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We don’t do reviews.","avatar":"https://secure.gravatar.com/avatar/8ebc28ae67b943d4a4279cb0f9222792?s=600&d=blank&r=g","twitter":"KQEDpop","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["contributor"]},{"site":"pop","roles":["contributor"]}],"headData":{"title":"KQED Pop | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/8ebc28ae67b943d4a4279cb0f9222792?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/8ebc28ae67b943d4a4279cb0f9222792?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/kqedpop"}},"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":"arts","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":"/"}},"pop_110850":{"type":"posts","id":"pop_110850","meta":{"index":"posts_1591205157","site":"pop","id":"110850","score":null,"sort":[1554841447000]},"guestAuthors":[],"slug":"fosse-verdon-is-totally-tone-deaf-in-the-age-of-metoo","title":"'Fosse/Verdon' Is Totally Tone Deaf In The Age Of #MeToo","publishDate":1554841447,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>If you could bottle the keen curiosity the new FX series \u003cem>Fosse/Verdon \u003c/em>has about the details of both Bob Fosse's genius and his destructive, dishonest, sexually harassing, emotionally abusive behavior, you would perhaps have a little bit of curiosity to spare to make up for the project's limited interest in what it all meant for Gwen Verdon and countless other women he treated like hot garbage.\u003c/p>\n\u003cp>The first tell that this highly anticipated limited series cannot live up to its aspirations for itself is that while it is called \u003cem>Fosse/Verdon\u003c/em>, the book it's based on is called \u003cem>Fosse\u003c/em>. It \u003cem>is \u003c/em>a better idea, in theory, to make a series that's about Fosse and Verdon and the collaboration that brought forward musicals like \u003cem>Chicago\u003c/em>, \u003cem>Sweet Charity \u003c/em>and \u003cem>Damn Yankees\u003c/em>. Unfortunately, the series isn't really about both of them, except that both Sam Rockwell and Michelle Williams—playing Fosse and Verdon—are stars. It's more like a twist on an old joke: \"But enough about Bob Fosse. What did Gwen Verdon think about Bob Fosse?\" [Note: They've only made five episodes available to press, and there are eight total.]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UgSA6o1UyYw\u003c/p>\n\u003cp>The Sam Wasson book \u003cem>Fosse\u003c/em>, on which the show is based, is less a biography than a graduate thesis on Fosse's genius and, incidentally, a vigorous counterpoint to objections to his behavior that might scratch up his legacy. Most seriously, it raises the spectre, which the show pursues, of Fosse having been inappropriately sexualized, and perhaps sexually abused, by strippers in the clubs he worked in when he was 13 or 14 years old. That's obviously a very troubling story of trauma and it deserves to be told. Unfortunately for those hoping that sexualized girls would receive the same careful thought, the very same book unironically compliments the \"killer rack\" Verdon had at 15 when she was dancing \"nearly naked\" in front of \"loud and hungry men.\" (Wasson is careful to point out also that she didn't have technique and was only there because of her sex appeal. At 15.)\u003c/p>\n\u003cp>Television and film never tire of these stories, it seems—men who are brilliant geniuses but who are awful people because of their terrible pain. \u003cem>Phantom Thread\u003c/em>, \u003cem>Steve Jobs, Mad Men\u003c/em>, it's an entire genre: The man is monstrous, but he's got his reasons, and you can't deny the talent, and women can't help wanting to either have him or mother him. It's clear the the executive producers of this series are fascinated by Fosse, and it's no wonder: they include Broadway hot properties Lin-Manuel Miranda and his \u003cem>Hamilton \u003c/em>director Thomas Kail, as well as showrunner Steven Levenson, who wrote the Tony-winning book of \u003cem>Dear Evan Hansen\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What's less clear is what exactly the show is supposed to illuminate. There aren't enough new facts here for the biography aspect to be the point; it's supposed to be shedding light on something. It's just not clear what.\u003c/p>\n\u003cp>We watch as Fosse's overt, textbook sexual harassment of a dancer, in which she refuses to sleep with him and he then humiliates and demotes her, is brushed past like just one of his many complexities. Verdon goes on to tell him privately, in a moment treated as a gentle pearl of wisdom, that his new protege and future paramour Ann Reinking knows she's so good that she doesn't \u003cem>have\u003c/em> to sleep with him to get a part. (She later does anyway, of course.) The unstated assumption is that men with power coercing women into sex only works on women without enough talent, which is absolutely appalling in its tone-deafness. Meanwhile, the dancer Fosse harassed remains a flat character, ultimately deciding to sleep with him because, presumably, she doesn't have enough talent not to. And then she vanishes. She doesn't matter.\u003c/p>\n\u003cp>There's an interesting directorial choice here, sometimes used very effectively, in which quick cuts connect brief moments into impressionistic montages, where you barely register what shots you're actually seeing, only the effect of the whole sequence. In one of them, Fosse looks down at interchangeable, random women in his bed, which, again, is all part of illuminating his pain and his emptiness. Again, the root of this weird angle on the situation seems to lie in Wasson's book, which insists that sex with dancers in his shows was \"an opportunity for Fosse to learn about and merge with his female collaborators.\" For the most part, of course, those \"collaborators\" were people who worked for him. And if you can't learn about your collaborators other than with sex, you probably should stop collaborating with people you don't know. (That's not to even mention \"merge with,\" which: ew.)\u003c/p>\n\u003cfigure id=\"attachment_110851\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-110851\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/10_fv-102_0262_wide-5f07efd717b721bb2530dc7b7efd032532d82a78-800x450.jpg\" alt=\"Michelle Williams gives it her all as Gwen Verdon.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/04/10_fv-102_0262_wide-5f07efd717b721bb2530dc7b7efd032532d82a78-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/10_fv-102_0262_wide-5f07efd717b721bb2530dc7b7efd032532d82a78-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/10_fv-102_0262_wide-5f07efd717b721bb2530dc7b7efd032532d82a78-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/10_fv-102_0262_wide-5f07efd717b721bb2530dc7b7efd032532d82a78-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/10_fv-102_0262_wide-5f07efd717b721bb2530dc7b7efd032532d82a78-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/10_fv-102_0262_wide-5f07efd717b721bb2530dc7b7efd032532d82a78-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/10_fv-102_0262_wide-5f07efd717b721bb2530dc7b7efd032532d82a78.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Williams gives it her all as Gwen Verdon. \u003ccite>(FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What happened to those women? How many of them had their careers interrupted, their reputations damaged, their hopes dashed—how many of them watched their opportunities wither because he grew bored with them, or spoke ill of them? How many of them felt degraded by the way he treated them? That's not part of the story, even though how Fosse feels about them very much is. The only thing about them that's part of the story is how much he didn't give a flying fig about them, and that's regrettable.\u003c/p>\n\u003cp>This is ironic in part because it seems like part of the very reason for the show to exist is to address itself to the other side of the genius coin: Gwen Verdon. But unfortunately, despite heroic efforts from Williams to imbue Verdon with life and roundness and complexity, the script simply doesn't give her enough to do. Every scene with Williams in it is more interesting than every scene without her in it, and it's not because Rockwell isn't living it up as Bob Fosse—he very much is. But the portrayal of Fosse is unfortunately one that reads as a cliché. The character presents as a powerful man who poaches in self-pity from morning until night, and who, when presented with challenges, calls a woman he's hurt in the past and asks her to fix it. In Verdon's case, he often asks her to fix a show he can't manage to complete. She, on the other hand, is always a bit of a surprise, both hurt by Fosse and somehow sick of him, working around him to get \u003cem>Chicago \u003c/em>staged even though he wants to do other things.\u003c/p>\n\u003cp>[A side note: The book \u003cem>Fosse \u003c/em>tells the story of Fosse deciding to do \u003cem>Chicago—\u003c/em>which was Verdon's idea—as a kindness, a \"valentine,\" essentially a thank-you gift to her after treating her so badly for so many years. But then, as soon as the show runs into trouble, Wasson talks about how Fosse was angry that Verdon \"rop[ed] him into it.\" There is perhaps no better example of this kind of toxic genius than wanting to be patted on the back for the kindness of doing a project as a gift, then blaming the gift recipient when you become unhappy in the work.]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Had Verdon been treated as Fosse's equal in this series, it would have been a lot better. Had \u003cem>Fosse/Verdon \u003c/em>been interested in interrogating the ways in which the contributions of women are erased by men who don't know the difference between a muse who inspires you and an uncredited collaborator who did some of the work for which you're being praised, then maybe. Maybe it would have worked out. Williams and Rockwell are doing their best, and the show honestly looks great. But it feels misbegotten, and unless there is a wild swerve in the last three episodes that pushes in the opposite direction from the worst instincts on display in the book—in which case I'll see you back here for a wrap-up—you'd be better off watching a collection of YouTube dance numbers.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR.org\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fosse%2FVerdon%27+Wiggles+And+Kicks%2C+But+Fails+To+Satisfy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"The FX series is yet another in a long line of stories that give brilliant but abusive men altogether too much sympathy.","status":"publish","parent":0,"modified":1554841447,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":1386},"headData":{"title":"'Fosse/Verdon' Is Totally Tone Deaf In The Age Of #MeToo | KQED","description":"The FX series is yet another in a long line of stories that give brilliant but abusive men altogether too much sympathy.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Fosse/Verdon' Is Totally Tone Deaf In The Age Of #MeToo","datePublished":"2019-04-09T20:24:07.000Z","dateModified":"2019-04-09T20:24:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"110850 https://ww2.kqed.org/pop/?p=110850","disqusUrl":"https://ww2.kqed.org/pop/2019/04/09/fosse-verdon-is-totally-tone-deaf-in-the-age-of-metoo/","disqusTitle":"'Fosse/Verdon' Is Totally Tone Deaf In The Age Of #MeToo","nprImageCredit":"Eric Liebowitz","nprByline":"Linda Holmes","nprImageAgency":"FX","nprStoryId":"711063555","nprApiLink":"http://api.npr.org/query?id=711063555&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/04/09/711063555/fosse-verdon-wiggles-and-kicks-but-fails-to-satisfy?ft=nprml&f=711063555","nprRetrievedStory":"1","nprPubDate":"Tue, 09 Apr 2019 05:01:00 -0400","nprStoryDate":"Tue, 09 Apr 2019 05:01:06 -0400","nprLastModifiedDate":"Tue, 09 Apr 2019 05:01:06 -0400","path":"/pop/110850/fosse-verdon-is-totally-tone-deaf-in-the-age-of-metoo","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you could bottle the keen curiosity the new FX series \u003cem>Fosse/Verdon \u003c/em>has about the details of both Bob Fosse's genius and his destructive, dishonest, sexually harassing, emotionally abusive behavior, you would perhaps have a little bit of curiosity to spare to make up for the project's limited interest in what it all meant for Gwen Verdon and countless other women he treated like hot garbage.\u003c/p>\n\u003cp>The first tell that this highly anticipated limited series cannot live up to its aspirations for itself is that while it is called \u003cem>Fosse/Verdon\u003c/em>, the book it's based on is called \u003cem>Fosse\u003c/em>. It \u003cem>is \u003c/em>a better idea, in theory, to make a series that's about Fosse and Verdon and the collaboration that brought forward musicals like \u003cem>Chicago\u003c/em>, \u003cem>Sweet Charity \u003c/em>and \u003cem>Damn Yankees\u003c/em>. Unfortunately, the series isn't really about both of them, except that both Sam Rockwell and Michelle Williams—playing Fosse and Verdon—are stars. It's more like a twist on an old joke: \"But enough about Bob Fosse. What did Gwen Verdon think about Bob Fosse?\" [Note: They've only made five episodes available to press, and there are eight total.]\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/UgSA6o1UyYw'\n title='//www.youtube.com/embed/UgSA6o1UyYw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Sam Wasson book \u003cem>Fosse\u003c/em>, on which the show is based, is less a biography than a graduate thesis on Fosse's genius and, incidentally, a vigorous counterpoint to objections to his behavior that might scratch up his legacy. Most seriously, it raises the spectre, which the show pursues, of Fosse having been inappropriately sexualized, and perhaps sexually abused, by strippers in the clubs he worked in when he was 13 or 14 years old. That's obviously a very troubling story of trauma and it deserves to be told. Unfortunately for those hoping that sexualized girls would receive the same careful thought, the very same book unironically compliments the \"killer rack\" Verdon had at 15 when she was dancing \"nearly naked\" in front of \"loud and hungry men.\" (Wasson is careful to point out also that she didn't have technique and was only there because of her sex appeal. At 15.)\u003c/p>\n\u003cp>Television and film never tire of these stories, it seems—men who are brilliant geniuses but who are awful people because of their terrible pain. \u003cem>Phantom Thread\u003c/em>, \u003cem>Steve Jobs, Mad Men\u003c/em>, it's an entire genre: The man is monstrous, but he's got his reasons, and you can't deny the talent, and women can't help wanting to either have him or mother him. It's clear the the executive producers of this series are fascinated by Fosse, and it's no wonder: they include Broadway hot properties Lin-Manuel Miranda and his \u003cem>Hamilton \u003c/em>director Thomas Kail, as well as showrunner Steven Levenson, who wrote the Tony-winning book of \u003cem>Dear Evan Hansen\u003c/em>.\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>What's less clear is what exactly the show is supposed to illuminate. There aren't enough new facts here for the biography aspect to be the point; it's supposed to be shedding light on something. It's just not clear what.\u003c/p>\n\u003cp>We watch as Fosse's overt, textbook sexual harassment of a dancer, in which she refuses to sleep with him and he then humiliates and demotes her, is brushed past like just one of his many complexities. Verdon goes on to tell him privately, in a moment treated as a gentle pearl of wisdom, that his new protege and future paramour Ann Reinking knows she's so good that she doesn't \u003cem>have\u003c/em> to sleep with him to get a part. (She later does anyway, of course.) The unstated assumption is that men with power coercing women into sex only works on women without enough talent, which is absolutely appalling in its tone-deafness. Meanwhile, the dancer Fosse harassed remains a flat character, ultimately deciding to sleep with him because, presumably, she doesn't have enough talent not to. And then she vanishes. She doesn't matter.