'Veronica Mars' Offers More Than Nostalgia; She's Always Been a Survivor
'Catch-22' May Not Be By The Book, But It Understands Brutality
'The Handmaid's Tale' Season 3 Trailer Features Rebellion, Sexy Hand Touching and More
Patricia Arquette Talks 'The Act,' Religion, And Lessons From Her Trans Sibling
Huge Bets, Fast Buzzer: Sports Bettor Smashes 'Jeopardy!' Records
'Ramy' Is About One Millennial Muslim—And Everyone's Racist Uncles
In 'Shrill,' Lindy West Made the Body Positive Show She Never Had
The 'Castle Rock' Finale is (Probably) Going to Disappoint Us All
The Truck, the Choice and the 'Handmaid's Tale' Finale
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So did two major hits for ABC, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=123297394\">\u003cem>Lost \u003c/em>\u003c/a>and \u003cem>Desperate Housewives. \u003c/em>And 2004 also brought us the premiere of NBC's \u003ca href=\"https://www.npr.org/2017/10/05/555949712/the-apprentice-creators-look-back\">\u003cem>The Apprentice.\u003c/em> \u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2016/07/30/487769552/kristen-bell-on-bad-moms-it-was-the-funniest-script-i-had-ever-read\">Kristen Bell\u003c/a> hit the ground running that year as Veronica Mars, an outcast high school student in the fictional beach town of Neptune, Calif. She worked part-time as an investigator for her dad's private eye firm, like a modern-day Nancy Drew—with a little bit of Sam Spade mixed in.\u003c/p>\n\u003cp>A lot of time has passed since then, and a lot has happened to Veronica. By the end of the original series, she had gone from high school to college. In the 2014 movie, she abandoned law school. And now, as the new eight-episode \u003cem>Veronica Mars \u003c/em>begins, she's on familiar ground. Back in her home town, she's again working for her dad's detective agency—and still providing her own wry narration as she comments on her life then and now.\u003c/p>\n\u003cp>This new season of \u003cem>Veronica Mars \u003c/em>was supposed to arrive on July 26, but Hulu presented a \u003cem>Mars \u003c/em>panel at the \u003ca href=\"https://www.npr.org/2019/07/19/743341846/san-diego-comic-con-is-turning-50-heres-its-origin-story\">San Diego Comic-Con\u003c/a> fan festival on July 19, which happened to be a day after Bell's 39\u003csup>th\u003c/sup> birthday. Hulu surprised the actress, and the fans—and TV critics—by unveiling the entire new season early, as a sort of birthday present. So viewers can now see all of \u003cem>Veronica Mars—\u003c/em>the tele-movie is available on HBO, and the show's first three vintage seasons, and the new fourth one, are streaming on Hulu.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gwtVHhjQDhE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The new season borrows a bit from \u003ca href=\"https://www.npr.org/2018/08/16/638614995/what-no-jaws-or-see-the-movie-skip-the-book\">\u003cem>Jaws\u003c/em>\u003c/a>, with a series of deaths threatening to close down the beach town during the summer tourist season. Except it's not a shark doing the killing—it's a serial bomber, and there are plenty of suspects to go around. The new players this season all are very strong additions: \u003ca href=\"https://www.npr.org/2017/11/27/566720304/patton-oswalt-falling-in-love-again-was-like-getting-hit-by-lightning-twice\">Patton Oswalt \u003c/a>plays a pizza deliverer and conspiracy theorist, \u003ca href=\"https://www.npr.org/2014/10/14/356140539/j-k-simmons-wont-throw-a-chair-at-your-head-but-his-character-might\">J.K. Simmons\u003c/a> plays an ex-con working for the town bigwig, and Kirby Howell-Baptiste plays a bar owner who's even tougher, and more independent, than Veronica. But the best element of this new \u003cem>Veronica Mars \u003c/em>season, by far, is the returning cast.\u003c/p>\n\u003cp>Give Bell lots of credit. She's as good with the rapid dialogue and shifting emotions here as she is with the surrealistic sarcasm of NBC's \u003ca href=\"https://www.npr.org/2018/09/28/652215005/the-good-place-gets-down-to-earth-where-it-continues-to-delight\">\u003cem>The Good Place\u003c/em>\u003c/a> or her musical numbers as Anna in Disney's \u003ca href=\"https://www.npr.org/2013/11/27/247195259/solid-frozen-puts-a-fresh-sheen-on-an-old-story\">\u003cem>Frozen\u003c/em>\u003c/a>. And while she gets to play opposite many old, familiar characters and actors—to identify them would be to ruin part of the fun—the heart of this new season comes from Veronica's interactions with two key men in her life.\u003c/p>\n\u003cp>One is Jason Dohring as Logan, who was described in the original \u003cem>Veronica Mars\u003c/em> pilot as the school's \"obligatory psychotic jackass.\" Veronica's opinion of Logan has grown significantly, and so has the character. The other prominent person in Veronica's current life is her father Keith—portrayed, as always, by Enrico Colantoni, whose playful parental byplay with his daughter is as funny and as fast as anything ever heard on \u003ca href=\"https://www.npr.org/2015/10/25/451643579/gilmore-guys-on-gilmore-girls-return\">\u003cem>The Gilmore Girls.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>There's a lot to enjoy here. The characters are drawn so deeply by creator Rob Thomas and his staff, that you truly care about them—the new ones as well as the returning favorites. And like the recent \u003cem>Deadwood \u003c/em>TV reunion movie, there's a lot more going on in this new \u003cem>Veronica Mars\u003c/em> season than mere nostalgia. The show's theme song is sung by a new artist this season, but still begins with the same telling, clear-eyed lyrics: \"We used to be friends ...\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The character of Veronica Mars doesn't have it easy in this new batch of shows, but, like the show itself, she's a survivor. \u003cem>Veronica Mars, \u003c/em>as a TV drama, has outlived UPN, been shown on the CW and HBO, and has found a new home on Hulu. And I'm betting this new, excellent season of \u003cem>Veronica Mars \u003c/em>will not be the last we'll hear from her—or see \u003cem>of \u003c/em>her.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Veronica+Mars%27+Offers+More+Than+Nostalgia%3B+She%27s+Always+Been+A+Survivor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Fifteen years after its debut, 'Veronica Mars' has outlived the UPN and aired on the CW, HBO and now Hulu. Chances are this new, excellent season won't be the last we hear of the wry detective.","status":"publish","parent":0,"modified":1563837372,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":755},"headData":{"title":"'Veronica Mars' Offers More Than Nostalgia; She's Always Been a Survivor | KQED","description":"Fifteen years after its debut, 'Veronica Mars' has outlived the UPN and aired on the CW, HBO and now Hulu. Chances are this new, excellent season won't be the last we hear of the wry detective.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Veronica Mars' Offers More Than Nostalgia; She's Always Been a Survivor","datePublished":"2019-07-22T23:14:58.000Z","dateModified":"2019-07-22T23:16:12.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"112909 https://ww2.kqed.org/pop/?p=112909","disqusUrl":"https://ww2.kqed.org/pop/2019/07/22/veronica-mars-offers-more-than-nostalgia-shes-always-been-a-survivor/","disqusTitle":"'Veronica Mars' Offers More Than Nostalgia; She's Always Been a Survivor","nprByline":"David Bianculli","nprImageAgency":"Hulu","nprStoryId":"744076328","nprApiLink":"http://api.npr.org/query?id=744076328&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/07/22/744076328/veronica-mars-offers-more-than-nostalgia-she-s-always-been-a-survivor?ft=nprml&f=744076328","nprRetrievedStory":"1","nprPubDate":"Mon, 22 Jul 2019 14:22:00 -0400","nprStoryDate":"Mon, 22 Jul 2019 14:03:00 -0400","nprLastModifiedDate":"Mon, 22 Jul 2019 14:20:24 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2019/07/20190722_fa_02.mp3?orgId=427869011&topicId=1163&d=424&p=13&story=744076328&ft=nprml&f=744076328","nprAudioM3u":"http://api.npr.org/m3u/1744152898-340754.m3u?orgId=427869011&topicId=1163&d=424&p=13&story=744076328&ft=nprml&f=744076328","audioTrackLength":425,"path":"/pop/112909/veronica-mars-offers-more-than-nostalgia-shes-always-been-a-survivor","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2019/07/20190722_fa_02.mp3?orgId=427869011&topicId=1163&d=424&p=13&story=744076328&ft=nprml&f=744076328","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The original \u003cem>Veronica Mars \u003c/em>premiered on television 15 years ago, which, in TV terms, was a whole different era. