it would like to stomp its giant feet.\u003c/p>\n\u003cp>\u003cem>Black Mirror\u003c/em>, a science fiction anthology series focused on the horrors of technology, was originally on British television. Now, Netflix makes it directly for its streaming service. On Friday, \u003cem>Black Mirror \u003c/em>released its latest installment, called \u003cem>Black Mirror: Bandersnatch\u003c/em>. Set in 1984, it's about a young programmer named Stefan working on a game adaptation of a famous \"choose your own adventure\" book. For those who aren't familiar, CYOA books (which really existed) are books where at certain points, the story asks you to make a decision. Something like, \"If you pick up the stick, turn to page 49. If you leave the stick on the ground, turn to page 51.\" And you would follow the story from there. CYOA was an elementary, low-tech version of interactivity, long before today's complex open-world games were available.\u003c/p>\n\u003cp>The innovation of \u003cem>Bandersnatch \u003c/em>itself is that it functions similarly. While you're watching the film, on Netflix, on your television, a choice will come up on the screen, and you'll use your remote (or your computer or finger or whatever) to choose the option you want. The first choice, for instance, is what Stefan will have for breakfast from the two cereals his father shows him. Whichever you choose, that's what you see his father hand him. As you can imagine, the choices grow more significant than that later in the film.\u003c/p>\n\u003cp>It would have been good to see this technology demonstrated on a stronger story. While it obviously makes sense for Stefan to be developing a CYOA game inside a Netflix CYOA movie about him—that's kind of the joke—you don't really learn enough about who he is to care about him. Sure, he's getting angry and wondering if he's losing it while he works on his game, but that's pretty elementary \"isolated artist who might go mad\" stuff, and it doesn't really hold up a narrative on its own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But while the story sags a bit, the execution is largely seamless. There's a lull in the action while you make each choice (if you don't choose, there's always a default option), but it generally doesn't actually hitch or pause or hiccup before it continues. It rolls right on, as instructed by you. Should Stefan say yes or no to a tempting offer? Should he take medication or not? Should he listen to the Thompson Twins or a compilation cassette?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XM0xWpBYlNM\u003c/p>\n\u003cp>The novelty is interesting, and in a couple of places, the story flirts with some great ideas about control and free will that have a connection to the very fact that you are—to some degree—dictating the narrative you see. \u003cem>Bandersnatch\u003c/em> has a couple of classic \u003cem>Black Mirror\u003c/em>-ish tricks to spring, and on a first viewing (which might take you an hour and a half or so), they're a lot of fun.\u003c/p>\n\u003cp>But this is a long way from being a fully developed concept that Netflix can deploy for other forms like romances or comedies (as representatives have suggested it might). There's just a distance, not yet bridged, between what a movie is and what a CYOA book is—let alone what a game is.\u003c/p>\n\u003cp>After the first time you follow \u003cem>Bandersnatch \u003c/em>through to one of what Netflix says are its five endings, it quickly becomes tiresome to try to find others. Fast forward and rewind are of limited use—you can jump 10 seconds ahead or back, but only within the unbroken segment you're watching, between the last choice you made and the next one. That means you can't, for instance, make a choice and then jump back past the choice point and try the other one, like you can with a CYOA book. The software \u003cem>sort of \u003c/em>behaves like it remembers what you've already seen, but in part for technical reasons and in part because a lot of segments look alike and happen in the same settings and involve the same elements, you can't immediately say, \"Oh, I've seen this part\" and double back. (Again, this is crucial to CYOA navigation on paper.)\u003c/p>\n\u003cp>As for comparisons to games, in games where people are willing to try again and again to reach the end of a sprawling game, they're usually trying to solve puzzles or develop game skills. They have to figure out how to beat that monster, open that bridge, get past that gate. But here, trying to find all the variations is just a matter of guessing, wandering through binary choices until something happens that you haven't already seen. When the rubber hits the road, a film is still linear in a way that a book isn't. Trying to see what other options might lead to, I wound up watching scenes six or seven times that were not interesting enough to watch six or seven times.\u003c/p>\n\u003cfigure id=\"attachment_108199\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-108199\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-800x450.jpg\" alt=\"Fionn Whitehead plays Stefan, a programmer creating a mid-'80s adventure game in 'Black Mirror: Bandersnatch'.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-1020x573.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-520x292.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb.jpg 1336w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fionn Whitehead plays Stefan, a programmer creating a mid-'80s adventure game in 'Black Mirror: Bandersnatch'.\u003c/figcaption>\u003c/figure>\n\u003cp>There are also some moments that I found deeply frustrating where there aren't really two choices—there's only one, in that the other creates a loop where you're simply shown the same segment of story again to force you into choosing the one that will actually move you forward. Similarly, Stefan jolts awake quite a lot, and sometimes it's clearly just a way to push you into a new situation.\u003c/p>\n\u003cp>More troublesome is the fact that because many choices lead to the same outcomes and many paths form loops, the story can't help but lose its narrative integrity as you experiment with it. When you've already seen it once all the way through and you keep exploring, you'll keep thinking, \"Did the event I'm remembering already happen in this version I'm watching now, or only in the first one?