\u003c/p>\n\u003cp>There's an interesting directorial choice here, sometimes used very effectively, in which quick cuts connect brief moments into impressionistic montages, where you barely register what shots you're actually seeing, only the effect of the whole sequence. In one of them, Fosse looks down at interchangeable, random women in his bed, which, again, is all part of illuminating his pain and his emptiness. Again, the root of this weird angle on the situation seems to lie in Wasson's book, which insists that sex with dancers in his shows was \"an opportunity for Fosse to learn about and merge with his female collaborators.\" For the most part, of course, those \"collaborators\" were people who worked for him. And if you can't learn about your collaborators other than with sex, you probably should stop collaborating with people you don't know. (That's not to even mention \"merge with,\" which: ew.)\u003c/p>\n\u003cfigure id=\"attachment_110851\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-110851\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/10_fv-102_0262_wide-5f07efd717b721bb2530dc7b7efd032532d82a78-800x450.jpg\" alt=\"Michelle Williams gives it her all as Gwen Verdon.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/04/10_fv-102_0262_wide-5f07efd717b721bb2530dc7b7efd032532d82a78-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/10_fv-102_0262_wide-5f07efd717b721bb2530dc7b7efd032532d82a78-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/10_fv-102_0262_wide-5f07efd717b721bb2530dc7b7efd032532d82a78-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/10_fv-102_0262_wide-5f07efd717b721bb2530dc7b7efd032532d82a78-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/10_fv-102_0262_wide-5f07efd717b721bb2530dc7b7efd032532d82a78-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/10_fv-102_0262_wide-5f07efd717b721bb2530dc7b7efd032532d82a78-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/10_fv-102_0262_wide-5f07efd717b721bb2530dc7b7efd032532d82a78.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Williams gives it her all as Gwen Verdon. \u003ccite>(FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What happened to those women? How many of them had their careers interrupted, their reputations damaged, their hopes dashed—how many of them watched their opportunities wither because he grew bored with them, or spoke ill of them? How many of them felt degraded by the way he treated them? That's not part of the story, even though how Fosse feels about them very much is. The only thing about them that's part of the story is how much he didn't give a flying fig about them, and that's regrettable.\u003c/p>\n\u003cp>This is ironic in part because it seems like part of the very reason for the show to exist is to address itself to the other side of the genius coin: Gwen Verdon. But unfortunately, despite heroic efforts from Williams to imbue Verdon with life and roundness and complexity, the script simply doesn't give her enough to do. Every scene with Williams in it is more interesting than every scene without her in it, and it's not because Rockwell isn't living it up as Bob Fosse—he very much is. But the portrayal of Fosse is unfortunately one that reads as a cliché. The character presents as a powerful man who poaches in self-pity from morning until night, and who, when presented with challenges, calls a woman he's hurt in the past and asks her to fix it. In Verdon's case, he often asks her to fix a show he can't manage to complete. She, on the other hand, is always a bit of a surprise, both hurt by Fosse and somehow sick of him, working around him to get \u003cem>Chicago \u003c/em>staged even though he wants to do other things.\u003c/p>\n\u003cp>[A side note: The book \u003cem>Fosse \u003c/em>tells the story of Fosse deciding to do \u003cem>Chicago—\u003c/em>which was Verdon's idea—as a kindness, a \"valentine,\" essentially a thank-you gift to her after treating her so badly for so many years. But then, as soon as the show runs into trouble, Wasson talks about how Fosse was angry that Verdon \"rop[ed] him into it.\" There is perhaps no better example of this kind of toxic genius than wanting to be patted on the back for the kindness of doing a project as a gift, then blaming the gift recipient when you become unhappy in the work.]\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>Had Verdon been treated as Fosse's equal in this series, it would have been a lot better. Had \u003cem>Fosse/Verdon \u003c/em>been interested in interrogating the ways in which the contributions of women are erased by men who don't know the difference between a muse who inspires you and an uncredited collaborator who did some of the work for which you're being praised, then maybe. Maybe it would have worked out. Williams and Rockwell are doing their best, and the show honestly looks great. But it feels misbegotten, and unless there is a wild swerve in the last three episodes that pushes in the opposite direction from the worst instincts on display in the book—in which case I'll see you back here for a wrap-up—you'd be better off watching a collection of YouTube dance numbers.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR.org\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fosse%2FVerdon%27+Wiggles+And+Kicks%2C+But+Fails+To+Satisfy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/110850/fosse-verdon-is-totally-tone-deaf-in-the-age-of-metoo","authors":["byline_pop_110850"],"categories":["pop_51"],"tags":["pop_3552","pop_3093","pop_405","pop_3553"],"featImg":"pop_110854","label":"pop"},"pop_110589":{"type":"posts","id":"pop_110589","meta":{"index":"posts_1591205157","site":"pop","id":"110589","score":null,"sort":[1553718315000]},"guestAuthors":[],"slug":"what-we-do-in-the-shadows-puts-the-dead-in-deadpan","title":"'What We Do In The Shadows' Puts The Dead In Deadpan","publishDate":1553718315,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>In 2014, New Zealand co-directors/co-writers Taika Waititi and Jemaine Clement released \u003cem>What We Do In The Shadows\u003c/em>, a hilarious, shambling-yet-unerringly-precise mockumentary about a group of vampires sharing a house in modern-day Wellington, New Zealand.\u003c/p>\n\u003cp>The two men also starred in the film, as a pair of odd-couple vampire roommates: the sweet-natured dandy Viago (Waititi), all pinky rings and ruffled shirts and concern about the upkeep of the house's common areas, and the surly, less-sinister-than-he-thinks-he-is Vladislav (Clement). Jonny Brugh and Ben Fransham played two other undead housemates, and the whole endeavor was driven by a commitment to spoofing both the documentary format (shaky camera, testimonials, the subjects' hyper-awareness of their status as documentary subjects) and the ropiest tropes of vampire lore (the vamps go clubbing, only to grow increasingly frustrated when bouncer after bouncer neglects to expressly invite them in).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IAZEWtyhpes\u003c/p>\n\u003cp>The central joke—the film's artisanal blend of the grotesque with the utterly, punishingly, unremittingly mundane—made for a tone that just \u003cem>worked\u003c/em>. Marked by the same dry, deadpan, low-wattage and quintessentially Kiwi affect that typified HBO's \u003cem>Flight of the Conchords\u003c/em> (which Clement co-created with Bret McKenzie and James Bobin; Waititi wrote and directed several episodes), the original \u003cem>What We Do In The Shadows\u003c/em> exuded so much easy, unforced charm and sustained cleverness you just wanted to crawl inside it and live for a while.\u003c/p>\n\u003cp>Now (Wednesday, March 27, specifically) to the FX Network, comes the U.S. incarnation—not a film, but a 10-episode series—and if fans of the 2014 film harbor any qualms about that prospect, it's understandable. After all, the movie deftly exploited—one could even say drafted on—New Zealanders' reputation as some of the more unprepossessing members of the global community. Which is why, despite the characters' arcane abilities and everyday evilness, they came across like underdogs you couldn't help cheering for. Could an \u003cem>American \u003c/em>series strike that necessary, slightly diffident tone? And could that tone take root, once transplanted half a world away from the island on which it germinated?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then there was the question of story. The film clocked in at a tight 86 minutes, which seemed just about perfect. The notion that its premise—however good, however solid—could benefit from getting stretched over the course of five hours seemed wildly unlikely.\u003c/p>\n\u003cp>Rest assured, \u003cem>Shadows \u003c/em>fan and newbie alike, that the FX series captures the all-important, dry-as-gravedust tone, and, if the first four episodes made available to the press are any indication, it has figured out how to outfit its one-joke premise with enough different drivers of narrative momentum to keep viewers watching.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SyZi3rJPENs\u003c/p>\n\u003cp>It doesn't do this right away, however. Not \u003cem>immediately\u003c/em>. The pilot episode's opening minutes map too neatly over the film's: We meet the various players in much the same way. There's the same \"vampire house meeting\" gag. And we're introduced to Guillermo (Harvey Guillen), an all-too-human vampire's assistant who, exactly like the film's Jackie (Jackie van Beek), labors long and hard in hopes to one day be turned by his master.\u003c/p>\n\u003cp>Even their dark, appealingly shabby mansion strongly resembles that of the film, though instead of the Wellington suburbs, it's located in the heart of New York City.\u003c/p>\n\u003cp>Well, Staten Island, anyway.\u003c/p>\n\u003cp>So, you know, the\u003cem> pancreas\u003c/em> of New York City.\u003c/p>\n\u003cp>Soon enough, however, the series' characters distinguish themselves, and the cast members establish their own rhythms. There is Nandor (Kayvan Novak), once a fierce, bloodthirsty warrior of the Ottoman Empire, who is now a vain, bumbling and quite literally bloodthirsty vampire who passively mistreats his sweet-faced human familiar (Guillen). There is the couple: ostensibly handsome and charming Laszlo (\u003cem>The It Crowd\u003c/em>'s Matt Berry) and the powerful Nadja (Natasia Demetriou) who, as the series opens, chafes against her role as de facto vampire matriarch—and develops a roving eye that alights upon, among other people, community college student Jenna (Beanie Feldstein).\u003c/p>\n\u003cp>The four leads are great, the jokes crisp and fast and funny, and the visual effects are employed just as effectively as in the movie, folded seamlessly into the handheld-camera aesthetic so they seem all the more uncanny. It doesn't take long for the characters to receive a kick in the pants that raises the stakes and propels them into the season with a sense of urgency—something the film, for all its manifold qualities, never much bothered with.\u003c/p>\n\u003cp>But let's talk about Colin Robinson, the show's MVP, and the most striking example of its ability to find new laughs the further it strays from the world defined by the movie.\u003c/p>\n\u003cp>Robinson is a bald, bespectacled, be-beige-cardiganed lump of an office drone who's a kind of vampire new to the series. Crucially, he's played by the wonderful Mark Proksch, who has turned up most notably in a handful of episodes of \u003cem>Better Call Saul\u003c/em> as woefully unprepared and overmatched drug supplier Daniel \"Pryce\" Wormald. (Also: Google \u003ca href=\"https://www.youtube.com/watch?v=dj9VF7LyffU\">Kenny \"K-Strass\" Strasser\u003c/a> sometime, when you need a pick-me-up of the cringiest variety.)\u003c/p>\n\u003cp>Robinson makes an appealingly weird and uniquely American addition to the mix, and Proksch plays him with a studied, virtuosic blandness that's chillingly recognizable.\u003c/p>\n\u003cp>As dependably funny as the series is, Proksch's performance speaks to its willingness to bring new ideas to the format established by Waititi and Clement back in 2014. The two men are maintaining a hands-on approach to the material (both Clement and Waititi are series writers; they directed three episodes each).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It's gratifying to report that, whenever \u003cem>What We Do In The Shadows\u003c/em>, the series, steps confidently out of the long shadow thrown by \u003cem>What We Do In The Shadows\u003c/em>, the movie, it burns bright and hot.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27What+We+Do+In+The+Shadows%27+Puts+The+Dead+In+Deadpan&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"If you loved the hilarious 2014 New Zealand mockumentary about vampire roommates, fear not—you're going to love the American version too. ","status":"publish","parent":0,"modified":1553718315,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1022},"headData":{"title":"'What We Do In The Shadows' Puts The Dead In Deadpan | KQED","description":"If you loved the hilarious 2014 New Zealand mockumentary about vampire roommates, fear not—you're going to love the American version too. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'What We Do In The Shadows' Puts The Dead In Deadpan","datePublished":"2019-03-27T20:25:15.000Z","dateModified":"2019-03-27T20:25:15.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"110589 https://ww2.kqed.org/pop/?p=110589","disqusUrl":"https://ww2.kqed.org/pop/2019/03/27/what-we-do-in-the-shadows-puts-the-dead-in-deadpan/","disqusTitle":"'What We Do In The Shadows' Puts The Dead In Deadpan","path":"/pop/110589/what-we-do-in-the-shadows-puts-the-dead-in-deadpan","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2014, New Zealand co-directors/co-writers Taika Waititi and Jemaine Clement released \u003cem>What We Do In The Shadows\u003c/em>, a hilarious, shambling-yet-unerringly-precise mockumentary about a group of vampires sharing a house in modern-day Wellington, New Zealand.\u003c/p>\n\u003cp>The two men also starred in the film, as a pair of odd-couple vampire roommates: the sweet-natured dandy Viago (Waititi), all pinky rings and ruffled shirts and concern about the upkeep of the house's common areas, and the surly, less-sinister-than-he-thinks-he-is Vladislav (Clement). Jonny Brugh and Ben Fransham played two other undead housemates, and the whole endeavor was driven by a commitment to spoofing both the documentary format (shaky camera, testimonials, the subjects' hyper-awareness of their status as documentary subjects) and the ropiest tropes of vampire lore (the vamps go clubbing, only to grow increasingly frustrated when bouncer after bouncer neglects to expressly invite them in).\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/IAZEWtyhpes'\n title='//www.youtube.com/embed/IAZEWtyhpes'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The central joke—the film's artisanal blend of the grotesque with the utterly, punishingly, unremittingly mundane—made for a tone that just \u003cem>worked\u003c/em>. Marked by the same dry, deadpan, low-wattage and quintessentially Kiwi affect that typified HBO's \u003cem>Flight of the Conchords\u003c/em> (which Clement co-created with Bret McKenzie and James Bobin; Waititi wrote and directed several episodes), the original \u003cem>What We Do In The Shadows\u003c/em> exuded so much easy, unforced charm and sustained cleverness you just wanted to crawl inside it and live for a while.\u003c/p>\n\u003cp>Now (Wednesday, March 27, specifically) to the FX Network, comes the U.S. incarnation—not a film, but a 10-episode series—and if fans of the 2014 film harbor any qualms about that prospect, it's understandable. After all, the movie deftly exploited—one could even say drafted on—New Zealanders' reputation as some of the more unprepossessing members of the global community. Which is why, despite the characters' arcane abilities and everyday evilness, they came across like underdogs you couldn't help cheering for. Could an \u003cem>American \u003c/em>series strike that necessary, slightly diffident tone? And could that tone take root, once transplanted half a world away from the island on which it germinated?