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4531413\">David Milch\u003c/a>'s HBO series \u003cem>Deadwood\u003c/em>, which just reunited its cast for a \u003ca href=\"https://www.npr.org/2019/05/31/728586097/13-years-later-deadwood-goes-out-just-as-brilliantly-as-it-came-in\">fabulous TV movie\u003c/a>, premiered that year. So did two major hits for ABC, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=123297394\">\u003cem>Lost \u003c/em>\u003c/a>and \u003cem>Desperate Housewives. \u003c/em>And 2004 also brought us the premiere of NBC's \u003ca href=\"https://www.npr.org/2017/10/05/555949712/the-apprentice-creators-look-back\">\u003cem>The Apprentice.\u003c/em> \u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2016/07/30/487769552/kristen-bell-on-bad-moms-it-was-the-funniest-script-i-had-ever-read\">Kristen Bell\u003c/a> hit the ground running that year as Veronica Mars, an outcast high school student in the fictional beach town of Neptune, Calif. She worked part-time as an investigator for her dad's private eye firm, like a modern-day Nancy Drew—with a little bit of Sam Spade mixed in.\u003c/p>\n\u003cp>A lot of time has passed since then, and a lot has happened to Veronica. By the end of the original series, she had gone from high school to college. In the 2014 movie, she abandoned law school. And now, as the new eight-episode \u003cem>Veronica Mars \u003c/em>begins, she's on familiar ground. Back in her home town, she's again working for her dad's detective agency—and still providing her own wry narration as she comments on her life then and now.\u003c/p>\n\u003cp>This new season of \u003cem>Veronica Mars \u003c/em>was supposed to arrive on July 26, but Hulu presented a \u003cem>Mars \u003c/em>panel at the \u003ca href=\"https://www.npr.org/2019/07/19/743341846/san-diego-comic-con-is-turning-50-heres-its-origin-story\">San Diego Comic-Con\u003c/a> fan festival on July 19, which happened to be a day after Bell's 39\u003csup>th\u003c/sup> birthday. Hulu surprised the actress, and the fans—and TV critics—by unveiling the entire new season early, as a sort of birthday present. So viewers can now see all of \u003cem>Veronica Mars—\u003c/em>the tele-movie is available on HBO, and the show's first three vintage seasons, and the new fourth one, are streaming on Hulu.\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/gwtVHhjQDhE'\n title='//www.youtube.com/embed/gwtVHhjQDhE'\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>The new season borrows a bit from \u003ca href=\"https://www.npr.org/2018/08/16/638614995/what-no-jaws-or-see-the-movie-skip-the-book\">\u003cem>Jaws\u003c/em>\u003c/a>, with a series of deaths threatening to close down the beach town during the summer tourist season. Except it's not a shark doing the killing—it's a serial bomber, and there are plenty of suspects to go around. The new players this season all are very strong additions: \u003ca href=\"https://www.npr.org/2017/11/27/566720304/patton-oswalt-falling-in-love-again-was-like-getting-hit-by-lightning-twice\">Patton Oswalt \u003c/a>plays a pizza deliverer and conspiracy theorist, \u003ca href=\"https://www.npr.org/2014/10/14/356140539/j-k-simmons-wont-throw-a-chair-at-your-head-but-his-character-might\">J.K. Simmons\u003c/a> plays an ex-con working for the town bigwig, and Kirby Howell-Baptiste plays a bar owner who's even tougher, and more independent, than Veronica. But the best element of this new \u003cem>Veronica Mars \u003c/em>season, by far, is the returning cast.\u003c/p>\n\u003cp>Give Bell lots of credit. She's as good with the rapid dialogue and shifting emotions here as she is with the surrealistic sarcasm of NBC's \u003ca href=\"https://www.npr.org/2018/09/28/652215005/the-good-place-gets-down-to-earth-where-it-continues-to-delight\">\u003cem>The Good Place\u003c/em>\u003c/a> or her musical numbers as Anna in Disney's \u003ca href=\"https://www.npr.org/2013/11/27/247195259/solid-frozen-puts-a-fresh-sheen-on-an-old-story\">\u003cem>Frozen\u003c/em>\u003c/a>. And while she gets to play opposite many old, familiar characters and actors—to identify them would be to ruin part of the fun—the heart of this new season comes from Veronica's interactions with two key men in her life.\u003c/p>\n\u003cp>One is Jason Dohring as Logan, who was described in the original \u003cem>Veronica Mars\u003c/em> pilot as the school's \"obligatory psychotic jackass.\" Veronica's opinion of Logan has grown significantly, and so has the character. The other prominent person in Veronica's current life is her father Keith—portrayed, as always, by Enrico Colantoni, whose playful parental byplay with his daughter is as funny and as fast as anything ever heard on \u003ca href=\"https://www.npr.org/2015/10/25/451643579/gilmore-guys-on-gilmore-girls-return\">\u003cem>The Gilmore Girls.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>There's a lot to enjoy here. The characters are drawn so deeply by creator Rob Thomas and his staff, that you truly care about them—the new ones as well as the returning favorites. And like the recent \u003cem>Deadwood \u003c/em>TV reunion movie, there's a lot more going on in this new \u003cem>Veronica Mars\u003c/em> season than mere nostalgia. The show's theme song is sung by a new artist this season, but still begins with the same telling, clear-eyed lyrics: \"We used to be friends ...\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The character of Veronica Mars doesn't have it easy in this new batch of shows, but, like the show itself, she's a survivor. \u003cem>Veronica Mars, \u003c/em>as a TV drama, has outlived UPN, been shown on the CW and HBO, and has found a new home on Hulu. And I'm betting this new, excellent season of \u003cem>Veronica Mars \u003c/em>will not be the last we'll hear from her—or see \u003cem>of \u003c/em>her.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Veronica+Mars%27+Offers+More+Than+Nostalgia%3B+She%27s+Always+Been+A+Survivor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/112909/veronica-mars-offers-more-than-nostalgia-shes-always-been-a-survivor","authors":["byline_pop_112909"],"categories":["pop_3"],"tags":["pop_1645","pop_3341","pop_271","pop_533","pop_3111","pop_3782"],"featImg":"pop_112910","label":"pop"},"pop_111982":{"type":"posts","id":"pop_111982","meta":{"index":"posts_1591205157","site":"pop","id":"111982","score":null,"sort":[1558382628000]},"guestAuthors":[],"slug":"catch-22-may-not-be-by-the-book-but-it-understands-brutality","title":"'Catch-22' May Not Be By The Book, But It Understands Brutality","publishDate":1558382628,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>If Hulu had announced an original dramatic miniseries that follows a World War II soldier awakening to the horrors of war, executive produced and partly directed (two episodes out of six) by George Clooney, and if the result had been \u003cem>Catch-22\u003c/em>, it would have seemed largely successful. But the series, available in full now, is, of course, an adaptation of Joseph Heller's much-chewed-over 1961 novel, a book very unusual in both its tone and its structure. And as an adaptation, it struggles to meet the inevitable expectations.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=46wZVmKM-es\u003c/p>\n\u003cp>Some of the basics are retained from the book: Christopher Abbott plays the bombardier Yossarian, who would like to stop flying missions and go home. But every time he approaches the number of missions the military demands, the merciless Colonel Cathcart (Kyle Chandler, playing the mean side of the bureaucratic/governmental operator he has been playing for some years now) raises the number. Also retained is the Catch-22 of the title: the military rule explained by Doc Daneeka (Grant Heslov, also an executive producer). Catch-22 says that a soldier can ask for release on the grounds that he's insane, but also holds that trying to get out of a war is clear evidence of sanity. So all you have to do is ask, but if you ask, you'll be denied.