\" There's some effort to make this a feature rather than a bug with a lot of jabber about time and a story that is partly about losing your grip on reality. But that makes for a pretty flimsy explanation of what becomes a pretty tedious viewing experience.\u003c/p>\n\u003cp>It's easy to write all this off under \"they meant to do that.\" You could choose to believe that it's intentional that the story falls apart and that you become disoriented and can't figure out what's occurred in this version and what hasn't. But you're probably not supposed to be \u003cem>bored\u003c/em>, which I eventually was. And you're probably not supposed to realize you don't actually care what happens to any of the people, which I eventually did.\u003c/p>\n\u003cp>This is a piece of television that is especially eager to convince you to view it more than once—multiple viewings with their attendant obsessives are surely one upside of interactivity. Unfortunately, it's especially poorly suited to being watched more than once. After your first time through, when you'll see most of the things that are interesting about it (including some that are charmingly self-referential bordering on \"cute\"), you're likely to experience rapidly diminishing returns as you try to find things within the story itself to pay attention to. In fact, you may even wind up aggravated, muttering to yourself, \"QUIT SHOWING ME THE SAME SCENE IN THE RECORD STORE.\" (Just, you know. For example.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Experimentation is good. Just getting this thing onto a streaming platform in a workable and intact condition is a huge accomplishment. And parts of \u003cem>Bandersnatch \u003c/em>are undeniably clever. But this model is still the smart watch of television, if you will—kind of a cool gadget to mess around with, and good for certain things. But it's not anything you particularly need, and it's not ready to replace the things it might hope to convince you it can render obsolete.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Black+Mirror%3A+Bandersnatch%27+Makes+You+Choose+Your+Own+Adventure&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Netflix premiered its first interactive film for adults on Friday—a clever concept that offers a glimpse of TV's future potential.","status":"publish","parent":0,"modified":1546049266,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1471},"headData":{"title":"'Black Mirror: Bandersnatch' Makes You Choose Your Own Adventure | KQED","description":"Netflix premiered its first interactive film for adults on Friday—a clever concept that offers a glimpse of TV's future potential.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"108198 https://ww2.kqed.org/pop/?p=108198","disqusUrl":"https://ww2.kqed.org/pop/2018/12/28/black-mirror-bandersnatch-makes-you-choose-your-own-adventure/","disqusTitle":"'Black Mirror: Bandersnatch' Makes You Choose Your Own Adventure","nprByline":"Linda Holmes","nprImageAgency":"Netflix","nprStoryId":"680671691","nprApiLink":"http://api.npr.org/query?id=680671691&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2018/12/28/680671691/black-mirror-bandersnatch-makes-you-choose-your-own-adventure?ft=nprml&f=680671691","nprRetrievedStory":"1","nprPubDate":"Fri, 28 Dec 2018 19:44:00 -0500","nprStoryDate":"Fri, 28 Dec 2018 15:29:00 -0500","nprLastModifiedDate":"Fri, 28 Dec 2018 18:36:09 -0500","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2018/12/20181228_atc_interactive_black_mirror.mp3?orgId=1&topicId=1163&aggIds=93568166&d=208&p=2&story=680671691&ft=nprml&f=680671691","nprAudioM3u":"http://api.npr.org/m3u/1680821279-84c344.m3u?orgId=1&topicId=1163&aggIds=93568166&d=208&p=2&story=680671691&ft=nprml&f=680671691","audioTrackLength":209,"path":"/pop/108198/black-mirror-bandersnatch-makes-you-choose-your-own-adventure","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2018/12/20181228_atc_interactive_black_mirror.mp3?orgId=1&topicId=1163&aggIds=93568166&d=208&p=2&story=680671691&ft=nprml&f=680671691","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Netflix is hungry, and it's got its eye on a juicy slice of interactivity.\u003c/p>\n\u003cp>The streaming service started its originals business with prestige dramas and comedies. But its appetite increases, and now it also wants to be your source for holiday schlock, baking competitions, home renovation shows, documentaries, animation, stand-up specials, and romantic comedies. And it's looking for new areas that it can own, new ways it can make itself essential, new worlds it can dominate. A new film that can follow a variety of paths depending on choices made by the viewer—a film that's almost a game—is the next direction it would like to stomp its giant feet.\u003c/p>\n\u003cp>\u003cem>Black Mirror\u003c/em>, a science fiction anthology series focused on the horrors of technology, was originally on British television. Now, Netflix makes it directly for its streaming service. On Friday, \u003cem>Black Mirror \u003c/em>released its latest installment, called \u003cem>Black Mirror: Bandersnatch\u003c/em>. Set in 1984, it's about a young programmer named Stefan working on a game adaptation of a famous \"choose your own adventure\" book. For those who aren't familiar, CYOA books (which really existed) are books where at certain points, the story asks you to make a decision. Something like, \"If you pick up the stick, turn to page 49. If you leave the stick on the ground, turn to page 51.\" And you would follow the story from there. CYOA was an elementary, low-tech version of interactivity, long before today's complex open-world games were available.\u003c/p>\n\u003cp>The innovation of \u003cem>Bandersnatch \u003c/em>itself is that it functions similarly. While you're watching the film, on Netflix, on your television, a choice will come up on the screen, and you'll use your remote (or your computer or finger or whatever) to choose the option you want. The first choice, for instance, is what Stefan will have for breakfast from the two cereals his father shows him. Whichever you choose, that's what you see his father hand him. As you can imagine, the choices grow more significant than that later in the film.