\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>And then there was the question of story. The film clocked in at a tight 86 minutes, which seemed just about perfect. The notion that its premise—however good, however solid—could benefit from getting stretched over the course of five hours seemed wildly unlikely.\u003c/p>\n\u003cp>Rest assured, \u003cem>Shadows \u003c/em>fan and newbie alike, that the FX series captures the all-important, dry-as-gravedust tone, and, if the first four episodes made available to the press are any indication, it has figured out how to outfit its one-joke premise with enough different drivers of narrative momentum to keep viewers watching.\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/SyZi3rJPENs'\n title='//www.youtube.com/embed/SyZi3rJPENs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It doesn't do this right away, however. Not \u003cem>immediately\u003c/em>. The pilot episode's opening minutes map too neatly over the film's: We meet the various players in much the same way. There's the same \"vampire house meeting\" gag. And we're introduced to Guillermo (Harvey Guillen), an all-too-human vampire's assistant who, exactly like the film's Jackie (Jackie van Beek), labors long and hard in hopes to one day be turned by his master.\u003c/p>\n\u003cp>Even their dark, appealingly shabby mansion strongly resembles that of the film, though instead of the Wellington suburbs, it's located in the heart of New York City.\u003c/p>\n\u003cp>Well, Staten Island, anyway.\u003c/p>\n\u003cp>So, you know, the\u003cem> pancreas\u003c/em> of New York City.\u003c/p>\n\u003cp>Soon enough, however, the series' characters distinguish themselves, and the cast members establish their own rhythms. There is Nandor (Kayvan Novak), once a fierce, bloodthirsty warrior of the Ottoman Empire, who is now a vain, bumbling and quite literally bloodthirsty vampire who passively mistreats his sweet-faced human familiar (Guillen). There is the couple: ostensibly handsome and charming Laszlo (\u003cem>The It Crowd\u003c/em>'s Matt Berry) and the powerful Nadja (Natasia Demetriou) who, as the series opens, chafes against her role as de facto vampire matriarch—and develops a roving eye that alights upon, among other people, community college student Jenna (Beanie Feldstein).\u003c/p>\n\u003cp>The four leads are great, the jokes crisp and fast and funny, and the visual effects are employed just as effectively as in the movie, folded seamlessly into the handheld-camera aesthetic so they seem all the more uncanny. It doesn't take long for the characters to receive a kick in the pants that raises the stakes and propels them into the season with a sense of urgency—something the film, for all its manifold qualities, never much bothered with.\u003c/p>\n\u003cp>But let's talk about Colin Robinson, the show's MVP, and the most striking example of its ability to find new laughs the further it strays from the world defined by the movie.\u003c/p>\n\u003cp>Robinson is a bald, bespectacled, be-beige-cardiganed lump of an office drone who's a kind of vampire new to the series. Crucially, he's played by the wonderful Mark Proksch, who has turned up most notably in a handful of episodes of \u003cem>Better Call Saul\u003c/em> as woefully unprepared and overmatched drug supplier Daniel \"Pryce\" Wormald. (Also: Google \u003ca href=\"https://www.youtube.com/watch?v=dj9VF7LyffU\">Kenny \"K-Strass\" Strasser\u003c/a> sometime, when you need a pick-me-up of the cringiest variety.)\u003c/p>\n\u003cp>Robinson makes an appealingly weird and uniquely American addition to the mix, and Proksch plays him with a studied, virtuosic blandness that's chillingly recognizable.\u003c/p>\n\u003cp>As dependably funny as the series is, Proksch's performance speaks to its willingness to bring new ideas to the format established by Waititi and Clement back in 2014. The two men are maintaining a hands-on approach to the material (both Clement and Waititi are series writers; they directed three episodes each).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It's gratifying to report that, whenever \u003cem>What We Do In The Shadows\u003c/em>, the series, steps confidently out of the long shadow thrown by \u003cem>What We Do In The Shadows\u003c/em>, the movie, it burns bright and hot.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27What+We+Do+In+The+Shadows%27+Puts+The+Dead+In+Deadpan&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/110589/what-we-do-in-the-shadows-puts-the-dead-in-deadpan","authors":["2421"],"categories":["pop_2696","pop_51","pop_3"],"tags":["pop_3426","pop_3093","pop_271","pop_3524"],"featImg":"pop_110593","label":"pop"},"pop_108178":{"type":"posts","id":"pop_108178","meta":{"index":"posts_1591205157","site":"pop","id":"108178","score":null,"sort":[1545403611000]},"guestAuthors":[],"slug":"nprs-favorite-tv-shows-of-2018","title":"NPR's Favorite TV Shows Of 2018","publishDate":1545403611,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Hundreds and hundreds of series air every year. They are good and they are lousy; they are new and they are old. There's too much television for a comprehensive ranking, so Glen Weldon, Linda Holmes and Eric Deggans round up 16 of their favorite shows from 2018.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Americans \u003c/strong>\u003c/em>\u003cstrong>(FX)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zIn_MH8_2ig\u003c/p>\n\u003cp>The final season of this slow-burn, serious-minded series about a pair of KGB agents planted in the U.S. to raise a family and spy on government officials had its fans worried. Could the show, which so intricately examined the world of '80s spycraft through the lens of a thrillingly intense domestic drama, nail the dismount? Would Philip and Elizabeth (Matthew Rhys and Keri Russell) survive? Would their daughter, Paige (Holly Taylor), follow in their footsteps? Would their son, Henry (Keidrich Sellati) ... um, okay, no one wondered about Henry. The series finale managed to feel both surprising and inevitable, in a hugely satisfying way. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Barry\u003c/strong>\u003c/em>\u003cstrong> (HBO)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=M6TZdk1t8Zo\u003c/p>\n\u003cp>Bill Hader is best known as a comedic actor, but he delivers drama as well in HBO's dark comedy about Barry, a hit man trying to go straight by studying acting. It sounds like a precious premise. But great work from Hader and Henry Winkler as his acting teacher elevates the story to something that stuck with me stubbornly all year. It's unsettling to begin with the idea of redemption and gradually smother it, and it remains to be seen whether the second season can succeed. But these eight tight half-hours are well worth a watch. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Big Mouth \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oTC7wQMHHEA\u003c/p>\n\u003cp>The jokes about the sundry terrors of puberty are many, and filthy, and utterly cringeworthy for all the right (read: deeply earned) reasons. Compared to \u003cem>South Park,\u003c/em> an animated series that similarly delights in humiliating its characters, \u003cem>Big Mouth\u003c/em> is a filthier show, with even cruder jokes and an obsession with sex that's more relentless. Crucially, however, it's also a much more sincere, more sweet, more intensely empathetic series that, even as it's visiting horrors and humiliations on its characters, never fails to side with them. We care about these poor schmucks, so the jokes land harder and the cringes go deeper.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Chi\u003c/strong>\u003c/em>\u003cstrong> (Showtime)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tgrx0F6G2bA\u003c/p>\n\u003cp>Chicago's notoriously violent South Side neighborhoods have long needed a fictional drama that humanizes their struggle the way \u003cem>The Wire\u003c/em> characterized Baltimore and \u003cem>Boyz n the Hood\u003c/em> depicted South Central Los Angeles. Creator Lena Waithe pulls it off here. The show is fueled by Jason Mitchell's emotional turn as an aspiring chef whose ambitions are threatened by his brother's murder and Alex Hibbert's beyond-his-years performance playing the middle-schooler who saw the killing happen. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Crazy Ex-Girlfriend\u003c/strong>\u003c/em>\u003cstrong> (The CW)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eg3TKjr8A0s\u003c/p>\n\u003cp>The series about high-powered lawyer Rebecca (Rachel Bloom), who uproots her life to chase down the boy who represents everything she thinks she wants, deftly transitioned into its fourth and final season by not simply addressing the elephant in the room—Rebecca's mental illness—but wrestling it to the floor. The show managed to engage, responsibly and tastefully, with a character's attempted suicide while remaining the tuneful, breezy, acidly funny show we've come to know and love. It's a risky endeavor that's paying off by giving supporting members of the cast room to develop—and tie up their own storylines.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Good Place \u003c/strong>\u003c/em>\u003cstrong>(NBC)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FaynKNZAKkc&t=8s\u003c/p>\n\u003cp>There are few comedies as consistently joke-packed as NBC's \u003cem>The Good Place\u003c/em>. Physical comedy, dumb puns, brilliant one-liners, unexpected observations—it doesn't discriminate. But the show's other calling card is its genuine—and well-researched!—considerations of philosophy. It asks over and over: \u003cem>What does it mean to be a good person? What do we owe to each other? \u003c/em>In its third season, as Michael (Ted Danson) and the gang face new questions together, it remains a high-stakes, thrillingly inventive series with one of TV's most consistently compelling casts. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Homecoming\u003c/strong>\u003c/em>\u003cstrong> (Amazon)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9WJSdpE-sJQ\u003c/p>\n\u003cp>Building a new series from the bones of a popular podcast is the latest fad in TV-land. But Director/Executive Producer Sam Esmail wound up developing an inventive show that stands as the best TV drama of the year. Movie superstar Julia Roberts crushes here, benching her legendary smile—mostly—to play a frazzled, damaged administrator discovering the dark side of a corporate-run program for veterans. And Esmail, whose trippy genius fueled USA Network's \u003cem>Mr. Robot, \u003c/em>upends the rules of TV storytelling by turning this show's half-hour-ish episodes into taut bits of visually ambitious drama.\u003cem> — Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Killing Eve\u003c/strong>\u003c/em>\u003cstrong> (BBC America)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Kk0PyD-XNZA\u003c/p>\n\u003cp>This may be the strangest—and most compelling—story of how opposites attract on TV this year. Sandra Oh is acerbic and knowing as Eve Polastri, a deskbound, low-level staffer in British intelligence who instinctively figures out how to track a notoriously psychopathic assassin, played with maniacal glee by Jodie Comer. Executive producer Phoebe Waller-Bridge subverts every male-centered trope of espionage thrillers as Eve and the assassin play a deadly cat-and-mouse game fueled by their mutual fascination with each other. —\u003cem> Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Kominsky Method\u003c/strong>\u003c/em>\u003cstrong> (Netflix)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TjuOTlf5Jb0\u003c/p>\n\u003cp>Okay, it may not \u003cem>sound\u003c/em> like much fun watching a silver-haired acting teacher kvetch about aging with his even older best friend and agent. But when those two guys are 70-something Michael Douglas (as actor/teacher Sandy Kominsky) and 80-something Alan Arkin (as his agent, Norman), you've got dramedy gold. Creator Chuck Lorre hits a career high, crafting stories rooted in the pain of loss and aging delivered by stars whose deft touch is informed by over a century of acting experience between them. —\u003cem> Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Legion \u003c/strong>\u003c/em>\u003cstrong>(FX)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5LjWnM1BsaE\u003c/p>\n\u003cp>When the guy with a wicker basket on his head (who talks only through androgynous android-clones in Tom Selleck mustaches and Beatle wigs) is the \u003cem>least\u003c/em> weird thing about your show, that show can safely be called ... distinctive. Welcome to Season 2 of \u003cem>Legion,\u003c/em> FX's not-your-daddy's-mutant-superhero series helmed once again by Noah Hawley (who also runs FX's other stylish, genre-inflected offering, \u003cem>Fargo\u003c/em>). It's a visual and aural feast, stylized to the point of gorgeous absurdity, and a testament to what a director with a good eye—and a loose leash—can bring to series television.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>One Day at a Time \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wNFFleycS8k\u003c/p>\n\u003cp>There was much ado about \u003cem>Roseanne\u003c/em> returning to ABC, and the hope that it would give \"working-class families\" more of a presence. Anyone looking for a working-class family, however, already had a few choices. One is the Alvarez family from Netflix's \u003cem>One Day at a Time\u003c/em>. Penelope (Justina Machado) is a veteran and a single mom, dating and raising her two kids, living with her mom (Rita Moreno). The cast is divine, the show feels contemporary and smart (its explorations of sexual and gender identity feel particularly profoundly needed), and Rita Moreno can still crack your heart right open. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Pose\u003c/strong>\u003c/em>\u003cstrong> (FX)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_t4YuPXdLZw\u003c/p>\n\u003cp>There is no more revolutionary act in television than a once-marginalized group rising up to tell its own stories, so this series matters. \u003cem>Pose\u003c/em> features an amazing cast of LGBTQ characters exploring 1980s New York through the city's ball culture competitions. Transgender actress Mj Rodriguez is indomitable as Blanca, the house mother to LGBTQ competitors who have chosen each other as family after biological relatives rejected them. Transgender writers like Janet Mock and Our Lady J served as producers, and, according to FX, the show made history by assembling TV's largest cast of transgender actors in regular series roles. Truly a revolution through revelation.\u003cem> — Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Queer Eye \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=97Gh0LRdKu4\u003c/p>\n\u003cp>You know the drill: Five gay guys breeze into the lives of hapless schlubs and show them the life-changing magic of ... making a damn effort. The Netflix reboot stays true to the formula, with an all-new quintet of queers—and a willingness to broaden the mission statement to address something other than straight, white man-boys. The new series brings less acid humor and a lot more heart than the original, and while its fumbling attempts to address America's political and racial divides can seem cringingly naive, it's a dependable source of pop-culture comfort food.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Shut Up and Dribble\u003c/strong>\u003c/em>\u003cstrong> (Showtime)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b8ZYeVuzPKs\u003c/p>\n\u003cp>LeBron James is one of the executive producers of this excellent Showtime documentary series examining the relationship between race and the NBA. Inspired by \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/19/587097707/laura-ingraham-told-lebron-james-to-shutup-and-dribble-he-went-to-the-hoop\">a dismissive cable-news insult directed at James himself\u003c/a>, the series looks back at pioneers like Oscar Robertson and Bill Russell, whose activism was fundamental to their careers. But it also considers stories like Magic versus Bird and the branding genius of Michael Jordan. It explores the inescapable links between racial justice and professional basketball—and labor economics as well. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>A Very English Scandal \u003c/strong>\u003c/em>\u003cstrong>(Amazon)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vfrPRzxMlTY\u003c/p>\n\u003cp>Ben Whishaw dithers fetchingly as Norman Scott, who enters into an illicit affair with the very opportunistic and so veddy veddy posh member of British Parliament Jeremy Thorpe. Hugh Grant plays Thorpe with a smarmy sense of entitlement and vowels plummier than moo shu pork. Watching this very—nay, \u003cem>achingly—\u003c/em>English affair play out, and then flame out, is what a Brit might call \"a right old hoot.\" It's soapy, funny, by turns gorgeous and grubby, and performed with a kind of headlong verve that's a joy to behold.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Vida \u003c/strong>\u003c/em>\u003cstrong>(Starz)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PhP9Ho7MS6w\u003c/p>\n\u003cp>On the surface, it's a familiar story: Two sisters who left home return after a parent's death to face all the complications left behind. But this series breaks new ground because the sisters are Latinx, they are returning to take ownership of a crumbling bar in a gentrifying East Los Angeles neighborhood, and they never knew their mother was a lesbian who married her partner and left her spouse one-third of their family business. Couching a familiar story in an authentic, specific experience helps create transformative, groundbreaking television. And \u003cem>Vida\u003c/em> delivers. —\u003cem> Eric Deggans\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Jessica Reedy produced and edited this story.\u003c/em>\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=NPR%27s+Favorite+TV+Shows+Of+2018&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"This year we said goodbye to 'The Americans,' but also celebrated new gems like 'Queer Eye,' 'Killing Eve' and 'Homecoming.'","status":"publish","parent":0,"modified":1545360570,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1855},"headData":{"title":"NPR's Favorite TV Shows Of 2018 | KQED","description":"This year we said goodbye to 'The Americans,' but also celebrated new gems like 'Queer Eye,' 'Killing Eve' and 'Homecoming.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"NPR's Favorite TV Shows Of 2018","datePublished":"2018-12-21T14:46:51.000Z","dateModified":"2018-12-21T02:49:30.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"108178 https://ww2.kqed.org/pop/?p=108178","disqusUrl":"https://ww2.kqed.org/pop/2018/12/21/nprs-favorite-tv-shows-of-2018/","disqusTitle":"NPR's Favorite TV Shows Of 2018","nprByline":"Glen Weldon","nprImageAgency":"Netflix/Amazon Prime Video/BBC America/NBC/Courtesy of Starz","nprStoryId":"671482181","nprApiLink":"http://api.npr.org/query?id=671482181&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2018/12/17/671482181/nprs-favorite-tv-shows-of-2018?ft=nprml&f=671482181","nprRetrievedStory":"1","nprPubDate":"Mon, 17 Dec 2018 05:29:00 -0500","nprStoryDate":"Mon, 17 Dec 2018 05:29:00 -0500","nprLastModifiedDate":"Mon, 17 Dec 2018 05:29:53 -0500","path":"/pop/108178/nprs-favorite-tv-shows-of-2018","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hundreds and hundreds of series air every year. They are good and they are lousy; they are new and they are old. There's too much television for a comprehensive ranking, so Glen Weldon, Linda Holmes and Eric Deggans round up 16 of their favorite shows from 2018.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Americans \u003c/strong>\u003c/em>\u003cstrong>(FX)\u003c/strong>\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/zIn_MH8_2ig'\n title='//www.youtube.com/embed/zIn_MH8_2ig'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The final season of this slow-burn, serious-minded series about a pair of KGB agents planted in the U.S. to raise a family and spy on government officials had its fans worried. Could the show, which so intricately examined the world of '80s spycraft through the lens of a thrillingly intense domestic drama, nail the dismount? Would Philip and Elizabeth (Matthew Rhys and Keri Russell) survive? Would their daughter, Paige (Holly Taylor), follow in their footsteps? Would their son, Henry (Keidrich Sellati) ... um, okay, no one wondered about Henry. The series finale managed to feel both surprising and inevitable, in a hugely satisfying way. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Barry\u003c/strong>\u003c/em>\u003cstrong> (HBO)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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/M6TZdk1t8Zo'\n title='//www.youtube.com/embed/M6TZdk1t8Zo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bill Hader is best known as a comedic actor, but he delivers drama as well in HBO's dark comedy about Barry, a hit man trying to go straight by studying acting. It sounds like a precious premise. But great work from Hader and Henry Winkler as his acting teacher elevates the story to something that stuck with me stubbornly all year. It's unsettling to begin with the idea of redemption and gradually smother it, and it remains to be seen whether the second season can succeed. But these eight tight half-hours are well worth a watch. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Big Mouth \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\u003c/strong>\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/oTC7wQMHHEA'\n title='//www.youtube.com/embed/oTC7wQMHHEA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The jokes about the sundry terrors of puberty are many, and filthy, and utterly cringeworthy for all the right (read: deeply earned) reasons. Compared to \u003cem>South Park,\u003c/em> an animated series that similarly delights in humiliating its characters, \u003cem>Big Mouth\u003c/em> is a filthier show, with even cruder jokes and an obsession with sex that's more relentless. Crucially, however, it's also a much more sincere, more sweet, more intensely empathetic series that, even as it's visiting horrors and humiliations on its characters, never fails to side with them. We care about these poor schmucks, so the jokes land harder and the cringes go deeper.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Chi\u003c/strong>\u003c/em>\u003cstrong> (Showtime)\u003c/strong>\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/tgrx0F6G2bA'\n title='//www.youtube.com/embed/tgrx0F6G2bA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Chicago's notoriously violent South Side neighborhoods have long needed a fictional drama that humanizes their struggle the way \u003cem>The Wire\u003c/em> characterized Baltimore and \u003cem>Boyz n the Hood\u003c/em> depicted South Central Los Angeles. Creator Lena Waithe pulls it off here. The show is fueled by Jason Mitchell's emotional turn as an aspiring chef whose ambitions are threatened by his brother's murder and Alex Hibbert's beyond-his-years performance playing the middle-schooler who saw the killing happen. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Crazy Ex-Girlfriend\u003c/strong>\u003c/em>\u003cstrong> (The CW)\u003c/strong>\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/eg3TKjr8A0s'\n title='//www.youtube.com/embed/eg3TKjr8A0s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The series about high-powered lawyer Rebecca (Rachel Bloom), who uproots her life to chase down the boy who represents everything she thinks she wants, deftly transitioned into its fourth and final season by not simply addressing the elephant in the room—Rebecca's mental illness—but wrestling it to the floor. The show managed to engage, responsibly and tastefully, with a character's attempted suicide while remaining the tuneful, breezy, acidly funny show we've come to know and love. It's a risky endeavor that's paying off by giving supporting members of the cast room to develop—and tie up their own storylines.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Good Place \u003c/strong>\u003c/em>\u003cstrong>(NBC)\u003c/strong>\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/FaynKNZAKkc'\n title='//www.youtube.com/embed/FaynKNZAKkc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are few comedies as consistently joke-packed as NBC's \u003cem>The Good Place\u003c/em>. Physical comedy, dumb puns, brilliant one-liners, unexpected observations—it doesn't discriminate. But the show's other calling card is its genuine—and well-researched!—considerations of philosophy. It asks over and over: \u003cem>What does it mean to be a good person? What do we owe to each other? \u003c/em>In its third season, as Michael (Ted Danson) and the gang face new questions together, it remains a high-stakes, thrillingly inventive series with one of TV's most consistently compelling casts. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Homecoming\u003c/strong>\u003c/em>\u003cstrong> (Amazon)\u003c/strong>\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/9WJSdpE-sJQ'\n title='//www.youtube.com/embed/9WJSdpE-sJQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Building a new series from the bones of a popular podcast is the latest fad in TV-land. But Director/Executive Producer Sam Esmail wound up developing an inventive show that stands as the best TV drama of the year. Movie superstar Julia Roberts crushes here, benching her legendary smile—mostly—to play a frazzled, damaged administrator discovering the dark side of a corporate-run program for veterans. And Esmail, whose trippy genius fueled USA Network's \u003cem>Mr. Robot, \u003c/em>upends the rules of TV storytelling by turning this show's half-hour-ish episodes into taut bits of visually ambitious drama.\u003cem> — Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Killing Eve\u003c/strong>\u003c/em>\u003cstrong> (BBC America)\u003c/strong>\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/Kk0PyD-XNZA'\n title='//www.youtube.com/embed/Kk0PyD-XNZA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This may be the strangest—and most compelling—story of how opposites attract on TV this year. Sandra Oh is acerbic and knowing as Eve Polastri, a deskbound, low-level staffer in British intelligence who instinctively figures out how to track a notoriously psychopathic assassin, played with maniacal glee by Jodie Comer. Executive producer Phoebe Waller-Bridge subverts every male-centered trope of espionage thrillers as Eve and the assassin play a deadly cat-and-mouse game fueled by their mutual fascination with each other. —\u003cem> Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Kominsky Method\u003c/strong>\u003c/em>\u003cstrong> (Netflix)\u003c/strong>\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/TjuOTlf5Jb0'\n title='//www.youtube.com/embed/TjuOTlf5Jb0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Okay, it may not \u003cem>sound\u003c/em> like much fun watching a silver-haired acting teacher kvetch about aging with his even older best friend and agent. But when those two guys are 70-something Michael Douglas (as actor/teacher Sandy Kominsky) and 80-something Alan Arkin (as his agent, Norman), you've got dramedy gold. Creator Chuck Lorre hits a career high, crafting stories rooted in the pain of loss and aging delivered by stars whose deft touch is informed by over a century of acting experience between them. —\u003cem> Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Legion \u003c/strong>\u003c/em>\u003cstrong>(FX)\u003c/strong>\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/5LjWnM1BsaE'\n title='//www.youtube.com/embed/5LjWnM1BsaE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When the guy with a wicker basket on his head (who talks only through androgynous android-clones in Tom Selleck mustaches and Beatle wigs) is the \u003cem>least\u003c/em> weird thing about your show, that show can safely be called ... distinctive. Welcome to Season 2 of \u003cem>Legion,\u003c/em> FX's not-your-daddy's-mutant-superhero series helmed once again by Noah Hawley (who also runs FX's other stylish, genre-inflected offering, \u003cem>Fargo\u003c/em>). It's a visual and aural feast, stylized to the point of gorgeous absurdity, and a testament to what a director with a good eye—and a loose leash—can bring to series television.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>One Day at a Time \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\u003c/strong>\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/wNFFleycS8k'\n title='//www.youtube.com/embed/wNFFleycS8k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There was much ado about \u003cem>Roseanne\u003c/em> returning to ABC, and the hope that it would give \"working-class families\" more of a presence. Anyone looking for a working-class family, however, already had a few choices. One is the Alvarez family from Netflix's \u003cem>One Day at a Time\u003c/em>. Penelope (Justina Machado) is a veteran and a single mom, dating and raising her two kids, living with her mom (Rita Moreno). The cast is divine, the show feels contemporary and smart (its explorations of sexual and gender identity feel particularly profoundly needed), and Rita Moreno can still crack your heart right open. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Pose\u003c/strong>\u003c/em>\u003cstrong> (FX)\u003c/strong>\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/_t4YuPXdLZw'\n title='//www.youtube.com/embed/_t4YuPXdLZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There is no more revolutionary act in television than a once-marginalized group rising up to tell its own stories, so this series matters. \u003cem>Pose\u003c/em> features an amazing cast of LGBTQ characters exploring 1980s New York through the city's ball culture competitions. Transgender actress Mj Rodriguez is indomitable as Blanca, the house mother to LGBTQ competitors who have chosen each other as family after biological relatives rejected them. Transgender writers like Janet Mock and Our Lady J served as producers, and, according to FX, the show made history by assembling TV's largest cast of transgender actors in regular series roles. Truly a revolution through revelation.\u003cem> — Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Queer Eye \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\u003c/strong>\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/97Gh0LRdKu4'\n title='//www.youtube.com/embed/97Gh0LRdKu4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You know the drill: Five gay guys breeze into the lives of hapless schlubs and show them the life-changing magic of ... making a damn effort. The Netflix reboot stays true to the formula, with an all-new quintet of queers—and a willingness to broaden the mission statement to address something other than straight, white man-boys. The new series brings less acid humor and a lot more heart than the original, and while its fumbling attempts to address America's political and racial divides can seem cringingly naive, it's a dependable source of pop-culture comfort food.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Shut Up and Dribble\u003c/strong>\u003c/em>\u003cstrong> (Showtime)\u003c/strong>\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/b8ZYeVuzPKs'\n title='//www.youtube.com/embed/b8ZYeVuzPKs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>LeBron James is one of the executive producers of this excellent Showtime documentary series examining the relationship between race and the NBA. Inspired by \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/19/587097707/laura-ingraham-told-lebron-james-to-shutup-and-dribble-he-went-to-the-hoop\">a dismissive cable-news insult directed at James himself\u003c/a>, the series looks back at pioneers like Oscar Robertson and Bill Russell, whose activism was fundamental to their careers. But it also considers stories like Magic versus Bird and the branding genius of Michael Jordan. It explores the inescapable links between racial justice and professional basketball—and labor economics as well. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>A Very English Scandal \u003c/strong>\u003c/em>\u003cstrong>(Amazon)\u003c/strong>\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/vfrPRzxMlTY'\n title='//www.youtube.com/embed/vfrPRzxMlTY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ben Whishaw dithers fetchingly as Norman Scott, who enters into an illicit affair with the very opportunistic and so veddy veddy posh member of British Parliament Jeremy Thorpe. Hugh Grant plays Thorpe with a smarmy sense of entitlement and vowels plummier than moo shu pork. Watching this very—nay, \u003cem>achingly—\u003c/em>English affair play out, and then flame out, is what a Brit might call \"a right old hoot.\" It's soapy, funny, by turns gorgeous and grubby, and performed with a kind of headlong verve that's a joy to behold.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Vida \u003c/strong>\u003c/em>\u003cstrong>(Starz)\u003c/strong>\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/PhP9Ho7MS6w'\n title='//www.youtube.com/embed/PhP9Ho7MS6w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the surface, it's a familiar story: Two sisters who left home return after a parent's death to face all the complications left behind. But this series breaks new ground because the sisters are Latinx, they are returning to take ownership of a crumbling bar in a gentrifying East Los Angeles neighborhood, and they never knew their mother was a lesbian who married her partner and left her spouse one-third of their family business. Couching a familiar story in an authentic, specific experience helps create transformative, groundbreaking television. And \u003cem>Vida\u003c/em> delivers. —\u003cem> Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Jessica Reedy produced and edited this story.\u003c/em>\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=NPR%27s+Favorite+TV+Shows+Of+2018&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/108178/nprs-favorite-tv-shows-of-2018","authors":["byline_pop_108178"],"categories":["pop_3"],"tags":["pop_3108","pop_3389","pop_3093","pop_271","pop_88","pop_438","pop_3247","pop_3228","pop_3086"],"featImg":"pop_108179","label":"pop"},"pop_104695":{"type":"posts","id":"pop_104695","meta":{"index":"posts_1591205157","site":"pop","id":"104695","score":null,"sort":[1532378667000]},"guestAuthors":[],"slug":"ladies-with-an-attitude-make-for-a-striking-pose-finale","title":"Ladies With an Attitude Make For a Striking 'Pose' Finale","publishDate":1532378667,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>\u003cem>\u003cstrong>This post discusses the events of Sunday night's \u003ca href=\"https://www.fxnetworks.com/shows/pose\">POSE\u003c/a> season finale.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>It wasn't layered. It wasn't nuanced. It was didactic in some places, and mawkish in others, often reaching for sentiment only to achieve sentimentality instead. Characters didn't so much converse as stand and deliver long declamatory paragraphs \u003cem>at \u003c/em>each other, in precisely the way real people don't — you could \u003cem>hear \u003c/em>the writing, always. The cast approached the material with great fervor, if not, in all cases, great finesse.\u003c/p>\n\u003cp>But so what. Because after all that, we'd get a scene at the ball. And \u003cem>Pose\u003c/em>, the series which ended its first season Sunday night, would shrug off all those ungainly trappings, step into the spotlight, and shine.\u003c/p>\n\u003cp>Those ballroom scenes, bursting with color and music and laughter and attitude, cast long, glittery, fabulous shadows over the scenes that preceded and followed them, enlivening the series with a sense of hard-won joy. Which of course is what \u003cem>Pose \u003c/em>is about — the power of the disempowered to create something that is uniquely their own, and use it to make life more bearable. It's a how-to, of sorts: We watch members of a marginalized and threatened community channel the fear and outrage that mark their everyday lives into something fearless and invulnerable, beautiful — and fleeting.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JiEZRhCyINE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some may carp that the series' conclusion — the triumph of noble and virtuous House Evangelista over villainous House Ferocity — was predictable. Those people have never seen a sports movie. Or a high school movie. Or a superhero movie. Or, it might be fair to say, a movie. Underdogs triumph, in storytelling. That's not predictable; that's \u003cem>inevitable\u003c/em>. And this far into 2018, it's essential.\u003c/p>\n\u003cp>\u003cem>Pose \u003c/em>came to be when Ryan Murphy, who was developing a series about ball culture, and Steven Canals, who'd written a pilot script about a young dancer who moves to New York in the 80's and becomes a part of that community, \u003ca href=\"http://www.towleroad.com/2018/07/steven-canals-2/\">decided to fuse their two visions\u003c/a>. The result is uneven, but charmingly so. It would be glib to say you could tell a Murphy scene from the others by virtue of its campy excess — House Abundance swiping royal costumes from a museum, say, or stealing a Salvation Army bucket set to Darlene Love's \"Christmas (Baby Please Come Home),\" or Christopher Meloni taking off his shirt.\u003c/p>\n\u003cp>(It would be glib to say that. Not, I think, inaccurate.)\u003c/p>\n\u003cp>It's true that the glitz and glamour and Meloni shirtlessness are fun to watch, but they're more than that. Because the story \u003cem>Pose \u003c/em>tells, about a community of black and brown trans women and gay men in the midst of the AIDS epidemic, is urgent and heartbreaking and still too-little-known. The fun stuff — ball scenes, Meloni's torso, James Van Der Beek smarmily Gordon Geckoing up a storm, Dominique Jackson's Elektra regally reading someone for filth — aren't just the gloss, the spoonful of sugar. They're there to make the truer, grittier aspects of the series stand out in sharper relief.\u003c/p>\n\u003cp>That a show like \u003cem>Pose \u003c/em>(but of course there is no show like \u003cem>Pose\u003c/em>, more's the pity) has found a berth on a platform like FX is heartening, as is the fact that it features trans women playing trans women. Apart from simply giving trans actors an opportunity too long denied them, it neatly removes a layer of artifice that clings to even a worthy show like \u003cem>Transparent\u003c/em>, where a small, stubborn part of you can't keep from gauging Tambor's performance as you watch Maura's story.\u003c/p>\n\u003cp>It also serves to underscore the show's pervasive sense of earnest sincerity, embodied most clearly in Mj Rodriguez's Blanca. The mother of House Evangelista got saddled with being the show's voice of reason and mercy and kindness and empathy — you know, the boring stuff. Rodriguez managed to keep Blanca from being a boring scold — mostly — by keying into the character's wounded quality.\u003c/p>\n\u003cp>Dominique Jackson didn't lend Elektra much of an emotional range, though the script pushed her, at times too hard, to do so — but when she locked into attack mode, which was, you know ... often, she proved a haughty, hiss-worthy villain, with cheekbones that could slice manchego.\u003c/p>\n\u003cp>The true revelation, however, was Indya Moore as Angel. Surrounded by so much archness and arched eyebrows, Moore's smaller, more naturalistic acting style steadily nudged the show's emotional center from Blanca to Angel. She could be petulant, selfish, even whiny — but our sympathy never wavered, because Moore made Angel so soulful and warm. And her storyline with Evan Peters's Stan, a married-with-kids Wall Street type who sets up Angel with an apartment, knowingly tweaked the White Savior trope by treating his character with compassion without letting him become the center of her story. (Stan's story has been told hundreds of times before; it's Angel's turn.)\u003c/p>\n\u003cp>\u003cem>Pose \u003c/em>is of course a fictionalized version of '80s ballroom culture, but it references the real world. Season one's finale was set in the middle of 1988. So while it's likely the spine of next season will consist of another fight for the trophy between rival Houses, I'm hoping the series engages with the fact that two events — the 1990 release of \u003ca href=\"https://www.youtube.com/watch?v=GuJQSAiODqI\">Madonna's \"Vogue\"\u003c/a> and, especially, Jennie Livington's 1991 documentary \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=VVueHRtpBbg\">Paris is Burning\u003c/a> --\u003c/em> are about to drag the insular world of these characters into mainstream awareness.\u003c/p>\n\u003cp>The show has already shown a willingness to explore issues like transphobia within the queer community, so it will be fascinating to see how, or if, it tackles the subject of cultural appropriation.\u003c/p>\n\u003cp>If I were taking bets, I'd say it will do so, and in ways that will often come off ham-fisted and broad. Some character — who are we kidding, it'll be Blanca — will deliver a heartfelt speech about exploitation, and it won't be done with any deftness or subtlety — but who cares.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The great thing about \u003cem>Pose \u003c/em>isn't that it does the singular thing it does with any restraint. It's that, finally, in 2018, it's got the chance to do the singular thing it does, at all.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ladies+With+An+Attitude+Make+For+A+Striking+%27Pose%27+Finale+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Season 1 wrapped up with an unsurprising victory, but the greatest thing about 'Pose' is that it exists at all. ","status":"publish","parent":0,"modified":1532378667,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1088},"headData":{"title":"Ladies With an Attitude Make For a Striking 'Pose' Finale | KQED","description":"Season 1 wrapped up with an unsurprising victory, but the greatest thing about 'Pose' is that it exists at all. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Ladies With an Attitude Make For a Striking 'Pose' Finale","datePublished":"2018-07-23T20:44:27.000Z","dateModified":"2018-07-23T20:44:27.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"104695 https://ww2.kqed.org/pop/?p=104695","disqusUrl":"https://ww2.kqed.org/pop/2018/07/23/ladies-with-an-attitude-make-for-a-striking-pose-finale/","disqusTitle":"Ladies With an Attitude Make For a Striking 'Pose' Finale","nprImageCredit":"JOJO WHILDEN","nprByline":"Glen Weldon","nprImageAgency":"FX Networks","nprStoryId":"628007394","nprApiLink":"http://api.npr.org/query?id=628007394&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/sections/monkeysee/2018/07/23/628007394/ladies-with-an-attitude-make-for-a-striking-pose-finale?ft=nprml&f=628007394","nprRetrievedStory":"1","nprPubDate":"Mon, 23 Jul 2018 05:00:00 -0400","nprStoryDate":"Mon, 23 Jul 2018 05:00:47 -0400","nprLastModifiedDate":"Mon, 23 Jul 2018 05:00:47 -0400","path":"/pop/104695/ladies-with-an-attitude-make-for-a-striking-pose-finale","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>This post discusses the events of Sunday night's \u003ca href=\"https://www.fxnetworks.com/shows/pose\">POSE\u003c/a> season finale.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>It wasn't layered. It wasn't nuanced. It was didactic in some places, and mawkish in others, often reaching for sentiment only to achieve sentimentality instead. Characters didn't so much converse as stand and deliver long declamatory paragraphs \u003cem>at \u003c/em>each other, in precisely the way real people don't — you could \u003cem>hear \u003c/em>the writing, always. The cast approached the material with great fervor, if not, in all cases, great finesse.\u003c/p>\n\u003cp>But so what. Because after all that, we'd get a scene at the ball. And \u003cem>Pose\u003c/em>, the series which ended its first season Sunday night, would shrug off all those ungainly trappings, step into the spotlight, and shine.\u003c/p>\n\u003cp>Those ballroom scenes, bursting with color and music and laughter and attitude, cast long, glittery, fabulous shadows over the scenes that preceded and followed them, enlivening the series with a sense of hard-won joy. Which of course is what \u003cem>Pose \u003c/em>is about — the power of the disempowered to create something that is uniquely their own, and use it to make life more bearable. It's a how-to, of sorts: We watch members of a marginalized and threatened community channel the fear and outrage that mark their everyday lives into something fearless and invulnerable, beautiful — and fleeting.\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/JiEZRhCyINE'\n title='//www.youtube.com/embed/JiEZRhCyINE'\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>Some may carp that the series' conclusion — the triumph of noble and virtuous House Evangelista over villainous House Ferocity — was predictable. Those people have never seen a sports movie. Or a high school movie. Or a superhero movie. Or, it might be fair to say, a movie. Underdogs triumph, in storytelling. That's not predictable; that's \u003cem>inevitable\u003c/em>. And this far into 2018, it's essential.\u003c/p>\n\u003cp>\u003cem>Pose \u003c/em>came to be when Ryan Murphy, who was developing a series about ball culture, and Steven Canals, who'd written a pilot script about a young dancer who moves to New York in the 80's and becomes a part of that community, \u003ca href=\"http://www.towleroad.com/2018/07/steven-canals-2/\">decided to fuse their two visions\u003c/a>. The result is uneven, but charmingly so. It would be glib to say you could tell a Murphy scene from the others by virtue of its campy excess — House Abundance swiping royal costumes from a museum, say, or stealing a Salvation Army bucket set to Darlene Love's \"Christmas (Baby Please Come Home),\" or Christopher Meloni taking off his shirt.\u003c/p>\n\u003cp>(It would be glib to say that. Not, I think, inaccurate.)\u003c/p>\n\u003cp>It's true that the glitz and glamour and Meloni shirtlessness are fun to watch, but they're more than that. Because the story \u003cem>Pose \u003c/em>tells, about a community of black and brown trans women and gay men in the midst of the AIDS epidemic, is urgent and heartbreaking and still too-little-known. The fun stuff — ball scenes, Meloni's torso, James Van Der Beek smarmily Gordon Geckoing up a storm, Dominique Jackson's Elektra regally reading someone for filth — aren't just the gloss, the spoonful of sugar. They're there to make the truer, grittier aspects of the series stand out in sharper relief.\u003c/p>\n\u003cp>That a show like \u003cem>Pose \u003c/em>(but of course there is no show like \u003cem>Pose\u003c/em>, more's the pity) has found a berth on a platform like FX is heartening, as is the fact that it features trans women playing trans women. Apart from simply giving trans actors an opportunity too long denied them, it neatly removes a layer of artifice that clings to even a worthy show like \u003cem>Transparent\u003c/em>, where a small, stubborn part of you can't keep from gauging Tambor's performance as you watch Maura's story.\u003c/p>\n\u003cp>It also serves to underscore the show's pervasive sense of earnest sincerity, embodied most clearly in Mj Rodriguez's Blanca. The mother of House Evangelista got saddled with being the show's voice of reason and mercy and kindness and empathy — you know, the boring stuff. Rodriguez managed to keep Blanca from being a boring scold — mostly — by keying into the character's wounded quality.\u003c/p>\n\u003cp>Dominique Jackson didn't lend Elektra much of an emotional range, though the script pushed her, at times too hard, to do so — but when she locked into attack mode, which was, you know ... often, she proved a haughty, hiss-worthy villain, with cheekbones that could slice manchego.\u003c/p>\n\u003cp>The true revelation, however, was Indya Moore as Angel. Surrounded by so much archness and arched eyebrows, Moore's smaller, more naturalistic acting style steadily nudged the show's emotional center from Blanca to Angel. She could be petulant, selfish, even whiny — but our sympathy never wavered, because Moore made Angel so soulful and warm. And her storyline with Evan Peters's Stan, a married-with-kids Wall Street type who sets up Angel with an apartment, knowingly tweaked the White Savior trope by treating his character with compassion without letting him become the center of her story. (Stan's story has been told hundreds of times before; it's Angel's turn.)