\u003c/p>\n\u003cp>What doesn't survive from the book is the tone, which is arguably the reason to read \u003cem>Catch-22\u003c/em>. The book is often the very example people use to explain what satire is; even if you can't give a clear definition, you can at least point to this book and say, \"It is this.\" Not only because of the absurdity of things like Catch-22 itself, but also because of Heller's style. Consider this bit from early in the book:\u003c/p>\n\u003cblockquote>\u003cp>There were many officers' clubs that Yossarian had not helped build, but he was proudest of the one on Pianosa. It was a sturdy and complex monument to his powers of determination. Yossarian never went there to help until it was finished; then he went there often, so pleased was he with the large, fine, rambling shingled building. It was truly a splendid structure, and Yossarian throbbed with a mighty sense of accomplishment each time he gazed at it and reflected that none of the work that had gone into it was his.\u003c/p>\u003c/blockquote>\n\u003cp>This upside-down-ness, pride in all the work you did not put in, shows up over and over, and that tone is almost impossible to film. You can certainly show someone saying, \"My, I feel proud of the club I didn't build!\" But it's an extraordinary challenge to convey this feeling absent a voluminous voice-over to which we are, fortunately, not subjected.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Or consider this (believe it or not) single sentence:\u003c/p>\n\u003cblockquote>\u003cp>Colonel Cathcart went away from General Dreedle with a gulp and kicked the chaplain out of the officers' club, and it was exactly the way it almost was two months later after the chaplain had tried to persuade Colonel Cathcart to rescind his order increasing the number of missions to sixty and had failed abysmally in that endeavor too, and the chaplain was ready now to capitulate to despair entirely but was restrained by the memory of his wife, whom he loved and missed so pathetically with such sensual and exalted ardor, and by the lifelong trust he had placed in the wisdom and justice of an immortal, omnipotent, omniscient, humane, universal, anthropomorphic, English-speaking, Anglo-Saxon, pro-American God, which had begun to waver.\u003c/p>\u003c/blockquote>\n\u003cp>That feeling, that the chaplain is clinging to his trust in a very particular kind of God, could be captured in a scene. But the chaos of the prose, and the way it's structurally funny simply because it's stacked on top of itself and looped into knots, really cannot, quite.\u003c/p>\n\u003cp>Moreover, there is a two-month time jump in that sentence, and the book specializes in this kind of nonlinear storytelling. There are shows that have experimented with jumping around in time, sometimes with great success. The flashback is standard bordering on cliche. But the stubbornly unmoored nature of \u003cem>Catch-22 \u003c/em>is, probably wisely, abandoned in the miniseries, which is, with a couple of exceptions, told as a single progressing narrative.\u003c/p>\n\u003cp>With that said, the writers here have done a lot to draw the dramatic elements from the novel, and those elements are often compelling. Abbott gets at Yossarian's increasingly frantic need to escape, particularly as his friends die in various unglamorous ways. As the chaplain says late in the series, the men who die in \u003cem>Catch-22 \u003c/em>don't really die so much as vanish; they go up into the sky to fly missions and they don't come back. Not every character is treated the same way in the series as in the book, but the theme of a slow and despairing march toward isolation — presented within black comedy in the book and more within drama here — remains.\u003c/p>\n\u003cp>Here, too, the focus is on the way war is, for some of the men who wage it, simply a thing undertaken and continued. You fly a certain number of missions and you go home — you owe them a certain amount of war. Yossarian concocts various schemes to get out of it, but Cathcart insists he will not be fooled; Yossarian owes the war-making that he owes, and the only way out may be endless violence. Or, of course, corruption. Because there is always corruption.\u003c/p>\n\u003cp>That the successful parts of the series are the more dramatic ones makes it hard to integrate the stories of Milo Minderbinder the war profiteer (Daniel David Stewart) and Major Major Major Major (Lewis Pullman), both of which rely heavily on their absurdity — not that this absurdity doesn't ultimately relate intimately to the horrors-of-war stuff that Yossarian is experiencing while in the air. Minderbinder's collaboration with Cathcart never quite reaches the peak it probably should, and only in the scene in which Sergeant Major Major Major is promoted to Major Major Major Major does that tale of inappropriate promotion and meaningless rank assignment have impact.\u003c/p>\n\u003cp>A note: Much of the promotion around \u003cem>Catch-22 \u003c/em>has emphasized that Clooney also appears in it, playing General Scheisskopf. But both he and Hugh Laurie (playing Major de Coverley) seem to have signed on for more of a dark comedy than this, in fact, is. Clooney shifts into a more dramatic tone in the late part of the series when he reappears, but his opening scene promises a level of absurdity that very little of the series actually contains. There are good reasons to visit this project, but the big-name actors are, interestingly, not really among them. The lesser-known actors are, in many cases, stronger.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Abbott in particular is very good here, and his face is the pivot point of the whole show. His handsome ease, as it gives way to anger and then panic, does underline what is asked of people when they are sent to fight, particularly if those who send them become hardened or craven. He sits on these missions in a cramped position, dropping bombs from a plane, largely just hoping not to die and never catching sight of anyone on the ground. If you go in expecting a sad and enraging anti-war story, you may well be satisfied. But it is not really \u003cem>Catch-22\u003c/em>.\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=%27Catch-22%27+May+Not+Be+By+The+Book%2C+But+It+Understands+Brutality&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Hulu's adaptation of 'Catch-22' may not be 'Catch-22' as you know it, but it stands as an often-effective anti-war drama. ","status":"publish","parent":0,"modified":1558382628,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1276},"headData":{"title":"'Catch-22' May Not Be By The Book, But It Understands Brutality | KQED","description":"Hulu's adaptation of 'Catch-22' may not be 'Catch-22' as you know it, but it stands as an often-effective anti-war drama. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Catch-22' May Not Be By The Book, But It Understands Brutality","datePublished":"2019-05-20T20:03:48.000Z","dateModified":"2019-05-20T20:03:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"111982 https://ww2.kqed.org/pop/?p=111982","disqusUrl":"https://ww2.kqed.org/pop/2019/05/20/catch-22-may-not-be-by-the-book-but-it-understands-brutality/","disqusTitle":"'Catch-22' May Not Be By The Book, But It Understands Brutality","nprImageCredit":"Philipe Antonello","nprByline":"Linda Holmes","nprImageAgency":"Hulu","nprStoryId":"724281115","nprApiLink":"http://api.npr.org/query?id=724281115&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/05/18/724281115/catch-22-may-not-be-by-the-book-but-it-understands-brutality?ft=nprml&f=724281115","nprRetrievedStory":"1","nprPubDate":"Sat, 18 May 2019 17:00:00 -0400","nprStoryDate":"Sat, 18 May 2019 07:15:21 -0400","nprLastModifiedDate":"Sat, 18 May 2019 17:00:54 -0400","path":"/pop/111982/catch-22-may-not-be-by-the-book-but-it-understands-brutality","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If Hulu had announced an original dramatic miniseries that follows a World War II soldier awakening to the horrors of war, executive produced and partly directed (two episodes out of six) by George Clooney, and if the result had been \u003cem>Catch-22\u003c/em>, it would have seemed largely successful. But the series, available in full now, is, of course, an adaptation of Joseph Heller's much-chewed-over 1961 novel, a book very unusual in both its tone and its structure. And as an adaptation, it struggles to meet the inevitable expectations.