\u003c/p>\n\u003cp>It would have been good to see this technology demonstrated on a stronger story. While it obviously makes sense for Stefan to be developing a CYOA game inside a Netflix CYOA movie about him—that's kind of the joke—you don't really learn enough about who he is to care about him. Sure, he's getting angry and wondering if he's losing it while he works on his game, but that's pretty elementary \"isolated artist who might go mad\" stuff, and it doesn't really hold up a narrative on its own.\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>But while the story sags a bit, the execution is largely seamless. There's a lull in the action while you make each choice (if you don't choose, there's always a default option), but it generally doesn't actually hitch or pause or hiccup before it continues. It rolls right on, as instructed by you. Should Stefan say yes or no to a tempting offer? Should he take medication or not? Should he listen to the Thompson Twins or a compilation cassette?\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/XM0xWpBYlNM'\n title='//www.youtube.com/embed/XM0xWpBYlNM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The novelty is interesting, and in a couple of places, the story flirts with some great ideas about control and free will that have a connection to the very fact that you are—to some degree—dictating the narrative you see. \u003cem>Bandersnatch\u003c/em> has a couple of classic \u003cem>Black Mirror\u003c/em>-ish tricks to spring, and on a first viewing (which might take you an hour and a half or so), they're a lot of fun.\u003c/p>\n\u003cp>But this is a long way from being a fully developed concept that Netflix can deploy for other forms like romances or comedies (as representatives have suggested it might). There's just a distance, not yet bridged, between what a movie is and what a CYOA book is—let alone what a game is.\u003c/p>\n\u003cp>After the first time you follow \u003cem>Bandersnatch \u003c/em>through to one of what Netflix says are its five endings, it quickly becomes tiresome to try to find others. Fast forward and rewind are of limited use—you can jump 10 seconds ahead or back, but only within the unbroken segment you're watching, between the last choice you made and the next one. That means you can't, for instance, make a choice and then jump back past the choice point and try the other one, like you can with a CYOA book. The software \u003cem>sort of \u003c/em>behaves like it remembers what you've already seen, but in part for technical reasons and in part because a lot of segments look alike and happen in the same settings and involve the same elements, you can't immediately say, \"Oh, I've seen this part\" and double back. (Again, this is crucial to CYOA navigation on paper.)\u003c/p>\n\u003cp>As for comparisons to games, in games where people are willing to try again and again to reach the end of a sprawling game, they're usually trying to solve puzzles or develop game skills. They have to figure out how to beat that monster, open that bridge, get past that gate. But here, trying to find all the variations is just a matter of guessing, wandering through binary choices until something happens that you haven't already seen. When the rubber hits the road, a film is still linear in a way that a book isn't. Trying to see what other options might lead to, I wound up watching scenes six or seven times that were not interesting enough to watch six or seven times.\u003c/p>\n\u003cfigure id=\"attachment_108199\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-108199\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-800x450.jpg\" alt=\"Fionn Whitehead plays Stefan, a programmer creating a mid-'80s adventure game in 'Black Mirror: Bandersnatch'.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-1020x573.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb-520x292.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/bm_bandersnatch_wide-2491fa1aba6020d4b8394c114674f41ab44a3edb.jpg 1336w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fionn Whitehead plays Stefan, a programmer creating a mid-'80s adventure game in 'Black Mirror: Bandersnatch'.\u003c/figcaption>\u003c/figure>\n\u003cp>There are also some moments that I found deeply frustrating where there aren't really two choices—there's only one, in that the other creates a loop where you're simply shown the same segment of story again to force you into choosing the one that will actually move you forward. Similarly, Stefan jolts awake quite a lot, and sometimes it's clearly just a way to push you into a new situation.\u003c/p>\n\u003cp>More troublesome is the fact that because many choices lead to the same outcomes and many paths form loops, the story can't help but lose its narrative integrity as you experiment with it. When you've already seen it once all the way through and you keep exploring, you'll keep thinking, \"Did the event I'm remembering already happen in this version I'm watching now, or only in the first one?\" There's some effort to make this a feature rather than a bug with a lot of jabber about time and a story that is partly about losing your grip on reality. But that makes for a pretty flimsy explanation of what becomes a pretty tedious viewing experience.\u003c/p>\n\u003cp>It's easy to write all this off under \"they meant to do that.\" You could choose to believe that it's intentional that the story falls apart and that you become disoriented and can't figure out what's occurred in this version and what hasn't. But you're probably not supposed to be \u003cem>bored\u003c/em>, which I eventually was. And you're probably not supposed to realize you don't actually care what happens to any of the people, which I eventually did.\u003c/p>\n\u003cp>This is a piece of television that is especially eager to convince you to view it more than once—multiple viewings with their attendant obsessives are surely one upside of interactivity. Unfortunately, it's especially poorly suited to being watched more than once. After your first time through, when you'll see most of the things that are interesting about it (including some that are charmingly self-referential bordering on \"cute\"), you're likely to experience rapidly diminishing returns as you try to find things within the story itself to pay attention to. In fact, you may even wind up aggravated, muttering to yourself, \"QUIT SHOWING ME THE SAME SCENE IN THE RECORD STORE.\" (Just, you know. For example.)