\u003c/p>\n\u003cp>\u003cem>Pose \u003c/em>is of course a fictionalized version of '80s ballroom culture, but it references the real world. Season one's finale was set in the middle of 1988. So while it's likely the spine of next season will consist of another fight for the trophy between rival Houses, I'm hoping the series engages with the fact that two events — the 1990 release of \u003ca href=\"https://www.youtube.com/watch?v=GuJQSAiODqI\">Madonna's \"Vogue\"\u003c/a> and, especially, Jennie Livington's 1991 documentary \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=VVueHRtpBbg\">Paris is Burning\u003c/a> --\u003c/em> are about to drag the insular world of these characters into mainstream awareness.\u003c/p>\n\u003cp>The show has already shown a willingness to explore issues like transphobia within the queer community, so it will be fascinating to see how, or if, it tackles the subject of cultural appropriation.\u003c/p>\n\u003cp>If I were taking bets, I'd say it will do so, and in ways that will often come off ham-fisted and broad. Some character — who are we kidding, it'll be Blanca — will deliver a heartfelt speech about exploitation, and it won't be done with any deftness or subtlety — but who cares.\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>The great thing about \u003cem>Pose \u003c/em>isn't that it does the singular thing it does with any restraint. It's that, finally, in 2018, it's got the chance to do the singular thing it does, at all.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ladies+With+An+Attitude+Make+For+A+Striking+%27Pose%27+Finale+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/104695/ladies-with-an-attitude-make-for-a-striking-pose-finale","authors":["byline_pop_104695"],"categories":["pop_3"],"tags":["pop_3093","pop_3234"],"featImg":"pop_104696","label":"pop"},"pop_104269":{"type":"posts","id":"pop_104269","meta":{"index":"posts_1591205157","site":"pop","id":"104269","score":null,"sort":[1529527059000]},"guestAuthors":[],"slug":"you-just-serve-as-much-as-you-can-mj-rodriguez-on-ball-culture-and-pose","title":"'You Just Serve as Much as You Can': Mj Rodriguez on Ball Culture and 'Pose'","publishDate":1529527059,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>High fashion, makeup, vogueing competitions. In the 1980s, New York City's drag balls were cultural events for the LGBTQ community, most of them black and Latino. But balls have largely been hidden from mainstream America.\u003c/p>\n\u003cp>Now, a new show on FX is putting them front and center. It's called \u003cem>Pose\u003c/em>, and \u003ca href=\"https://www.fxnetworks.com/shows/pose\">according to FX\u003c/a>, it has largest cast of transgender actors in series regular roles.\u003c/p>\n\u003cp>\"It's great that finally our stories are getting to be told from the lenses of our eyes,\" says transgender singer and actress Mj Rodriguez.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_t4YuPXdLZw\u003c/p>\n\u003cp>Rodriguez plays Blanca, an HIV-positive ball competitor who decides to leave her drag \"house\" to create a new one from scratch. She tells NPR that she and Blanca actually have a lot in common.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how Blanca's experience compares to her own \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So Blanca, she's like this rambunctious, very, very nurturing, compassionate, a little bit hardheaded, but ambitious spirit. And she's trying to leave a legacy with the news that she's received as far as her diagnosis as far as HIV, and she's trying to leave something behind so her [house] \"children\" can carry on her legacy. ...\u003c/p>\n\u003cp>Me and her have \u003cem>a lot\u003c/em> in common. There are some small differences, obviously, but these are also very, very true stories. And I've been ostracized from a specific part of my community, and I decided that I was not going to let that be the thing that brought me down. I was going to move forward and uplift. ...\u003c/p>\n\u003cp>There were moments where I was called many derogatory names. I've gotten into a couple of fights. People have jumped me. You know, I've had a lot of things that have happened to me, but I look past those things now and now I'm moving forward and I always believe that the experiences that you go through are what make you stronger and what help you push forward through life.\u003c/p>\n\u003cp>\u003cstrong>On landing the role of Angel, a street musician living with AIDS, in the 2011 off-Broadway revival of \u003c/strong>\u003cstrong>\u003cem>Rent\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Rent\u003c/em> was one of the main defining moments, and it was like the precipice of my transition. I had always known I was female, since I was 7 years old. But at that time there were no words that I could express, at the age of 7. But when I got to a certain age, which was 14, I knew. And then I carried that on through my career. So when I played that character, I was just like: Finally, I can have people see me for the woman I am and not have any doubts or thoughts or anything, just can simply be and simply live and pour my soul out onstage.\u003c/p>\n\u003cfigure id=\"attachment_104272\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-104272\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/06/fx-s-pose_101_2549r_wide-e3e61bd3ec6365a2825c9cff38942278e31090f8-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">\"She's like this rambunctious, very, very nurturing, compassionate, a little bit hardheaded, but ambitious spirit,\" Rodriguez says of Blanca.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how drag balls work\u003c/strong>\u003c/p>\n\u003cp>It's a refuge — it's a place of refuge for anyone of the LGBT community of color. And we go there just to find solace, to find family and just to find comfort.\u003c/p>\n\u003cp>And there are also ... many categories, which are like walking face, walking realness, vogueing, vogueing femme and also runway. Runway is one of the things that I walk, and that's when you literally walk down the runway in the ballroom culture and you just serve as much as you can. ... Bring it, honey, you have to \u003cem>bring it\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>On how it feels to be part of a large transgender cast\u003c/strong>\u003c/p>\n\u003cp>I think is beautiful. One, I'm glad because most of these women I've met or have worked with before, so that's the best part about it, we have already a connection. But most importantly, these [episodes] are telling different stories ... of each of these trans women's lives, and that we are living authentically just like anyone else who's walking this earth, and that we just literally need to come together and stop the BS, honestly.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Denise Guerra and Viet Le produced and edited this interview for broadcast. Nicole Cohen adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27You+Just+Serve+As+Much+As+You+Can%27%3A+Mj+Rodriguez+On+Ball+Culture+And+%27Pose%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"On the show's diverse cast, Rodriguez says: \"It's great that finally our stories are getting to be told.\"","status":"publish","parent":0,"modified":1529533143,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":713},"headData":{"title":"'You Just Serve as Much as You Can': Mj Rodriguez on Ball Culture and 'Pose' | KQED","description":"On the show's diverse cast, Rodriguez says: "It's great that finally our stories are getting to be told."","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'You Just Serve as Much as You Can': Mj Rodriguez on Ball Culture and 'Pose'","datePublished":"2018-06-20T20:37:39.000Z","dateModified":"2018-06-20T22:19:03.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"104269 https://ww2.kqed.org/pop/?p=104269","disqusUrl":"https://ww2.kqed.org/pop/2018/06/20/you-just-serve-as-much-as-you-can-mj-rodriguez-on-ball-culture-and-pose/","disqusTitle":"'You Just Serve as Much as You Can': Mj Rodriguez on Ball Culture and 'Pose'","nprImageCredit":"JoJo Whilden","nprByline":"Lulu Garcia-Navarro","nprImageAgency":"FX","nprStoryId":"620280106","nprApiLink":"http://api.npr.org/query?id=620280106&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2018/06/17/620280106/you-just-serve-as-much-as-you-can-mj-rodriguez-on-ball-culture-and-pose?ft=nprml&f=620280106","nprRetrievedStory":"1","nprPubDate":"Sun, 17 Jun 2018 08:42:00 -0400","nprStoryDate":"Sun, 17 Jun 2018 08:12:00 -0400","nprLastModifiedDate":"Wed, 20 Jun 2018 05:55:22 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/wesun/2018/06/20180617_wesun_you_just_serve_as_much_as_you_can_mj_rodriguez_on_ball_culture_and_pose_.mp3?orgId=1&topicId=1138&d=287&p=10&story=620280106&ft=nprml&f=620280106","nprAudioM3u":"http://api.npr.org/m3u/1620775262-c46676.m3u?orgId=1&topicId=1138&d=287&p=10&story=620280106&ft=nprml&f=620280106","path":"/pop/104269/you-just-serve-as-much-as-you-can-mj-rodriguez-on-ball-culture-and-pose","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/wesun/2018/06/20180617_wesun_you_just_serve_as_much_as_you_can_mj_rodriguez_on_ball_culture_and_pose_.mp3?orgId=1&topicId=1138&d=287&p=10&story=620280106&ft=nprml&f=620280106","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>High fashion, makeup, vogueing competitions. In the 1980s, New York City's drag balls were cultural events for the LGBTQ community, most of them black and Latino. But balls have largely been hidden from mainstream America.\u003c/p>\n\u003cp>Now, a new show on FX is putting them front and center. It's called \u003cem>Pose\u003c/em>, and \u003ca href=\"https://www.fxnetworks.com/shows/pose\">according to FX\u003c/a>, it has largest cast of transgender actors in series regular roles.\u003c/p>\n\u003cp>\"It's great that finally our stories are getting to be told from the lenses of our eyes,\" says transgender singer and actress Mj Rodriguez.\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/_t4YuPXdLZw'\n title='//www.youtube.com/embed/_t4YuPXdLZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rodriguez plays Blanca, an HIV-positive ball competitor who decides to leave her drag \"house\" to create a new one from scratch. She tells NPR that she and Blanca actually have a lot in common.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how Blanca's experience compares to her own \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So Blanca, she's like this rambunctious, very, very nurturing, compassionate, a little bit hardheaded, but ambitious spirit. And she's trying to leave a legacy with the news that she's received as far as her diagnosis as far as HIV, and she's trying to leave something behind so her [house] \"children\" can carry on her legacy. ...\u003c/p>\n\u003cp>Me and her have \u003cem>a lot\u003c/em> in common. There are some small differences, obviously, but these are also very, very true stories. And I've been ostracized from a specific part of my community, and I decided that I was not going to let that be the thing that brought me down. I was going to move forward and uplift. ...\u003c/p>\n\u003cp>There were moments where I was called many derogatory names. I've gotten into a couple of fights. People have jumped me. You know, I've had a lot of things that have happened to me, but I look past those things now and now I'm moving forward and I always believe that the experiences that you go through are what make you stronger and what help you push forward through life.\u003c/p>\n\u003cp>\u003cstrong>On landing the role of Angel, a street musician living with AIDS, in the 2011 off-Broadway revival of \u003c/strong>\u003cstrong>\u003cem>Rent\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Rent\u003c/em> was one of the main defining moments, and it was like the precipice of my transition. I had always known I was female, since I was 7 years old. But at that time there were no words that I could express, at the age of 7. But when I got to a certain age, which was 14, I knew. And then I carried that on through my career. So when I played that character, I was just like: Finally, I can have people see me for the woman I am and not have any doubts or thoughts or anything, just can simply be and simply live and pour my soul out onstage.\u003c/p>\n\u003cfigure id=\"attachment_104272\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-104272\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/06/fx-s-pose_101_2549r_wide-e3e61bd3ec6365a2825c9cff38942278e31090f8-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">\"She's like this rambunctious, very, very nurturing, compassionate, a little bit hardheaded, but ambitious spirit,\" Rodriguez says of Blanca.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how drag balls work\u003c/strong>\u003c/p>\n\u003cp>It's a refuge — it's a place of refuge for anyone of the LGBT community of color. And we go there just to find solace, to find family and just to find comfort.\u003c/p>\n\u003cp>And there are also ... many categories, which are like walking face, walking realness, vogueing, vogueing femme and also runway. Runway is one of the things that I walk, and that's when you literally walk down the runway in the ballroom culture and you just serve as much as you can. ... Bring it, honey, you have to \u003cem>bring it\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>On how it feels to be part of a large transgender cast\u003c/strong>\u003c/p>\n\u003cp>I think is beautiful. One, I'm glad because most of these women I've met or have worked with before, so that's the best part about it, we have already a connection. But most importantly, these [episodes] are telling different stories ... of each of these trans women's lives, and that we are living authentically just like anyone else who's walking this earth, and that we just literally need to come together and stop the BS, honestly.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Denise Guerra and Viet Le produced and edited this interview for broadcast. Nicole Cohen adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27You+Just+Serve+As+Much+As+You+Can%27%3A+Mj+Rodriguez+On+Ball+Culture+And+%27Pose%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/104269/you-just-serve-as-much-as-you-can-mj-rodriguez-on-ball-culture-and-pose","authors":["byline_pop_104269"],"categories":["pop_3"],"tags":["pop_3093","pop_3234"],"label":"pop"},"pop_102914":{"type":"posts","id":"pop_102914","meta":{"index":"posts_1591205157","site":"pop","id":"102914","score":null,"sort":[1522855834000]},"guestAuthors":[],"slug":"legion-is-definitely-the-weirdest-corner-of-the-marvel-universe","title":"'Legion' is Definitely the Weirdest Corner of the Marvel Universe","publishDate":1522855834,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>When the guy with a wicker bucket on his head (who only talks through androgynous android-clones in Tom Selleck mustaches and Beatle wigs) is the \u003cem>least\u003c/em> weird thing about your show, that show can safely be called... distinctive.\u003c/p>\n\u003cp>Welcome to season two of \u003ca href=\"http://www.imdb.com/title/tt5114356/?ref_=fn_al_tt_1\">\u003cem>Legion\u003c/em>\u003c/a>, FX's not-your-daddy's-mutant-superhero-series, helmed once again by Noah Hawley, between gigs running FX's other stylish, genre-inflected offering, \u003ca href=\"http://www.imdb.com/title/tt2802850/?ref_=fn_al_tt_1\">\u003cem>Fargo\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Legion\u003c/em> is the story of David Haller (a perpetually rumpled and vaguely confused \u003ca href=\"http://www.imdb.com/name/nm1405398/?ref_=fn_al_nm_1\">Dan Stevens\u003c/a>), the world's most powerful mutant, who's now free of the evil psychic parasite known only as the Shadow King, who last season assumed the form of his friend Lenny, played by \u003ca href=\"http://www.imdb.com/name/nm2201555/?ref_=fn_al_nm_1\">Aubrey Plaza\u003c/a>. David's grown up believing himself to be schizophrenic, but came to realize his true nature when he was taken in by an organization seeking to train him — and to fight the Shadow King, who is in fact an ancient being known as Amahl Farouk (played, this season, by \u003ca href=\"http://www.imdb.com/name/nm1041023/?ref_=fn_al_nm_1\">Navid Negahban\u003c/a>).