\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/46wZVmKM-es'\n title='//www.youtube.com/embed/46wZVmKM-es'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Some of the basics are retained from the book: Christopher Abbott plays the bombardier Yossarian, who would like to stop flying missions and go home. But every time he approaches the number of missions the military demands, the merciless Colonel Cathcart (Kyle Chandler, playing the mean side of the bureaucratic/governmental operator he has been playing for some years now) raises the number. Also retained is the Catch-22 of the title: the military rule explained by Doc Daneeka (Grant Heslov, also an executive producer). Catch-22 says that a soldier can ask for release on the grounds that he's insane, but also holds that trying to get out of a war is clear evidence of sanity. So all you have to do is ask, but if you ask, you'll be denied.\u003c/p>\n\u003cp>What doesn't survive from the book is the tone, which is arguably the reason to read \u003cem>Catch-22\u003c/em>. The book is often the very example people use to explain what satire is; even if you can't give a clear definition, you can at least point to this book and say, \"It is this.\" Not only because of the absurdity of things like Catch-22 itself, but also because of Heller's style. Consider this bit from early in the book:\u003c/p>\n\u003cblockquote>\u003cp>There were many officers' clubs that Yossarian had not helped build, but he was proudest of the one on Pianosa. It was a sturdy and complex monument to his powers of determination. Yossarian never went there to help until it was finished; then he went there often, so pleased was he with the large, fine, rambling shingled building. It was truly a splendid structure, and Yossarian throbbed with a mighty sense of accomplishment each time he gazed at it and reflected that none of the work that had gone into it was his.\u003c/p>\u003c/blockquote>\n\u003cp>This upside-down-ness, pride in all the work you did not put in, shows up over and over, and that tone is almost impossible to film. You can certainly show someone saying, \"My, I feel proud of the club I didn't build!\" But it's an extraordinary challenge to convey this feeling absent a voluminous voice-over to which we are, fortunately, not subjected.\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>Or consider this (believe it or not) single sentence:\u003c/p>\n\u003cblockquote>\u003cp>Colonel Cathcart went away from General Dreedle with a gulp and kicked the chaplain out of the officers' club, and it was exactly the way it almost was two months later after the chaplain had tried to persuade Colonel Cathcart to rescind his order increasing the number of missions to sixty and had failed abysmally in that endeavor too, and the chaplain was ready now to capitulate to despair entirely but was restrained by the memory of his wife, whom he loved and missed so pathetically with such sensual and exalted ardor, and by the lifelong trust he had placed in the wisdom and justice of an immortal, omnipotent, omniscient, humane, universal, anthropomorphic, English-speaking, Anglo-Saxon, pro-American God, which had begun to waver.\u003c/p>\u003c/blockquote>\n\u003cp>That feeling, that the chaplain is clinging to his trust in a very particular kind of God, could be captured in a scene. But the chaos of the prose, and the way it's structurally funny simply because it's stacked on top of itself and looped into knots, really cannot, quite.\u003c/p>\n\u003cp>Moreover, there is a two-month time jump in that sentence, and the book specializes in this kind of nonlinear storytelling. There are shows that have experimented with jumping around in time, sometimes with great success. The flashback is standard bordering on cliche. But the stubbornly unmoored nature of \u003cem>Catch-22 \u003c/em>is, probably wisely, abandoned in the miniseries, which is, with a couple of exceptions, told as a single progressing narrative.\u003c/p>\n\u003cp>With that said, the writers here have done a lot to draw the dramatic elements from the novel, and those elements are often compelling. Abbott gets at Yossarian's increasingly frantic need to escape, particularly as his friends die in various unglamorous ways. As the chaplain says late in the series, the men who die in \u003cem>Catch-22 \u003c/em>don't really die so much as vanish; they go up into the sky to fly missions and they don't come back. Not every character is treated the same way in the series as in the book, but the theme of a slow and despairing march toward isolation — presented within black comedy in the book and more within drama here — remains.\u003c/p>\n\u003cp>Here, too, the focus is on the way war is, for some of the men who wage it, simply a thing undertaken and continued. You fly a certain number of missions and you go home — you owe them a certain amount of war. Yossarian concocts various schemes to get out of it, but Cathcart insists he will not be fooled; Yossarian owes the war-making that he owes, and the only way out may be endless violence. Or, of course, corruption. Because there is always corruption.\u003c/p>\n\u003cp>That the successful parts of the series are the more dramatic ones makes it hard to integrate the stories of Milo Minderbinder the war profiteer (Daniel David Stewart) and Major Major Major Major (Lewis Pullman), both of which rely heavily on their absurdity — not that this absurdity doesn't ultimately relate intimately to the horrors-of-war stuff that Yossarian is experiencing while in the air. Minderbinder's collaboration with Cathcart never quite reaches the peak it probably should, and only in the scene in which Sergeant Major Major Major is promoted to Major Major Major Major does that tale of inappropriate promotion and meaningless rank assignment have impact.\u003c/p>\n\u003cp>A note: Much of the promotion around \u003cem>Catch-22 \u003c/em>has emphasized that Clooney also appears in it, playing General Scheisskopf. But both he and Hugh Laurie (playing Major de Coverley) seem to have signed on for more of a dark comedy than this, in fact, is. Clooney shifts into a more dramatic tone in the late part of the series when he reappears, but his opening scene promises a level of absurdity that very little of the series actually contains. There are good reasons to visit this project, but the big-name actors are, interestingly, not really among them. The lesser-known actors are, in many cases, stronger.\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>Abbott in particular is very good here, and his face is the pivot point of the whole show. His handsome ease, as it gives way to anger and then panic, does underline what is asked of people when they are sent to fight, particularly if those who send them become hardened or craven. He sits on these missions in a cramped position, dropping bombs from a plane, largely just hoping not to die and never catching sight of anyone on the ground. If you go in expecting a sad and enraging anti-war story, you may well be satisfied. But it is not really \u003cem>Catch-22\u003c/em>.