\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>Experimentation is good. Just getting this thing onto a streaming platform in a workable and intact condition is a huge accomplishment. And parts of \u003cem>Bandersnatch \u003c/em>are undeniably clever. But this model is still the smart watch of television, if you will—kind of a cool gadget to mess around with, and good for certain things. But it's not anything you particularly need, and it's not ready to replace the things it might hope to convince you it can render obsolete.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Black+Mirror%3A+Bandersnatch%27+Makes+You+Choose+Your+Own+Adventure&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/108198/black-mirror-bandersnatch-makes-you-choose-your-own-adventure","authors":["byline_pop_108198"],"categories":["pop_3"],"tags":["pop_3114","pop_3341","pop_438"],"featImg":"pop_108201","label":"pop"},"pop_98580":{"type":"posts","id":"pop_98580","meta":{"index":"posts_1591205157","site":"pop","id":"98580","score":null,"sort":[1516224526000]},"guestAuthors":[],"slug":"black-mirror-and-electric-dreams-are-this-generations-twilight-zone","title":"'Black Mirror' and 'Electric Dreams' Are This Generation's 'Twilight Zone'","publishDate":1516224526,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Some TV genres are perennials. They've been around since the early days of television, and probably are never going away — weekly drama series featuring doctors or cops, for example.\u003c/p>\n\u003cp>Other TV genres are like locusts. They get buried, lying dormant, until they suddenly resurface. On prime time TV, the game show was dead for decades until \u003ca href=\"http://www.imdb.com/title/tt0231033/?ref_=fn_al_tt_3\">\u003cem>Who Wants to Be a Millionaire?\u003c/em>\u003c/a> brought it back. And quite recently, Netflix's \u003cem>\u003ca href=\"http://www.imdb.com/title/tt5516154/?ref_=fn_al_tt_1\">Godless\u003c/a>,\u003c/em> like HBO's \u003ca href=\"http://www.imdb.com/title/tt0348914/?ref_=fn_al_tt_1\">\u003cem>Deadwood\u003c/em>\u003c/a> years before it, did its best to try and revive the TV Western.\u003c/p>\n\u003cp>But no genre on television, in this century, has had a bigger and better resurgence than the anthology series. In the early golden age of TV, these shows were performed live, with programs like \u003cem>Kraft Television Theatre\u003c/em> and \u003cem>Goodyear Television Playhouse\u003c/em> presenting great dramas like Rod Serling's \u003cem>Requiem for a Heavyweight\u003c/em> and Paddy Chayefsky's \u003cem>Marty\u003c/em>.\u003c/p>\n\u003cp>Then came filmed anthology shows, often hosted by the program's creators: writer Serling, again, with \u003ca href=\"http://www.imdb.com/title/tt0052520/?ref_=fn_al_tt_1\">\u003cem>The Twilight Zone\u003c/em>\u003c/a>, and director Alfred Hitchcock with \u003ca href=\"http://www.imdb.com/title/tt0047708/?ref_=fn_al_tt_1\">\u003cem>Alfred Hitchcock Presents.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Eventually, this genre lost out to the weekly dramatic series, where the same protagonist returned every week in a format that was easier to promote and prolong. But TV lost something in the process — the thrill of uncertainty, where anything can happen, and any character can be in real danger and even die, and stories can actually wrap up in relatively quick fashion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, almost out of nowhere, the anthology series is back — and in some cases, literally is bigger than ever.\u003c/p>\n\u003cp>The modern standard-issue anthology shows are actually post-modern, and basically deal with themes of technology versus humanity. The best of them is Charlie Brooker's \u003ca href=\"http://www.imdb.com/title/tt2085059/?ref_=fn_al_tt_1\">\u003cem>Black Mirror\u003c/em>\u003c/a>, which began in England and now is co-produced by Netflix.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5ELQ6u_5YYM\u003c/p>\n\u003cp>Last year, an expanded \u003cem>Black Mirror\u003c/em> episode won a pair of Emmys. This year, with an \u003ca href=\"https://ww2.kqed.org/pop/2017/12/29/in-season-4-of-black-mirror-power-corrupts-but-love-still-matters/\">expanded episode called \"USS Callister,\"\u003c/a> I expect it may do the same. It's a wonderful story about a character trapped against her will in an alternate computerized reality — the same idea also explored, right now on TV, in a stand-alone episode of Fox's \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0106179/?ref_=fn_al_tt_1\">The X-Files\u003c/a>,\u003c/em> and in an episode of yet another anthology series, Amazon's \u003cem>\u003ca href=\"http://www.imdb.com/title/tt5711280/?ref_=nv_sr_1\">Electric Dreams\u003c/a>,\u003c/em> based on the stories of Philip K. Dick.\u003c/p>\n\u003cp>Dick is the science-fiction writer who, some 50 years ago, wrote the stories that later inspired the movies \u003ca href=\"http://www.imdb.com/title/tt0083658/?ref_=fn_al_tt_1\">\u003cem>Blade Runner\u003c/em>\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0100802/?ref_=fn_al_tt_1\">\u003cem>Total Recall\u003c/em> \u003c/a>and \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0181689/?ref_=fn_al_tt_1\">Minority Report\u003c/a>.\u003c/em> For this new series, which includes \u003ca href=\"https://www.npr.org/2014/03/27/295246908/from-walter-white-to-lbj-bryan-cranston-is-a-master-of-transformation\">Bryan Cranston\u003c/a> of \u003ca href=\"http://www.imdb.com/title/tt0903747/?ref_=fn_al_tt_1\">\u003cem>Breaking Bad\u003c/em>\u003c/a> as one of its executive producers and stars, the old stories are adapted very freely — sometimes almost unrecognizably, but usually with impressive results.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RtX_LVwEJhA\u003c/p>\n\u003cp>One of the best adaptations, called \"Safe and Sound,\" is based on a 1955 Dick story called \"Foster, You're Dead.\" The original story was about a high-school boy whose family buys the newest model of bomb shelter, only to have it prove instantly obsolete.\u003c/p>\n\u003cp>In this new TV version, Foster is a girl, and the new technology isn't a bomb shelter. It's a Siri-type artificial intelligence that is implanted into her head when she sticks some high-tech gel in her ear. That's the latest gotta-have consumer item in this version — or is she just imagining it? Because, in this story about paranoia, the voice in Foster's head may just be... a voice in Foster's head. Especially when it instructs her to do some crazy-sounding things, like searching for anthills or planning an act of terrorism on her own high school.