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HmBIn9De-Yc\u003c/p>\n\u003cp>As you can see,the broad outlines of\u003cem> Legion'\u003c/em>s story don't stray terribly far from typical superhero fare — newfound powers, secret organization, sinister bad guy, rinse and repeat.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But \u003cem>Legion\u003c/em> isn't about the story. Not really.\u003c/p>\n\u003cp>It's a visual and aural feast, a stylized-to-the-point-of-gorgeous-absurdity testament to what a director with a good eye (and a loose leash) can bring to series television. Each episode (the first four of season two were made available to press) features showy, inventive camerawork — every scene magnificently framed and rapturously lit — and gleefully bizarre imagery. It's also filled with sound cues that delight and/or unsettle (there's a recurring bit involving chattering teeth that does both, every time).\u003c/p>\n\u003cp>\u003cem>Legion\u003c/em> is so thoroughly itself — so obviously \u003cem>wrought\u003c/em>, so painstakingly \u003cem>constructed\u003c/em> — it risks self-indulgence, crossing the line from showy to show-off-y. Viewers hungry for a simple story simply told will likely grow impatient with the show's languorous approach to storytelling — whole episodes pass without moving the main conflict forward an inch. The fourth episode, for example, gives long-overdue attention to David's girlfriend Syd (\u003ca href=\"http://www.imdb.com/name/nm5043859/?ref_=fn_al_nm_1\">Rachel Keller\u003c/a>), via that most dreaded and momentum-killing device in serialized television — the flashback.\u003c/p>\n\u003cp>And yet: That deliberate pacing, and all those dazzling visual flourishes, exist in service to these characters, and their (to say the least) singular predicaments. Those flashbacks work, because Hawley and his directors know that keeping us visually enthralled won't do any good if we're not emotionally engaged. That's why the show's performances stay as grounded and specific as they do. Stevens' David, especially, constantly undercuts the bizarre goings-on with a hesitant, beta-male form of incredulity that infuses the show with sly humor.\u003c/p>\n\u003cfigure id=\"attachment_102917\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-102917\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/04/legion-season-2-script-pic-800x569.jpg\" alt=\"\" width=\"800\" height=\"569\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/04/legion-season-2-script-pic-800x569.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/legion-season-2-script-pic-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/legion-season-2-script-pic-768x546.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/legion-season-2-script-pic-1020x726.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/legion-season-2-script-pic-1200x854.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/legion-season-2-script-pic-1180x839.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/legion-season-2-script-pic-960x683.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/legion-season-2-script-pic-240x171.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/legion-season-2-script-pic-375x267.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/legion-season-2-script-pic-520x370.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/legion-season-2-script-pic.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Stevens and Aubrey Plaza in 'Legion' (FX)\u003c/figcaption>\u003c/figure>\n\u003cp>Plus, of course, the dance numbers. Oh, the dance numbers. (This season, the character of Cary, played by the great Bill Irwin, finally gets a brief chance to shake his eminently shakable groove thing, and it's worth the wait.)\u003c/p>\n\u003cp>\u003cem>Legion\u003c/em> is technically a part of the Marvel Universe — but it's millions of light-years away, emotionally and aesthetically, from either the gritty streets of the various Marvel series on Netflix, or the cosmic sweep of the \u003cem>The Avengers\u003c/em>. It's a dark, trippy corner of that universe, where time moves more slowly, but it's filled with moments and images you'll find nowhere else.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Trust me, the guy with the bucket on his head is only the beginning.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Legion%2C%27+Season+2%3A+Welcome+Back+To+The+Weirdest+Corner+Of+The+Marvel+Universe&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Season 2 is defiantly trippy, visually stunning and lightyears away from the rest of the Marvel Universe.","status":"publish","parent":0,"modified":1522788625,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":629},"headData":{"title":"'Legion' is Definitely the Weirdest Corner of the Marvel Universe | KQED","description":"Season 2 is defiantly trippy, visually stunning and lightyears away from the rest of the Marvel Universe.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Legion' is Definitely the Weirdest Corner of the Marvel Universe","datePublished":"2018-04-04T15:30:34.000Z","dateModified":"2018-04-03T20:50:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"102914 https://ww2.kqed.org/pop/?p=102914","disqusUrl":"https://ww2.kqed.org/pop/2018/04/04/legion-is-definitely-the-weirdest-corner-of-the-marvel-universe/","disqusTitle":"'Legion' is Definitely the Weirdest Corner of the Marvel Universe","nprImageCredit":" Suzanne Tenner ","nprByline":"Glen Weldon","nprImageAgency":"FX","nprStoryId":"597795582","nprApiLink":"http://api.npr.org/query?id=597795582&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/sections/monkeysee/2018/04/03/597795582/legion-season-2-welcome-back-to-the-weirdest-corner-of-the-marvel-universe?ft=nprml&f=597795582","nprRetrievedStory":"1","nprPubDate":"Tue, 03 Apr 2018 05:01:00 -0400","nprStoryDate":"Tue, 03 Apr 2018 05:01:05 -0400","nprLastModifiedDate":"Tue, 03 Apr 2018 05:01:05 -0400","path":"/pop/102914/legion-is-definitely-the-weirdest-corner-of-the-marvel-universe","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the guy with a wicker bucket on his head (who only talks through androgynous android-clones in Tom Selleck mustaches and Beatle wigs) is the \u003cem>least\u003c/em> weird thing about your show, that show can safely be called... distinctive.\u003c/p>\n\u003cp>Welcome to season two of \u003ca href=\"http://www.imdb.com/title/tt5114356/?ref_=fn_al_tt_1\">\u003cem>Legion\u003c/em>\u003c/a>, FX's not-your-daddy's-mutant-superhero-series, helmed once again by Noah Hawley, between gigs running FX's other stylish, genre-inflected offering, \u003ca href=\"http://www.imdb.com/title/tt2802850/?ref_=fn_al_tt_1\">\u003cem>Fargo\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Legion\u003c/em> is the story of David Haller (a perpetually rumpled and vaguely confused \u003ca href=\"http://www.imdb.com/name/nm1405398/?ref_=fn_al_nm_1\">Dan Stevens\u003c/a>), the world's most powerful mutant, who's now free of the evil psychic parasite known only as the Shadow King, who last season assumed the form of his friend Lenny, played by \u003ca href=\"http://www.imdb.com/name/nm2201555/?ref_=fn_al_nm_1\">Aubrey Plaza\u003c/a>. David's grown up believing himself to be schizophrenic, but came to realize his true nature when he was taken in by an organization seeking to train him — and to fight the Shadow King, who is in fact an ancient being known as Amahl Farouk (played, this season, by \u003ca href=\"http://www.imdb.com/name/nm1041023/?ref_=fn_al_nm_1\">Navid Negahban\u003c/a>).\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HmBIn9De-Yc'\n title='//www.youtube.com/embed/HmBIn9De-Yc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As you can see,the broad outlines of\u003cem> Legion'\u003c/em>s story don't stray terribly far from typical superhero fare — newfound powers, secret organization, sinister bad guy, rinse and repeat.\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 \u003cem>Legion\u003c/em> isn't about the story. Not really.\u003c/p>\n\u003cp>It's a visual and aural feast, a stylized-to-the-point-of-gorgeous-absurdity testament to what a director with a good eye (and a loose leash) can bring to series television. Each episode (the first four of season two were made available to press) features showy, inventive camerawork — every scene magnificently framed and rapturously lit — and gleefully bizarre imagery. It's also filled with sound cues that delight and/or unsettle (there's a recurring bit involving chattering teeth that does both, every time).\u003c/p>\n\u003cp>\u003cem>Legion\u003c/em> is so thoroughly itself — so obviously \u003cem>wrought\u003c/em>, so painstakingly \u003cem>constructed\u003c/em> — it risks self-indulgence, crossing the line from showy to show-off-y. Viewers hungry for a simple story simply told will likely grow impatient with the show's languorous approach to storytelling — whole episodes pass without moving the main conflict forward an inch. The fourth episode, for example, gives long-overdue attention to David's girlfriend Syd (\u003ca href=\"http://www.imdb.com/name/nm5043859/?ref_=fn_al_nm_1\">Rachel Keller\u003c/a>), via that most dreaded and momentum-killing device in serialized television — the flashback.\u003c/p>\n\u003cp>And yet: That deliberate pacing, and all those dazzling visual flourishes, exist in service to these characters, and their (to say the least) singular predicaments. Those flashbacks work, because Hawley and his directors know that keeping us visually enthralled won't do any good if we're not emotionally engaged. That's why the show's performances stay as grounded and specific as they do. Stevens' David, especially, constantly undercuts the bizarre goings-on with a hesitant, beta-male form of incredulity that infuses the show with sly humor.\u003c/p>\n\u003cfigure id=\"attachment_102917\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-102917\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/04/legion-season-2-script-pic-800x569.jpg\" alt=\"\" width=\"800\" height=\"569\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/04/legion-season-2-script-pic-800x569.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/legion-season-2-script-pic-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/legion-season-2-script-pic-768x546.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/legion-season-2-script-pic-1020x726.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/legion-season-2-script-pic-1200x854.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/legion-season-2-script-pic-1180x839.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/legion-season-2-script-pic-960x683.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/legion-season-2-script-pic-240x171.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/legion-season-2-script-pic-375x267.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/legion-season-2-script-pic-520x370.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2018/04/legion-season-2-script-pic.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Stevens and Aubrey Plaza in 'Legion' (FX)\u003c/figcaption>\u003c/figure>\n\u003cp>Plus, of course, the dance numbers. Oh, the dance numbers. (This season, the character of Cary, played by the great Bill Irwin, finally gets a brief chance to shake his eminently shakable groove thing, and it's worth the wait.)\u003c/p>\n\u003cp>\u003cem>Legion\u003c/em> is technically a part of the Marvel Universe — but it's millions of light-years away, emotionally and aesthetically, from either the gritty streets of the various Marvel series on Netflix, or the cosmic sweep of the \u003cem>The Avengers\u003c/em>. It's a dark, trippy corner of that universe, where time moves more slowly, but it's filled with moments and images you'll find nowhere else.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Trust me, the guy with the bucket on his head is only the beginning.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Legion%2C%27+Season+2%3A+Welcome+Back+To+The+Weirdest+Corner+Of+The+Marvel+Universe&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/102914/legion-is-definitely-the-weirdest-corner-of-the-marvel-universe","authors":["byline_pop_102914"],"categories":["pop_3"],"tags":["pop_3093","pop_3180","pop_756"],"featImg":"pop_102918","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":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Black Mirror' and 'Electric Dreams' Are This Generation's 'Twilight Zone'","datePublished":"2018-01-17T21:28:46.000Z","dateModified":"2018-01-18T21:19:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"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_98520":{"type":"posts","id":"pop_98520","meta":{"index":"posts_1591205157","site":"pop","id":"98520","score":null,"sort":[1516208730000]},"guestAuthors":[],"slug":"the-assassination-of-gianni-versace-isnt-what-you-think-it-is","title":"'The Assassination Of Gianni Versace' Isn't What You Think It Is","publishDate":1516208730,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>The promotional campaign for \u003ca href=\"http://www.imdb.com/news/ni61164944\">\u003cem>American Crime Story: The Assassination of Gianni Versace\u003c/em>,\u003c/a> which premieres Wednesday, January 17, on FX, is all gowns and glamour: The camera lingers over a head of Medusa, the designer's internationally recognized logo. We see flashbulbs, red carpets, bold prints, glasses of champagne. Outside Versace's South Beach mansion, we slowly push in on a static tableau of his partner, Antonio D'Amico, (Ricky Martin) in blood-spattered tennis whites, standing in formation with the black-clad household staff, like they belong to some kind of Justice League of Beautiful, Minimalist Grief. In a tastefully spare chapel, Donatella (Penelope Cruz) walks towards Versace's casket as white doves loosed from some nearby John Woo movie flap across the screen in slow motion, ever-so-gently ruffling her veil — without disrupting its clean lines, of course.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FcRRgYdlr0I\u003c/p>\n\u003cp>It's all very sumptuous, and gorgeous, and tinged with camp — and misleading as hell.\u003c/p>\n\u003cp>The story \u003ca href=\"http://www.imdb.com/title/tt2788432/\">\u003cem>American Crime Story\u003c/em> \u003c/a>seeks to tell in its second season is at once grittier and more abstract than the one promised in the ads. Grittier, in that it concerns itself with the grisly particulars of Andrew Cunanan's cross-country murder spree that culminated in Versace's slaying. More abstract, because the real-life Cunanan was both sociopath and cipher, making the task of turning him into a remotely compelling character prohibitively difficult. In its attempt to do so, \u003cem>The Assassination of Gianni Versace \u003c/em>can't rely on an exhaustively documented public record of legal maneuverings, as did \u003cem>American Crime Story\u003c/em>'s premiere season, \u003cem>The People vs. O.J. Simpson\u003c/em>.\u003c/p>\n\u003cp>Instead, it blithely fabricates, spinning crucial passages of dialogue, climactic scenes, even entire episodes from whole cloth: Again and again, we watch two or more real-life figures who are now dead exchange information, share secrets, or confess their feelings for one another.