\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=%27Catch-22%27+May+Not+Be+By+The+Book%2C+But+It+Understands+Brutality&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/111982/catch-22-may-not-be-by-the-book-but-it-understands-brutality","authors":["byline_pop_111982"],"categories":["pop_1548","pop_3"],"tags":["pop_3652","pop_182","pop_3653","pop_533","pop_3654"],"featImg":"pop_111983","label":"pop"},"pop_111513":{"type":"posts","id":"pop_111513","meta":{"index":"posts_1591205157","site":"pop","id":"111513","score":null,"sort":[1556739360000]},"guestAuthors":[],"slug":"the-handmaids-tale-season-3-trailer-features-rebellion-sexy-hand-touching-and-more","title":"'The Handmaid's Tale' Season 3 Trailer Features Rebellion, Sexy Hand Touching and More","publishDate":1556739360,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>The second season of \u003cem>The Handmaid's Tale\u003c/em> wasn't easy to watch. I mean, neither was the first, but the second one took all that agonizing misery we'd gotten used to and somehow threw it into overdrive. There was the near-mass-execution of handmaids, set to Kate Bush's \"This Woman's Work\" (\u003ca href=\"https://www.youtube.com/watch?v=M-RtqAPYLD8\">probably the most harrowing three minutes in TV history\u003c/a>). There were the falling fingernails of the colonies and the book of the dead up in Canada. There was that torturous moment when June/Offred found a car to escape, but couldn't ram it out of the garage in time. You remember, right? Of course you do. Because it was scarring as hell.\u003c/p>\n\u003cp>Well, breathe a (cautious) sigh of relief because the trailer for Season 3 is here and the handmaids are finally in full rebellion. Want sneaky escapes under the cover of darkness and surreptitious exchanges in the supermarket? You got it! Want sexy hand-touching between June and Nick? It's on! Want Aunt Lydia too weak to cattle prod anyone? Somebody high-five me! Most excitingly of all... is this a full-blown alliance with Mrs Waterford we see? Under his eye, no more!\u003c/p>\n\u003cp>The third season of \u003cem>The Handmaid's Tale\u003c/em> hits Hulu in June. In the meantime, you can see a hint of the revolution to come right here:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RcTvQx1Wot0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"If Season 2 of 'The Handmaid's Tale' was about torture, Season 3 looks to be offering some revolutionary relief. ","status":"publish","parent":0,"modified":1556739360,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":240},"headData":{"title":"'The Handmaid's Tale' Season 3 Trailer Features Rebellion, Sexy Hand Touching and More | KQED","description":"If Season 2 of 'The Handmaid's Tale' was about torture, Season 3 looks to be offering some revolutionary relief. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'The Handmaid's Tale' Season 3 Trailer Features Rebellion, Sexy Hand Touching and More","datePublished":"2019-05-01T19:36:00.000Z","dateModified":"2019-05-01T19:36:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"111513 https://ww2.kqed.org/pop/?p=111513","disqusUrl":"https://ww2.kqed.org/pop/2019/05/01/the-handmaids-tale-season-3-trailer-features-rebellion-sexy-hand-touching-and-more/","disqusTitle":"'The Handmaid's Tale' Season 3 Trailer Features Rebellion, Sexy Hand Touching and More","path":"/pop/111513/the-handmaids-tale-season-3-trailer-features-rebellion-sexy-hand-touching-and-more","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The second season of \u003cem>The Handmaid's Tale\u003c/em> wasn't easy to watch. I mean, neither was the first, but the second one took all that agonizing misery we'd gotten used to and somehow threw it into overdrive. There was the near-mass-execution of handmaids, set to Kate Bush's \"This Woman's Work\" (\u003ca href=\"https://www.youtube.com/watch?v=M-RtqAPYLD8\">probably the most harrowing three minutes in TV history\u003c/a>). There were the falling fingernails of the colonies and the book of the dead up in Canada. There was that torturous moment when June/Offred found a car to escape, but couldn't ram it out of the garage in time. You remember, right? Of course you do. Because it was scarring as hell.\u003c/p>\n\u003cp>Well, breathe a (cautious) sigh of relief because the trailer for Season 3 is here and the handmaids are finally in full rebellion. Want sneaky escapes under the cover of darkness and surreptitious exchanges in the supermarket? You got it! Want sexy hand-touching between June and Nick? It's on! Want Aunt Lydia too weak to cattle prod anyone? Somebody high-five me! Most excitingly of all... is this a full-blown alliance with Mrs Waterford we see? Under his eye, no more!\u003c/p>\n\u003cp>The third season of \u003cem>The Handmaid's Tale\u003c/em> hits Hulu in June. In the meantime, you can see a hint of the revolution to come right here:\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/RcTvQx1Wot0'\n title='//www.youtube.com/embed/RcTvQx1Wot0'\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/111513/the-handmaids-tale-season-3-trailer-features-rebellion-sexy-hand-touching-and-more","authors":["11242"],"categories":["pop_3"],"tags":["pop_3597","pop_533","pop_2968"],"featImg":"pop_111527","label":"pop"},"pop_111457":{"type":"posts","id":"pop_111457","meta":{"index":"posts_1591205157","site":"pop","id":"111457","score":null,"sort":[1556610585000]},"guestAuthors":[],"slug":"patricia-arquette-talks-the-act-religion-and-lessons-from-her-trans-sibling","title":"Patricia Arquette Talks 'The Act,' Religion, And Lessons From Her Trans Sibling","publishDate":1556610585,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>In 2015, a woman named Dee Dee Blanchard was found stabbed to death in the Missouri home she shared with her teenage daughter, Gypsy Rose.\u003c/p>\n\u003cp>As the details surrounding the murder came out, it was revealed that Blanchard had falsely convinced Gypsy Rose and everyone they knew—including doctors—that Gypsy Rose was seriously ill and needed to use a wheelchair. After her death, Blanchard was posthumously diagnosed with \u003ca href=\"https://medlineplus.gov/ency/article/001555.htm\">Munchausen syndrome by proxy\u003c/a>, a mental health disorder in which a person makes up or causes illness in a person under their care.\u003c/p>\n\u003cp>Actor Patricia Arquette, who plays Blanchard in the new Hulu series \u003cem>The Act,\u003c/em> says it was \"very weird\" to get into the character's head: \"I had to kind of think of who Dee Dee was outside of all of those judgments people had after the fact.\"\u003c/p>\n\u003cp>Arquette sees Munchausen syndrome by proxy as a sign of \"toxic codependency,\" in which a parent feels the need to care for a child to an extreme degree.\u003c/p>\n\u003cp>\"We all have natural instincts as parents. When something's wrong with our kid, we think we have an instinct of what it might be,\" Arquette says. \"I think Dee Dee has all these things in excess and in dangerous amounts.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arquette has taken on a series of complex roles in the past few years. In 2019, she won a Golden Globe award for her portrayal of civilian prison worker Joyce \"Tilly\" Mitchell in the Showtime series \u003cem>Escape at Dannemora.\u003c/em> And in 2015 she won an Academy Award for her role as a single mother in Richard Linklater's film \u003cem>Boyhood\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Y_5fqDZCjQo\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On learning about Munchausen syndrome by proxy to play Dee Dee Blanchard in \u003c/strong>\u003cem>\u003cstrong>The Act\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>I think that it's really under-studied and a lot is not known about it at this point. Part of my research was looking at what doctors were saying about Munchausen by proxy. Oftentimes people, when they were children themselves, they were ill, and they got attention when they were ill. ... That's how they got some of their needs met. So that's part of it. Also, the parents sometimes are using it for their own personal need for attention, or to raise money, or a combination of those [things].