\u003c/p>\n\u003cp>The beauty of the anthology series is that anything could happen — even to a character like Foster. In the past few years, TV has taken this idea and expanded it, coming up with extended narratives, lasting 10 episodes or so, that end, then return with all-new casts and stories.\u003c/p>\n\u003cp>The FX network is the pioneer here. Ryan Murphy has presented seven very different seasons so far of \u003cem>\u003ca href=\"http://www.imdb.com/title/tt1844624/?ref_=nv_sr_1\">American Horror Story\u003c/a>,\u003c/em> and has just followed his superb \u003cem>American Crime Story\u003c/em> entry, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt2788432/?ref_=fn_al_tt_2\">The People v. O.J. Simpson\u003c/a>, \u003c/em>with a new drama about \u003ca href=\"https://ww2.kqed.org/pop/2018/01/17/the-assassination-of-gianni-versace-isnt-what-you-think-it-is/\">the murder of Gianni Versace\u003c/a>.\u003c/p>\n\u003cp>And \u003ca href=\"https://www.npr.org/2017/05/15/528459775/fargo-is-a-series-about-the-things-people-do-for-money\">Noah Hawley\u003c/a>, with three dizzyingly different seasons of \u003ca href=\"https://www.npr.org/2017/04/19/524546828/fargo-and-bill-nye-make-promising-returns-to-the-small-screen\">FX's \u003cem>Fargo\u003c/em>\u003c/a>, has perfected this new form. It's part series, part miniseries, part anthology show — and it's thrilling.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=azjw0hTkOIs\u003c/p>\n\u003cp>And the best development of all may be that CBS, for its streaming CBS All Access site, has announced plans to present a new version of \u003cem>The Twilight Zone\u003c/em> — a version produced by \u003ca href=\"http://www.imdb.com/name/nm1443502/?ref_=fn_al_nm_1\">Jordan Peele\u003c/a>, who just wowed everyone with the very \u003cem>Zone\u003c/em>-ish movie thriller\u003cem>\u003ca href=\"http://www.imdb.com/title/tt5052448/?ref_=fn_al_tt_1\"> Get Out\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With news like that — and with the creative success of shows like \u003cem>Black Mirror\u003c/em> and \u003cem>Electric Dreams\u003c/em>, and extended dramas like \u003cem>Fargo --\u003c/em> there's no question whatsoever: The anthology show is back.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Black+Mirror%27+And+%27Electric+Dreams%27+Prove+It%3A+The+Anthology+Show+Is+Back&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"The anthology series is back and better than ever.","status":"publish","parent":0,"modified":1516310373,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":842},"headData":{"title":"'Black Mirror' and 'Electric Dreams' Are This Generation's 'Twilight Zone' | KQED","description":"The anthology series is back and better than ever.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"98580 https://ww2.kqed.org/pop/?p=98580","disqusUrl":"https://ww2.kqed.org/pop/2018/01/17/black-mirror-and-electric-dreams-are-this-generations-twilight-zone/","disqusTitle":"'Black Mirror' and 'Electric Dreams' Are This Generation's 'Twilight Zone'","nprImageCredit":"Christopher Raphael ","nprByline":"David Bianculli","nprImageAgency":"Amazon","nprStoryId":"578561689","nprApiLink":"http://api.npr.org/query?id=578561689&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2018/01/17/578561689/black-mirror-and-electric-dreams-prove-it-the-anthology-show-is-back?ft=nprml&f=578561689","nprRetrievedStory":"1","nprPubDate":"Wed, 17 Jan 2018 12:56:00 -0500","nprStoryDate":"Wed, 17 Jan 2018 12:56:06 -0500","nprLastModifiedDate":"Wed, 17 Jan 2018 12:56:06 -0500","path":"/pop/98580/black-mirror-and-electric-dreams-are-this-generations-twilight-zone","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some TV genres are perennials. They've been around since the early days of television, and probably are never going away — weekly drama series featuring doctors or cops, for example.\u003c/p>\n\u003cp>Other TV genres are like locusts. They get buried, lying dormant, until they suddenly resurface. On prime time TV, the game show was dead for decades until \u003ca href=\"http://www.imdb.com/title/tt0231033/?ref_=fn_al_tt_3\">\u003cem>Who Wants to Be a Millionaire?\u003c/em>\u003c/a> brought it back. And quite recently, Netflix's \u003cem>\u003ca href=\"http://www.imdb.com/title/tt5516154/?ref_=fn_al_tt_1\">Godless\u003c/a>,\u003c/em> like HBO's \u003ca href=\"http://www.imdb.com/title/tt0348914/?ref_=fn_al_tt_1\">\u003cem>Deadwood\u003c/em>\u003c/a> years before it, did its best to try and revive the TV Western.\u003c/p>\n\u003cp>But no genre on television, in this century, has had a bigger and better resurgence than the anthology series. In the early golden age of TV, these shows were performed live, with programs like \u003cem>Kraft Television Theatre\u003c/em> and \u003cem>Goodyear Television Playhouse\u003c/em> presenting great dramas like Rod Serling's \u003cem>Requiem for a Heavyweight\u003c/em> and Paddy Chayefsky's \u003cem>Marty\u003c/em>.\u003c/p>\n\u003cp>Then came filmed anthology shows, often hosted by the program's creators: writer Serling, again, with \u003ca href=\"http://www.imdb.com/title/tt0052520/?ref_=fn_al_tt_1\">\u003cem>The Twilight Zone\u003c/em>\u003c/a>, and director Alfred Hitchcock with \u003ca href=\"http://www.imdb.com/title/tt0047708/?ref_=fn_al_tt_1\">\u003cem>Alfred Hitchcock Presents.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Eventually, this genre lost out to the weekly dramatic series, where the same protagonist returned every week in a format that was easier to promote and prolong. But TV lost something in the process — the thrill of uncertainty, where anything can happen, and any character can be in real danger and even die, and stories can actually wrap up in relatively quick fashion.\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>Now, almost out of nowhere, the anthology series is back — and in some cases, literally is bigger than ever.\u003c/p>\n\u003cp>The modern standard-issue anthology shows are actually post-modern, and basically deal with themes of technology versus humanity. The best of them is Charlie Brooker's \u003ca href=\"http://www.imdb.com/title/tt2085059/?ref_=fn_al_tt_1\">\u003cem>Black Mirror\u003c/em>\u003c/a>, which began in England and now is co-produced by Netflix.