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, the \"true\" in the \"true crime\" genre always rests on conjecture, and the demands of a solid narrative arc. That was certainly the case with \u003cem>American Crime Story\u003c/em>'s first season, which was largely based on Jeffrey Toobin's book, \u003cem>The Run of His Life: The People vs. O.J. Simpson\u003c/em>. The new season is based on a 2000 book by Maureen Orth called \u003cem>\u003ca href=\"https://www.amazon.com/Vulgar-Favors-Cunanan-Versace-Largest/dp/044022585X\">Vulgar Favors: Andrew Cunanan, Gianni Versace, and the Largest Failed Manhunt in U.S. History\u003c/a> — \u003c/em>but it feels fundamentally different, and far more invasive, than the O.J. season. You likely won't get through all nine episodes (the first eight of which have been offered to critics) without chafing against the liberties the series so eagerly takes — for me, it was a long car ride in episode four, involving tense discussions between Cunanan (Darren Criss) and a former lover (Cody Fern) that clanged the loudest alarm bells.\u003c/p>\n\u003cp>\u003cstrong>Disparate Threads\u003c/strong>\u003c/p>\n\u003cp>But while the Cunanan murder-spree story predominates, other themes and storylines do recur, though they get far less screentime. Your enjoyment of \u003cem>The Assassination of Gianni Versace\u003c/em> will depend on your personal investment in each.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rJa0D6zxtwc\u003c/p>\n\u003cp>If you come for the Versace stuff shown in the ad campaign — the mansion, the fashion, Penelope Cruz's thick-as-burrata accent as the imperious Donatella, the over-the-top camp of it all — know that the series parcels that stuff out sparingly. Sure, you'll get the (incredibly well-cast) Edgar Ramirez as Versace, purring sexily about what his clothes mean, and Cruz cutting Ricky Martin's Antonio down to size. (Cruz is particularly fun, here — watch the way she sweeps into a room, instantly notices a small \u003cem>tchotchke \u003c/em>that a detective had ever-so-slightly re-positioned, and wordlessly nudges it back to starting position.) In episode three, you get Judith Light playing the kind of steely matron that Hollywood casting agents probably call \"the Judith Light part\" by now. Even the great Terry Sweeney, who brought Nancy Reagan to such fiercely vivid life during his tenure as an SNL castmember, shows up. So yes, the campy stuff is present, clearly, but not nearly to the degree that many will expect.\u003c/p>\n\u003cp>If you're looking for the series to wrestle with cultural issues, like the O.J. season did with race in America, there's some of that here, too: The story of Andrew Cunanan's life plays out against a backdrop of the struggle for gay rights. Detectives express incomprehension and outright disgust at various victims' homosexuality. An entire episode revolves around the military's \"Don't Ask, Don't Tell\" policy. Cunanan hides his sexuality from his family and friends. The fact that same-sex marriage isn't yet a possibility plays a role in two of Cunanan's five murders, according to the series. (See above, in re: liberties taken.)\u003c/p>\n\u003cp>But if you're interested in the tick-tock of it all — the logistics of the cross-country hunt for Cunanan — you'll likely come away disappointed. The series spends some time with the various detectives tracking Cunanan's movements, but not enough for us to get a clear sense of how close they get, or do not get, to catching him.\u003c/p>\n\u003cp>And if you're hoping to gain some insight into who Andrew Cunanan was, and why he did what he did — well, that's certainly what the series spends most of its time on, and what it \u003cem>wants \u003c/em>you to come away with.\u003c/p>\n\u003cp>... Eventually.\u003c/p>\n\u003cp>The structure of the series works against it, in that respect: The first episode depicts Versace's murder, and subsequent episodes work back in time, more or less linearly, tracing the course of his murder spree, and focusing, in the eighth episode, on Cunanan's early life.\u003c/p>\n\u003cp>As a result, the Cunanan we're introduced to in early episodes just isn't particularly interesting. Darren Criss does what he can, but the script forces him to give us little more than a smooth, unctuous, one-note narcissist. Cunanan lies to everyone, himself included, so when — very gradually, six or seven episodes in — we \u003cem>finally \u003c/em>get to see something other than the facade he presents to the world, we'd be forgiven for wondering if it's just another mask.\u003c/p>\n\u003cp>There are no easy answers, no clear reasons, for Cunanan's actions, but that doesn't keep \u003cem>The Assassination of Gianni Versace\u003c/em> from reaching for them. Again and again, characters tell Cunanan that he wants fame without working for it, that he's brilliant but lazy. The world is full of such people, but only Cunanan took the bizarre actions he did. When we meet his father in the eighth episode — also, according to the series, an abusive dissembler — it presents us with a collection of what it thinks are revelations, keys that will unlock the secret of Andrew Cunanan. But they're so pat and familiar that, even if accurate — a not inconsiderable if — they can't help but read as conventional biopic fare.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It was always going to be difficult for \u003cem>American Crime Story \u003c/em>to top its stellar and much-lauded first season, and it's to be commended for attempting to striking out in a fresh direction. As was true in the first season, the cast is unimpeachable — Criss, Ramirez, Cruz, Fern and Finn Wittrock are standouts. But the decision to lean into the drama of docudrama means imposing an overdetermined shape onto the very real lives Cunanan shattered in a way that feels cynical and glib. So you may come away knowing how and why Darren Criss' Andrew Cunanan did what he did — but you'll be no closer to understanding the real Cunanan, or his senseless, violent fate.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Assassination+Of+Gianni+Versace%27+Isn%27t+What+You+Think+It+Is&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"There are no clear reasons for Versace's murder—but that doesn't stop the FX show from reaching for them.","status":"publish","parent":0,"modified":1516139576,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1313},"headData":{"title":"'The Assassination Of Gianni Versace' Isn't What You Think It Is | KQED","description":"There are no clear reasons for Versace's murder—but that doesn't stop the FX show from reaching for them.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'The Assassination Of Gianni Versace' Isn't What You Think It Is","datePublished":"2018-01-17T17:05:30.000Z","dateModified":"2018-01-16T21:52:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"98520 https://ww2.kqed.org/pop/?p=98520","disqusUrl":"https://ww2.kqed.org/pop/2018/01/17/the-assassination-of-gianni-versace-isnt-what-you-think-it-is/","disqusTitle":"'The Assassination Of Gianni Versace' Isn't What You Think It Is","nprImageCredit":"Jeff Daly","nprByline":"Glen Weldon","nprImageAgency":"FX","nprStoryId":"576741985","nprApiLink":"http://api.npr.org/query?id=576741985&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/sections/monkeysee/2018/01/16/576741985/the-assassination-of-gianni-versace-isn-t-the-show-you-think-it-is-and-that-s-ok?ft=nprml&f=576741985","nprRetrievedStory":"1","nprPubDate":"Tue, 16 Jan 2018 09:11:00 -0500","nprStoryDate":"Tue, 16 Jan 2018 06:00:00 -0500","nprLastModifiedDate":"Tue, 16 Jan 2018 09:11:54 -0500","path":"/pop/98520/the-assassination-of-gianni-versace-isnt-what-you-think-it-is","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The promotional campaign for \u003ca href=\"http://www.imdb.com/news/ni61164944\">\u003cem>American Crime Story: The Assassination of Gianni Versace\u003c/em>,\u003c/a> which premieres Wednesday, January 17, on FX, is all gowns and glamour: The camera lingers over a head of Medusa, the designer's internationally recognized logo. We see flashbulbs, red carpets, bold prints, glasses of champagne. Outside Versace's South Beach mansion, we slowly push in on a static tableau of his partner, Antonio D'Amico, (Ricky Martin) in blood-spattered tennis whites, standing in formation with the black-clad household staff, like they belong to some kind of Justice League of Beautiful, Minimalist Grief. In a tastefully spare chapel, Donatella (Penelope Cruz) walks towards Versace's casket as white doves loosed from some nearby John Woo movie flap across the screen in slow motion, ever-so-gently ruffling her veil — without disrupting its clean lines, of course.\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/FcRRgYdlr0I'\n title='//www.youtube.com/embed/FcRRgYdlr0I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It's all very sumptuous, and gorgeous, and tinged with camp — and misleading as hell.\u003c/p>\n\u003cp>The story \u003ca href=\"http://www.imdb.com/title/tt2788432/\">\u003cem>American Crime Story\u003c/em> \u003c/a>seeks to tell in its second season is at once grittier and more abstract than the one promised in the ads. Grittier, in that it concerns itself with the grisly particulars of Andrew Cunanan's cross-country murder spree that culminated in Versace's slaying. More abstract, because the real-life Cunanan was both sociopath and cipher, making the task of turning him into a remotely compelling character prohibitively difficult. In its attempt to do so, \u003cem>The Assassination of Gianni Versace \u003c/em>can't rely on an exhaustively documented public record of legal maneuverings, as did \u003cem>American Crime Story\u003c/em>'s premiere season, \u003cem>The People vs. O.J. Simpson\u003c/em>.\u003c/p>\n\u003cp>Instead, it blithely fabricates, spinning crucial passages of dialogue, climactic scenes, even entire episodes from whole cloth: Again and again, we watch two or more real-life figures who are now dead exchange information, share secrets, or confess their feelings for one another.\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>Of course, the \"true\" in the \"true crime\" genre always rests on conjecture, and the demands of a solid narrative arc. That was certainly the case with \u003cem>American Crime Story\u003c/em>'s first season, which was largely based on Jeffrey Toobin's book, \u003cem>The Run of His Life: The People vs. O.J. Simpson\u003c/em>. The new season is based on a 2000 book by Maureen Orth called \u003cem>\u003ca href=\"https://www.amazon.com/Vulgar-Favors-Cunanan-Versace-Largest/dp/044022585X\">Vulgar Favors: Andrew Cunanan, Gianni Versace, and the Largest Failed Manhunt in U.S. History\u003c/a> — \u003c/em>but it feels fundamentally different, and far more invasive, than the O.J. season. You likely won't get through all nine episodes (the first eight of which have been offered to critics) without chafing against the liberties the series so eagerly takes — for me, it was a long car ride in episode four, involving tense discussions between Cunanan (Darren Criss) and a former lover (Cody Fern) that clanged the loudest alarm bells.\u003c/p>\n\u003cp>\u003cstrong>Disparate Threads\u003c/strong>\u003c/p>\n\u003cp>But while the Cunanan murder-spree story predominates, other themes and storylines do recur, though they get far less screentime. Your enjoyment of \u003cem>The Assassination of Gianni Versace\u003c/em> will depend on your personal investment in each.\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/rJa0D6zxtwc'\n title='//www.youtube.com/embed/rJa0D6zxtwc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you come for the Versace stuff shown in the ad campaign — the mansion, the fashion, Penelope Cruz's thick-as-burrata accent as the imperious Donatella, the over-the-top camp of it all — know that the series parcels that stuff out sparingly. Sure, you'll get the (incredibly well-cast) Edgar Ramirez as Versace, purring sexily about what his clothes mean, and Cruz cutting Ricky Martin's Antonio down to size. (Cruz is particularly fun, here — watch the way she sweeps into a room, instantly notices a small \u003cem>tchotchke \u003c/em>that a detective had ever-so-slightly re-positioned, and wordlessly nudges it back to starting position.) In episode three, you get Judith Light playing the kind of steely matron that Hollywood casting agents probably call \"the Judith Light part\" by now. Even the great Terry Sweeney, who brought Nancy Reagan to such fiercely vivid life during his tenure as an SNL castmember, shows up. So yes, the campy stuff is present, clearly, but not nearly to the degree that many will expect.\u003c/p>\n\u003cp>If you're looking for the series to wrestle with cultural issues, like the O.J. season did with race in America, there's some of that here, too: The story of Andrew Cunanan's life plays out against a backdrop of the struggle for gay rights. Detectives express incomprehension and outright disgust at various victims' homosexuality. An entire episode revolves around the military's \"Don't Ask, Don't Tell\" policy. Cunanan hides his sexuality from his family and friends. The fact that same-sex marriage isn't yet a possibility plays a role in two of Cunanan's five murders, according to the series. (See above, in re: liberties taken.)\u003c/p>\n\u003cp>But if you're interested in the tick-tock of it all — the logistics of the cross-country hunt for Cunanan — you'll likely come away disappointed. The series spends some time with the various detectives tracking Cunanan's movements, but not enough for us to get a clear sense of how close they get, or do not get, to catching him.\u003c/p>\n\u003cp>And if you're hoping to gain some insight into who Andrew Cunanan was, and why he did what he did — well, that's certainly what the series spends most of its time on, and what it \u003cem>wants \u003c/em>you to come away with.\u003c/p>\n\u003cp>... Eventually.\u003c/p>\n\u003cp>The structure of the series works against it, in that respect: The first episode depicts Versace's murder, and subsequent episodes work back in time, more or less linearly, tracing the course of his murder spree, and focusing, in the eighth episode, on Cunanan's early life.\u003c/p>\n\u003cp>As a result, the Cunanan we're introduced to in early episodes just isn't particularly interesting. Darren Criss does what he can, but the script forces him to give us little more than a smooth, unctuous, one-note narcissist. Cunanan lies to everyone, himself included, so when — very gradually, six or seven episodes in — we \u003cem>finally \u003c/em>get to see something other than the facade he presents to the world, we'd be forgiven for wondering if it's just another mask.\u003c/p>\n\u003cp>There are no easy answers, no clear reasons, for Cunanan's actions, but that doesn't keep \u003cem>The Assassination of Gianni Versace\u003c/em> from reaching for them. Again and again, characters tell Cunanan that he wants fame without working for it, that he's brilliant but lazy. The world is full of such people, but only Cunanan took the bizarre actions he did. When we meet his father in the eighth episode — also, according to the series, an abusive dissembler — it presents us with a collection of what it thinks are revelations, keys that will unlock the secret of Andrew Cunanan. But they're so pat and familiar that, even if accurate — a not inconsiderable if — they can't help but read as conventional biopic fare.\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>It was always going to be difficult for \u003cem>American Crime Story \u003c/em>to top its stellar and much-lauded first season, and it's to be commended for attempting to striking out in a fresh direction. As was true in the first season, the cast is unimpeachable — Criss, Ramirez, Cruz, Fern and Finn Wittrock are standouts. But the decision to lean into the drama of docudrama means imposing an overdetermined shape onto the very real lives Cunanan shattered in a way that feels cynical and glib. So you may come away knowing how and why Darren Criss' Andrew Cunanan did what he did — but you'll be no closer to understanding the real Cunanan, or his senseless, violent fate.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Assassination+Of+Gianni+Versace%27+Isn%27t+What+You+Think+It+Is&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/98520/the-assassination-of-gianni-versace-isnt-what-you-think-it-is","authors":["byline_pop_98520"],"categories":["pop_3"],"tags":["pop_3093","pop_3129","pop_1552","pop_3130"],"featImg":"pop_98525","label":"pop"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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