\u003c/p>\n\u003cp>\u003cstrong>On her role as a civilian prison worker who enables a prison break in the Showtime series \u003c/strong>\u003cstrong>\u003cem>Escape at Dannemora, \u003c/em>\u003c/strong>\u003cstrong>which is based on a true story\u003c/strong>\u003c/p>\n\u003cp>Conceptually, as a woman, I was really excited to explore this middle-aged woman being a sexual being, and being really comfortable with her body and being sexual—in her sexuality, being in her body completely, which is so different than me, because I've grown up in this Hollywood structure that's always telling you, \"You're not right no matter what the hell you look like. No matter how young and beautiful you are, you're not beautiful enough, and there's always something wrong with your body, and there's always something wrong with the way you look.\" So the idea to play a middle-aged woman who is unapologetic about her sexuality was very exciting to me.\u003c/p>\n\u003cp>\u003cstrong>On growing up in a household in which multiple religions were practiced \u003c/strong>\u003c/p>\n\u003cp>My mom was Jewish, and my dad was Muslim, and I went to Catholic school, and I wanted to be a nun, and at one point my brother was Buddhist. My parents believed there was only one God, and that really we all had the right as people to decide spiritually what our own paths were. ... We were raised to really respect all religions and all peaceful people—people [that] love God and even people that don't love God. We were raised to have a lot of tolerance for religious differences.\u003c/p>\n\u003cp>\u003cstrong>On her father's conversion to Islam \u003c/strong>\u003c/p>\n\u003cp>At one point my dad said, \"You know what? I'm going to convert to Judaism.\" And [my mom] said, \"Oh that's great.\" And so he went to go convert, and he got lost, and he came home, and he said, \"Hey, I have something to tell you. I converted to Islam today.\" She said, \"Only you! You've got to be kidding me.\" ... He said, \"You know, I got lost, and I ended up at this mosque, and I went in to ask for directions, and I ended up talking to the imam. And then we got into a really deep conversation about religion and it really felt right. And so that's what I did.\"\u003c/p>\n\u003cp>\u003cstrong>On walking away from a role early in her career, shortly after giving birth to her first child \u003c/strong>\u003c/p>\n\u003cp>The premise [of the project] is that there is a camera in a closet, and this guy secretly tapes women he's with. ... I said [to the director], \"Well what do you want to see?\" Meanwhile, I'm breastfeeding, you know? So I was feeling pretty vulnerable. He was like, \"I don't know, I just want you to sign something saying you'll do whatever we want.\" I was like, \"I can't sign something saying I'll do whatever you want. What do you want to see? This camera's not moving around; it's in a closet. What exactly do you want to see?\" And he said he wouldn't work that way.\u003c/p>\n\u003cp>And so, even though I was broke and I had a baby, I had to walk away from that job. I had to say, \"Well, I can't do your job, then, because I don't feel comfortable just signing something saying I'll do whatever you want with my naked body.\" It sucked that I was a poor mom with a little baby at home, and this director just didn't know what the hell he wanted. And couldn't be just a human being about it.\u003c/p>\n\u003cp>\u003cstrong>On learning that her sibling was transgender \u003c/strong>\u003c/p>\n\u003cp>At the time, I think it freaked me out ... the world that [Alexis] was going to be having to deal with—all the bigotry and the danger that she might encounter. We were incredibly close, and we had really deep conversations about it. [Alexis died in 2016.] And I was so grateful that Alexis taught me so much about opening my heart and understanding things that I didn't really understand from my own experience. We'd already lost a lot of our family by that point. And a part of me realized: I don't know what shape or body anyone comes in with, but I love you, and I trust you. I don't know what it feels like to be trans, but I trust you.\u003c/p>\n\u003cp>But there were a lot of feelings, and I think Alexis was tough enough to work it through with all of us, and let us have our feelings, and our questions, and our fears, and our concerns, and even things that were probably not the greatest. Alexis was really down for us having that whole process and conversation. ... It took a while for me. It was [my sister] Rosanna who was like, \"Oh, she's like a butterfly. It's just a transition, you know?\" And that was really beautiful.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/718216601/718340258\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Seth Kelley and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Patricia+Arquette+Explores+The+%27Toxic+Codependency%27+Of+Munchausen+By+Proxy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Arquette plays a Missouri woman who falsely convinced the world that her child was seriously ill, in the Hulu series \u003cem>The Act. \u003c/em>She says it was\u003cem> \"\u003c/em>very weird\" getting into the character's head.","status":"publish","parent":0,"modified":1556742042,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1251},"headData":{"title":"Patricia Arquette Talks 'The Act,' Religion, And Lessons From Her Trans Sibling | KQED","description":"Arquette plays a Missouri woman who falsely convinced the world that her child was seriously ill, in the Hulu series The Act. She says it was "very weird" getting into the character's head.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Patricia Arquette Talks 'The Act,' Religion, And Lessons From Her Trans Sibling","datePublished":"2019-04-30T07:49:45.000Z","dateModified":"2019-05-01T20:20:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"111457 https://ww2.kqed.org/pop/?p=111457","disqusUrl":"https://ww2.kqed.org/pop/2019/04/30/patricia-arquette-talks-the-act-religion-and-lessons-from-her-trans-sibling/","disqusTitle":"Patricia Arquette Talks 'The Act,' Religion, And Lessons From Her Trans Sibling","path":"/pop/111457/patricia-arquette-talks-the-act-religion-and-lessons-from-her-trans-sibling","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2015, a woman named Dee Dee Blanchard was found stabbed to death in the Missouri home she shared with her teenage daughter, Gypsy Rose.\u003c/p>\n\u003cp>As the details surrounding the murder came out, it was revealed that Blanchard had falsely convinced Gypsy Rose and everyone they knew—including doctors—that Gypsy Rose was seriously ill and needed to use a wheelchair. After her death, Blanchard was posthumously diagnosed with \u003ca href=\"https://medlineplus.gov/ency/article/001555.htm\">Munchausen syndrome by proxy\u003c/a>, a mental health disorder in which a person makes up or causes illness in a person under their care.\u003c/p>\n\u003cp>Actor Patricia Arquette, who plays Blanchard in the new Hulu series \u003cem>The Act,\u003c/em> says it was \"very weird\" to get into the character's head: \"I had to kind of think of who Dee Dee was outside of all of those judgments people had after the fact.\"\u003c/p>\n\u003cp>Arquette sees Munchausen syndrome by proxy as a sign of \"toxic codependency,\" in which a parent feels the need to care for a child to an extreme degree.\u003c/p>\n\u003cp>\"We all have natural instincts as parents. When something's wrong with our kid, we think we have an instinct of what it might be,\" Arquette says. \"I think Dee Dee has all these things in excess and in dangerous amounts.\"\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>Arquette has taken on a series of complex roles in the past few years. In 2019, she won a Golden Globe award for her portrayal of civilian prison worker Joyce \"Tilly\" Mitchell in the Showtime series \u003cem>Escape at Dannemora.\u003c/em> And in 2015 she won an Academy Award for her role as a single mother in Richard Linklater's film \u003cem>Boyhood\u003c/em>.