\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/5ELQ6u_5YYM'\n title='//www.youtube.com/embed/5ELQ6u_5YYM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Last year, an expanded \u003cem>Black Mirror\u003c/em> episode won a pair of Emmys. This year, with an \u003ca href=\"https://ww2.kqed.org/pop/2017/12/29/in-season-4-of-black-mirror-power-corrupts-but-love-still-matters/\">expanded episode called \"USS Callister,\"\u003c/a> I expect it may do the same. It's a wonderful story about a character trapped against her will in an alternate computerized reality — the same idea also explored, right now on TV, in a stand-alone episode of Fox's \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0106179/?ref_=fn_al_tt_1\">The X-Files\u003c/a>,\u003c/em> and in an episode of yet another anthology series, Amazon's \u003cem>\u003ca href=\"http://www.imdb.com/title/tt5711280/?ref_=nv_sr_1\">Electric Dreams\u003c/a>,\u003c/em> based on the stories of Philip K. Dick.\u003c/p>\n\u003cp>Dick is the science-fiction writer who, some 50 years ago, wrote the stories that later inspired the movies \u003ca href=\"http://www.imdb.com/title/tt0083658/?ref_=fn_al_tt_1\">\u003cem>Blade Runner\u003c/em>\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0100802/?ref_=fn_al_tt_1\">\u003cem>Total Recall\u003c/em> \u003c/a>and \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0181689/?ref_=fn_al_tt_1\">Minority Report\u003c/a>.\u003c/em> For this new series, which includes \u003ca href=\"https://www.npr.org/2014/03/27/295246908/from-walter-white-to-lbj-bryan-cranston-is-a-master-of-transformation\">Bryan Cranston\u003c/a> of \u003ca href=\"http://www.imdb.com/title/tt0903747/?ref_=fn_al_tt_1\">\u003cem>Breaking Bad\u003c/em>\u003c/a> as one of its executive producers and stars, the old stories are adapted very freely — sometimes almost unrecognizably, but usually with impressive results.\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/RtX_LVwEJhA'\n title='//www.youtube.com/embed/RtX_LVwEJhA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of the best adaptations, called \"Safe and Sound,\" is based on a 1955 Dick story called \"Foster, You're Dead.\" The original story was about a high-school boy whose family buys the newest model of bomb shelter, only to have it prove instantly obsolete.\u003c/p>\n\u003cp>In this new TV version, Foster is a girl, and the new technology isn't a bomb shelter. It's a Siri-type artificial intelligence that is implanted into her head when she sticks some high-tech gel in her ear. That's the latest gotta-have consumer item in this version — or is she just imagining it? Because, in this story about paranoia, the voice in Foster's head may just be... a voice in Foster's head. Especially when it instructs her to do some crazy-sounding things, like searching for anthills or planning an act of terrorism on her own high school.\u003c/p>\n\u003cp>The beauty of the anthology series is that anything could happen — even to a character like Foster. In the past few years, TV has taken this idea and expanded it, coming up with extended narratives, lasting 10 episodes or so, that end, then return with all-new casts and stories.\u003c/p>\n\u003cp>The FX network is the pioneer here. Ryan Murphy has presented seven very different seasons so far of \u003cem>\u003ca href=\"http://www.imdb.com/title/tt1844624/?ref_=nv_sr_1\">American Horror Story\u003c/a>,\u003c/em> and has just followed his superb \u003cem>American Crime Story\u003c/em> entry, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt2788432/?ref_=fn_al_tt_2\">The People v. O.J. Simpson\u003c/a>, \u003c/em>with a new drama about \u003ca href=\"https://ww2.kqed.org/pop/2018/01/17/the-assassination-of-gianni-versace-isnt-what-you-think-it-is/\">the murder of Gianni Versace\u003c/a>.\u003c/p>\n\u003cp>And \u003ca href=\"https://www.npr.org/2017/05/15/528459775/fargo-is-a-series-about-the-things-people-do-for-money\">Noah Hawley\u003c/a>, with three dizzyingly different seasons of \u003ca href=\"https://www.npr.org/2017/04/19/524546828/fargo-and-bill-nye-make-promising-returns-to-the-small-screen\">FX's \u003cem>Fargo\u003c/em>\u003c/a>, has perfected this new form. It's part series, part miniseries, part anthology show — and it's thrilling.\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/azjw0hTkOIs'\n title='//www.youtube.com/embed/azjw0hTkOIs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And the best development of all may be that CBS, for its streaming CBS All Access site, has announced plans to present a new version of \u003cem>The Twilight Zone\u003c/em> — a version produced by \u003ca href=\"http://www.imdb.com/name/nm1443502/?ref_=fn_al_nm_1\">Jordan Peele\u003c/a>, who just wowed everyone with the very \u003cem>Zone\u003c/em>-ish movie thriller\u003cem>\u003ca href=\"http://www.imdb.com/title/tt5052448/?ref_=fn_al_tt_1\"> Get Out\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With news like that — and with the creative success of shows like \u003cem>Black Mirror\u003c/em> and \u003cem>Electric Dreams\u003c/em>, and extended dramas like \u003cem>Fargo --\u003c/em> there's no question whatsoever: The anthology show is back.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Black+Mirror%27+And+%27Electric+Dreams%27+Prove+It%3A+The+Anthology+Show+Is+Back&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/98580/black-mirror-and-electric-dreams-are-this-generations-twilight-zone","authors":["byline_pop_98580"],"categories":["pop_3"],"tags":["pop_3114","pop_3131","pop_3093","pop_438"],"featImg":"pop_98586","label":"pop"},"pop_98099":{"type":"posts","id":"pop_98099","meta":{"index":"posts_1591205157","site":"pop","id":"98099","score":null,"sort":[1514572137000]},"guestAuthors":[],"slug":"in-season-4-of-black-mirror-power-corrupts-but-love-still-matters","title":"In Season 4 Of 'Black Mirror,' Power Corrupts, But Love Still Matters","publishDate":1514572137,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>\u003cstrong>Listen to the Pop Culture Happy Hour episode about \u003cem>Black Mirror\u003c/em>, with guests Brittany Luse and Chris Klimek below.\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/572264537/572341182\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Black Mirror \u003c/em>is an anthology where technology, at times, might seem like the lurking monster. Originally created for British television and now produced by Netflix, the series imagines leaps forward in software, surveillance, artificial intelligence, virtual reality and biotech that result, usually, in disaster. Not always — but usually.\u003c/p>\n\u003cp>In fact, \u003cem>Black Mirror\u003c/em>, created by Charlie Brooker, is largely a multi-part study of power. The relevance of technology is mostly that it grants power around which the people who receive it haven't yet developed ethical ideas. In the show's gentler episodes, it allows people to explore love and connection in new ways, across what we now believe to be barriers — like mortality.\u003c/p>\n\u003cp>But very often, the moral of the story, so to speak, is that we are worse than we believe we are, only because our behavior is constrained by what we can do, not what we are willing to do. For instance, we may believe that we do not spy on our loved ones because we have developed trust, when in fact, we do not spy on our loved ones because it's too difficult to do reliably without getting caught. With great power comes great responsibility — you've heard that from the story of a man who can climb buildings and shoot webs out of his wrists, right? Well, \u003cem>Black Mirror \u003c/em>spends much of its time considering what happens when more of us have great power, given that we have no reason to believe we are prone to exercise great responsibility.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Power is the theme of \"USS Callister,\" written by Brooker and William Bridges. It's the most incisive piece of the six-episode fourth season that just dropped on Netflix. It begins as a straightforward parody — almost too precise a copy to be a parody, in fact — of the original \u003cem>Star Tre\u003c/em>\u003cem>k.\u003c/em> The Kirk-esque captain of \u003cem>Space Fleet\u003c/em> is played by Jesse Plemons, the versatile and very busy actor who first became well-known playing Landry on \u003cem>Friday Night Lights\u003c/em>. Actors playing members of the crew include Michaela Coel, so delightful in her own series \u003cem>Chewing Gum\u003c/em>, and Jimmi Simpson, who has \"smug weasel\" written all over him from the first minute.\u003c/p>\n\u003cp>Not only does the episode examine the way the captain uses power (which is of particular interest given recent conversations about sexual harassment), but it goes on to a deeper exploration of how pop-culture portrayals of power affect and infect the people who absorb them. Cristin Milioti, as a new member of the crew, has to navigate — as it were — the captain's particular powers and his methods of ensuring compliance. It's a frightening and fearless examination of not one but two separate hero myths: the flawless captain of adventure and the bullied fan who lives vicariously through his exploits.\u003c/p>\n\u003cp>While \"USS Callister\" is the most timely and vital of the new episodes, \"Hang The DJ\" (named after a line in a song by The Smiths) is the freshest and the most humane. Georgina Campbell and Joe Cole, both enchanting British actors many American viewers may be seeing for the first time, play a couple meeting on a new dating app that upsets expectations about what you can and cannot know about a person you've just met. Not in the \"Google the person and find out all about their criminal record\" sense, but in ways more complicated and interesting. \"Black Mirror\" hasn't really done much in the way of romantic comedy, but the scenes between Campbell and Cole sparkle and build emotional stakes in the way all great examples of the genre do.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The other four episodes are solid. \"Arkangel\" returns to the show's fixation on surveillance, \"Metalhead\" to mechanical horrors, \"Black Museum\" on the fundamentals of mind-reading and mind-swapping, and \"Crocodile\" about memory. There are no duds, but \"USS Callister\" and \"Hang the DJ\" best demonstrate what the show, at its best, can do.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Season+4+Of+%27Black+Mirror%2C%27+Power+Corrupts%2C+But+Love+Still+Matters&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"The fourth season of \u003cem>Black Mirror \u003c/em>continues to explore technology and privacy, but also more fundamental impulses of power and love. All that, plus a \u003cem>Star Trek \u003c/em>send-up that's spot-on.","status":"publish","parent":0,"modified":1532723751,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":699},"headData":{"title":"In Season 4 Of 'Black Mirror,' Power Corrupts, But Love Still Matters | KQED","description":"The fourth season of Black Mirror continues to explore technology and privacy, but also more fundamental impulses of power and love. All that, plus a Star Trek send-up that's spot-on.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"98099 https://ww2.kqed.org/pop/?p=98099","disqusUrl":"https://ww2.kqed.org/pop/2017/12/29/in-season-4-of-black-mirror-power-corrupts-but-love-still-matters/","disqusTitle":"In Season 4 Of 'Black Mirror,' Power Corrupts, But Love Still Matters","nprImageCredit":"Jonathan Prime ","nprByline":"Linda Holmes","nprImageAgency":"Netflix","nprStoryId":"572264537","nprApiLink":"http://api.npr.org/query?id=572264537&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/sections/monkeysee/2017/12/29/572264537/in-season-4-of-black-mirror-power-corrupts-but-love-still-matters?ft=nprml&f=572264537","nprRetrievedStory":"1","nprPubDate":"Fri, 29 Dec 2017 05:00:00 -0500","nprStoryDate":"Fri, 29 Dec 2017 05:00:12 -0500","nprLastModifiedDate":"Fri, 29 Dec 2017 05:00:12 -0500","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/pchh/2017/12/20171229_pchh_pchh_405_black_mirror__-_final.mp3?orgId=1&topicId=1163&d=1583&story=572264537&ft=nprml&f=572264537","nprAudioM3u":"http://api.npr.org/m3u/1572341182-f74c93.m3u?orgId=1&topicId=1163&d=1583&story=572264537&ft=nprml&f=572264537","audioTrackLength":1584,"path":"/pop/98099/in-season-4-of-black-mirror-power-corrupts-but-love-still-matters","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/pchh/2017/12/20171229_pchh_pchh_405_black_mirror__-_final.mp3?orgId=1&topicId=1163&d=1583&story=572264537&ft=nprml&f=572264537","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Listen to the Pop Culture Happy Hour episode about \u003cem>Black Mirror\u003c/em>, with guests Brittany Luse and Chris Klimek below.