\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/Y_5fqDZCjQo'\n title='//www.youtube.com/embed/Y_5fqDZCjQo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On learning about Munchausen syndrome by proxy to play Dee Dee Blanchard in \u003c/strong>\u003cem>\u003cstrong>The Act\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>I think that it's really under-studied and a lot is not known about it at this point. Part of my research was looking at what doctors were saying about Munchausen by proxy. Oftentimes people, when they were children themselves, they were ill, and they got attention when they were ill. ... That's how they got some of their needs met. So that's part of it. Also, the parents sometimes are using it for their own personal need for attention, or to raise money, or a combination of those [things].\u003c/p>\n\u003cp>\u003cstrong>On her role as a civilian prison worker who enables a prison break in the Showtime series \u003c/strong>\u003cstrong>\u003cem>Escape at Dannemora, \u003c/em>\u003c/strong>\u003cstrong>which is based on a true story\u003c/strong>\u003c/p>\n\u003cp>Conceptually, as a woman, I was really excited to explore this middle-aged woman being a sexual being, and being really comfortable with her body and being sexual—in her sexuality, being in her body completely, which is so different than me, because I've grown up in this Hollywood structure that's always telling you, \"You're not right no matter what the hell you look like. No matter how young and beautiful you are, you're not beautiful enough, and there's always something wrong with your body, and there's always something wrong with the way you look.\" So the idea to play a middle-aged woman who is unapologetic about her sexuality was very exciting to me.\u003c/p>\n\u003cp>\u003cstrong>On growing up in a household in which multiple religions were practiced \u003c/strong>\u003c/p>\n\u003cp>My mom was Jewish, and my dad was Muslim, and I went to Catholic school, and I wanted to be a nun, and at one point my brother was Buddhist. My parents believed there was only one God, and that really we all had the right as people to decide spiritually what our own paths were. ... We were raised to really respect all religions and all peaceful people—people [that] love God and even people that don't love God. We were raised to have a lot of tolerance for religious differences.\u003c/p>\n\u003cp>\u003cstrong>On her father's conversion to Islam \u003c/strong>\u003c/p>\n\u003cp>At one point my dad said, \"You know what? I'm going to convert to Judaism.\" And [my mom] said, \"Oh that's great.\" And so he went to go convert, and he got lost, and he came home, and he said, \"Hey, I have something to tell you. I converted to Islam today.\" She said, \"Only you! You've got to be kidding me.\" ... He said, \"You know, I got lost, and I ended up at this mosque, and I went in to ask for directions, and I ended up talking to the imam. And then we got into a really deep conversation about religion and it really felt right. And so that's what I did.\"\u003c/p>\n\u003cp>\u003cstrong>On walking away from a role early in her career, shortly after giving birth to her first child \u003c/strong>\u003c/p>\n\u003cp>The premise [of the project] is that there is a camera in a closet, and this guy secretly tapes women he's with. ... I said [to the director], \"Well what do you want to see?\" Meanwhile, I'm breastfeeding, you know? So I was feeling pretty vulnerable. He was like, \"I don't know, I just want you to sign something saying you'll do whatever we want.\" I was like, \"I can't sign something saying I'll do whatever you want. What do you want to see? This camera's not moving around; it's in a closet. What exactly do you want to see?\" And he said he wouldn't work that way.\u003c/p>\n\u003cp>And so, even though I was broke and I had a baby, I had to walk away from that job. I had to say, \"Well, I can't do your job, then, because I don't feel comfortable just signing something saying I'll do whatever you want with my naked body.\" It sucked that I was a poor mom with a little baby at home, and this director just didn't know what the hell he wanted. And couldn't be just a human being about it.\u003c/p>\n\u003cp>\u003cstrong>On learning that her sibling was transgender \u003c/strong>\u003c/p>\n\u003cp>At the time, I think it freaked me out ... the world that [Alexis] was going to be having to deal with—all the bigotry and the danger that she might encounter. We were incredibly close, and we had really deep conversations about it. [Alexis died in 2016.] And I was so grateful that Alexis taught me so much about opening my heart and understanding things that I didn't really understand from my own experience. We'd already lost a lot of our family by that point. And a part of me realized: I don't know what shape or body anyone comes in with, but I love you, and I trust you. I don't know what it feels like to be trans, but I trust you.\u003c/p>\n\u003cp>But there were a lot of feelings, and I think Alexis was tough enough to work it through with all of us, and let us have our feelings, and our questions, and our fears, and our concerns, and even things that were probably not the greatest. Alexis was really down for us having that whole process and conversation. ... It took a while for me. It was [my sister] Rosanna who was like, \"Oh, she's like a butterfly. It's just a transition, you know?\" And that was really beautiful.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/718216601/718340258\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\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>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Seth Kelley and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Patricia+Arquette+Explores+The+%27Toxic+Codependency%27+Of+Munchausen+By+Proxy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/111457/patricia-arquette-talks-the-act-religion-and-lessons-from-her-trans-sibling","authors":["2421"],"categories":["pop_3"],"tags":["pop_3404","pop_533","pop_3042","pop_340","pop_3594"],"featImg":"pop_111459","label":"pop"},"pop_111259":{"type":"posts","id":"pop_111259","meta":{"index":"posts_1591205157","site":"pop","id":"111259","score":null,"sort":[1556043550000]},"guestAuthors":[],"slug":"huge-bets-fast-buzzer-sports-bettor-smashes-jeopardy-records","title":"Huge Bets, Fast Buzzer: Sports Bettor Smashes 'Jeopardy!' Records","publishDate":1556043550,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>A new star has risen on a classic game show.\u003c/p>\n\u003cp>James Holzhauer, a Las Vegas professional sports bettor, is on a \u003cem>Jeopardy!\u003c/em> hot streak. He has breezily won the last 12 games in a row.\u003c/p>\n\u003cp>But most notably, the 34-year-old is drawing attention for his unique strategy and big bets. Over the 12 wins as of Friday, he now holds the \u003ca href=\"https://www.jeopardy.com/contestant-zone/hall-of-fame\">top five slots for single-day winning records\u003c/a> on the show in regular play, racking up a total of $851,926.\u003c/p>\n\u003cp>Last week, he won $131,127 in a single game, setting yet another new record. He answered every single question correctly that he buzzed in for. Before his appearance on the show, the previous single-day record in regular play was $77,000.\u003c/p>\n\u003cp>For comparison, Ken Jennings, the show's most successful player ever during nontournament play, had won $410,158 after 12 games, \u003ca href=\"https://thejeopardyfan.com/2019/04/james-holzhauer-ken-jennings-comparison.html\">according to The Jeopardy Fan\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/KenJennings/status/1118727290249068544?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1118727290249068544&ref_url=https%3A%2F%2Fwww.npr.org%2F2019%2F04%2F22%2F714626647%2Fhuge-bets-fast-buzzer-sports-bettor-smashes-jeopardy-records\u003c/p>\n\u003cp>\"All good professional gamblers are selectively aggressive. You need to pick your spots and bet big when you identify them,\" Holzhauer tells NPR over email. \"That's basically my \u003cem>Jeopardy!\u003c/em> strategy in a nutshell.\"\u003c/p>\n\u003cp>Holzhauer starts by choosing the highest-value clues on the six-by-five board. Contestants have typically started with the lowest value of a category and worked down the board to the more valuable spots.\u003c/p>\n\u003cp>\"You need a decent-sized bankroll to bet for profit, which is why I start at the bottom of the board,\" he says. That bankroll pays off when he hits a \"Daily Double,\" a question where he can bet more if he has more money in his pocket already. And he routinely bets everything he has.