\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/572264537/572341182\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Black Mirror \u003c/em>is an anthology where technology, at times, might seem like the lurking monster. Originally created for British television and now produced by Netflix, the series imagines leaps forward in software, surveillance, artificial intelligence, virtual reality and biotech that result, usually, in disaster. Not always — but usually.\u003c/p>\n\u003cp>In fact, \u003cem>Black Mirror\u003c/em>, created by Charlie Brooker, is largely a multi-part study of power. The relevance of technology is mostly that it grants power around which the people who receive it haven't yet developed ethical ideas. In the show's gentler episodes, it allows people to explore love and connection in new ways, across what we now believe to be barriers — like mortality.\u003c/p>\n\u003cp>But very often, the moral of the story, so to speak, is that we are worse than we believe we are, only because our behavior is constrained by what we can do, not what we are willing to do. For instance, we may believe that we do not spy on our loved ones because we have developed trust, when in fact, we do not spy on our loved ones because it's too difficult to do reliably without getting caught. With great power comes great responsibility — you've heard that from the story of a man who can climb buildings and shoot webs out of his wrists, right? Well, \u003cem>Black Mirror \u003c/em>spends much of its time considering what happens when more of us have great power, given that we have no reason to believe we are prone to exercise great responsibility.\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>Power is the theme of \"USS Callister,\" written by Brooker and William Bridges. It's the most incisive piece of the six-episode fourth season that just dropped on Netflix. It begins as a straightforward parody — almost too precise a copy to be a parody, in fact — of the original \u003cem>Star Tre\u003c/em>\u003cem>k.\u003c/em> The Kirk-esque captain of \u003cem>Space Fleet\u003c/em> is played by Jesse Plemons, the versatile and very busy actor who first became well-known playing Landry on \u003cem>Friday Night Lights\u003c/em>. Actors playing members of the crew include Michaela Coel, so delightful in her own series \u003cem>Chewing Gum\u003c/em>, and Jimmi Simpson, who has \"smug weasel\" written all over him from the first minute.\u003c/p>\n\u003cp>Not only does the episode examine the way the captain uses power (which is of particular interest given recent conversations about sexual harassment), but it goes on to a deeper exploration of how pop-culture portrayals of power affect and infect the people who absorb them. Cristin Milioti, as a new member of the crew, has to navigate — as it were — the captain's particular powers and his methods of ensuring compliance. It's a frightening and fearless examination of not one but two separate hero myths: the flawless captain of adventure and the bullied fan who lives vicariously through his exploits.\u003c/p>\n\u003cp>While \"USS Callister\" is the most timely and vital of the new episodes, \"Hang The DJ\" (named after a line in a song by The Smiths) is the freshest and the most humane. Georgina Campbell and Joe Cole, both enchanting British actors many American viewers may be seeing for the first time, play a couple meeting on a new dating app that upsets expectations about what you can and cannot know about a person you've just met. Not in the \"Google the person and find out all about their criminal record\" sense, but in ways more complicated and interesting. \"Black Mirror\" hasn't really done much in the way of romantic comedy, but the scenes between Campbell and Cole sparkle and build emotional stakes in the way all great examples of the genre do.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The other four episodes are solid. \"Arkangel\" returns to the show's fixation on surveillance, \"Metalhead\" to mechanical horrors, \"Black Museum\" on the fundamentals of mind-reading and mind-swapping, and \"Crocodile\" about memory. There are no duds, but \"USS Callister\" and \"Hang the DJ\" best demonstrate what the show, at its best, can do.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Season+4+Of+%27Black+Mirror%2C%27+Power+Corrupts%2C+But+Love+Still+Matters&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/98099/in-season-4-of-black-mirror-power-corrupts-but-love-still-matters","authors":["byline_pop_98099"],"categories":["pop_3"],"tags":["pop_3118","pop_3114","pop_3116","pop_1265","pop_3119","pop_2787","pop_3117"],"featImg":"pop_98252","label":"pop"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. 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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Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.","airtime":"MON-THU 11am-12pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"http://www.wbur.org/hereandnow","meta":{"site":"news","source":"npr"},"link":"/radio/program/here-and-now","subsdcribe":{"apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661","tuneIn":"https://tunein.com/radio/Here--Now-p211/","rss":"https://feeds.npr.org/510051/podcast.xml"}},"how-i-built-this":{"id":"how-i-built-this","title":"How I Built This with Guy Raz","info":"Guy Raz dives into the stories behind some of the world's best known companies. 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Updated Monday through Friday at about 3:30 p.m. PT.","airtime":"MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.marketplace.org/","meta":{"site":"news","source":"American Public Media"},"link":"/radio/program/marketplace","subscribe":{"apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/APM-Marketplace-p88/","rss":"https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"}},"mindshift":{"id":"mindshift","title":"MindShift","tagline":"A podcast about the future of learning and how we raise our kids","info":"The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","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. 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