\u003c/p>\n\u003cp>https://twitter.com/Jeopardy/status/1118710748681687041?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1118710748681687041&ref_url=https%3A%2F%2Fwww.npr.org%2F2019%2F04%2F22%2F714626647%2Fhuge-bets-fast-buzzer-sports-bettor-smashes-jeopardy-records\u003c/p>\n\u003cp>The show's host, Alex Trebek, put it simply during a recent show: \"If you control the board and constantly come up with correct responses, you're likely to hit most of the Daily Doubles, which is what you do,\" he remarked to Holzhauer. He asked the other contestants: \"How does it feel to come into a buzz saw?\"\u003c/p>\n\u003cp>Holzhauer, who has a degree in math from the University of Illinois, says that sports betting comes naturally to him. \"There's nothing better for my interests and talents than combining math and sports for profit.\"\u003c/p>\n\u003cp>He says he initially focused on baseball \"because it is the easiest sport to break down mathematically, but as betting markets have adjusted, I'm spending more time on football and hockey now.\"\u003c/p>\n\u003cp>His grandmother, who is now deceased, inspired him to try out for the show.\u003c/p>\n\u003cp>\"She moved from Japan to help raise me and my brother, spoke barely any English, if anything at all,\" he told Trebek \u003ca href=\"https://twitter.com/Jeopardy/status/1118987747027329024\">in a recent episode\u003c/a>. \"But \u003cem>Jeopardy!\u003c/em> was on in the afternoon at our house. ... She would watch the program with me even though she didn't understand a lick of it. And I promised her someday, she'd see me on the stage up here.\"\u003c/p>\n\u003cp>\"So, I hope wherever she is right now, she's looking down,\" Holzhauer added. He has written a short message in her honor on the final question's write-in space. On other days, he has given shout-outs to his young child and other family and friends.\u003c/p>\n\u003cp>Holzhauer dominates across topics—with answers such as \"Who is Aquaman?\" \"What is the Reformation?\" \"What is\u003cem> Quantum Leap\u003c/em>?\"\u003c/p>\n\u003cp>He says some categories come more easily to him than others. \"I spent almost no time studying categories like geography and sports, even though they came up frequently on \u003cem>Jeopardy!\u003c/em>, because I'm already strong in those subjects,\" he tells NPR. Categories he says he did spend time reviewing: animals, classical music and literature.\u003c/p>\n\u003cp>In 2004,\u003cem> Jeopardy!\u003c/em> champion Ken Jennings eventually went on to win 74 straight games and more than $2.5 million.\u003c/p>\n\u003cp>\"I'm just gobsmacked by James,\" \u003ca href=\"https://www.wired.com/story/ken-jennings-james-holzhauer-jeopardy/?utm_source=pocket-newtab\">Jennings told \u003cem>Wired\u003c/em>\u003c/a>. \"It's absolutely insane what he's doing. Like, I thought I had seen everything on \u003cem>Jeopardy!\u003c/em> And this is something I would have thought was just impossible, these numbers.\"\u003c/p>\n\u003cp>He says he played the game very differently. \"I was playing a game show like I had on my couch. My top priority wasn't maximizing winnings,\" he said. \"I would never have had the stomach for those kinds of bets.\"\u003c/p>\n\u003cp>Jennings told the magazine that he is surprised his record has stood for some 15 years. \"As a fan of the show, I'm actually rooting for James or anybody who can take a swing at that record,\" he added.\u003c/p>\n\u003cp>https://twitter.com/Jeopardy/status/1115343556498022405?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1115343556498022405&ref_url=https%3A%2F%2Fwww.npr.org%2F2019%2F04%2F22%2F714626647%2Fhuge-bets-fast-buzzer-sports-bettor-smashes-jeopardy-records\u003c/p>\n\u003cp>On April 8, \u003cem>Jeopardy!\u003c/em> released a \u003ca href=\"https://twitter.com/Jeopardy/status/1115343556498022405\">trailer pumping up\u003c/a> excitement about the new challenger. \"This April ... every record ... is in \u003cem>Jeopardy!\u003c/em>\" it said. \"The next great champion ... is coming. ... Is it too soon to start making comparisons with Ken Jennings?\" (\u003cem>Jeopardy!\u003c/em> is taped in advance—the episodes that have aired thus far were taped in early February, Holzhauer said.)\u003c/p>\n\u003cp>\"It's an honor to be compared to him, but he and I play very differently,\" said Holzhauer. \"Studying his game film would be about as useful as someone my size trying to play like Shaq in a pickup basketball game.\"\u003c/p>\n\u003cp>Holzhauer has shown extraordinary speed with the buzzer—and it's notoriously difficult to get that timing right.\u003c/p>\n\u003cp>Originally on the show, contestants could buzz in as soon as the clue appeared. That \"led to a lot of quick guesses, negative scores and general confusion,\" \u003ca href=\"https://www.jeopardy.com/jbuzz/behind-scenes/how-does-jeopardy-buzzer-work\">Jeopardy!'s website says\u003c/a>. These days, the contestants can't buzz in until Trebek has finished reading the clue. Then, a staff member pushes a button that illuminates lights on either side of the game board and opens up the system to allow contestants to buzz in.\u003c/p>\n\u003cp>However, if a contestant buzzes in before the system is operating, he or she gets locked out for a quarter of second—a huge disadvantage when tiny fractions of a second determine who has the edge. As \u003cem>The Ringer\u003c/em> reported, before he appeared on the show, Holzhauer practiced his timing using \u003ca href=\"https://www.theringer.com/tv/2019/4/18/18456756/james-holzhauer-jeopardy-winner-alex-trebek-ken-jennings\">an improvised buzzer\u003c/a>—a mechanical pencil wrapped in masking tape.\u003c/p>\n\u003cp>The \u003cem>Jeopardy!\u003c/em> success hasn't changed his life much yet—\"I would say I'm currently a C-list celebrity with Vegas locals,\" Holzhauer says. But that may be different when he visits his hometown of Naperville, Ill., where he hears his success is generating a lot of buzz. \"My dad has never been more popular,\" he adds.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And at this point, he says sportsbook managers have said they are rooting for him. \"Maybe they think I will stop betting on sports if I stay on \u003cem>Jeopardy!\u003c/em> forever,\" Holzhauer adds.\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=Huge+Bets%2C+Fast+Buzzer%3A+Sports+Bettor+Smashes+%27Jeopardy%21%27+Records&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Over his 12-day winning streak, James Holzhauer now holds the top five slots for single-day winning records on the show. \"You need to pick your spots and bet big,\" he tells NPR. ","status":"publish","parent":0,"modified":1556043550,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1211},"headData":{"title":"Huge Bets, Fast Buzzer: Sports Bettor Smashes 'Jeopardy!' Records | KQED","description":"Over his 12-day winning streak, James Holzhauer now holds the top five slots for single-day winning records on the show. "You need to pick your spots and bet big," he tells NPR. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Huge Bets, Fast Buzzer: Sports Bettor Smashes 'Jeopardy!' Records","datePublished":"2019-04-23T18:19:10.000Z","dateModified":"2019-04-23T18:19:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"111259 https://ww2.kqed.org/pop/?p=111259","disqusUrl":"https://ww2.kqed.org/pop/2019/04/23/huge-bets-fast-buzzer-sports-bettor-smashes-jeopardy-records/","disqusTitle":"Huge Bets, Fast Buzzer: Sports Bettor Smashes 'Jeopardy!' Records","nprImageCredit":"Jeopardy Productions Inc. ","nprByline":"Merrit Kennedy","nprImageAgency":"AP","nprStoryId":"714626647","nprApiLink":"http://api.npr.org/query?id=714626647&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/04/22/714626647/huge-bets-fast-buzzer-sports-bettor-smashes-jeopardy-records?ft=nprml&f=714626647","nprRetrievedStory":"1","nprPubDate":"Mon, 22 Apr 2019 17:43:00 -0400","nprStoryDate":"Mon, 22 Apr 2019 17:07:09 -0400","nprLastModifiedDate":"Mon, 22 Apr 2019 17:43:27 -0400","path":"/pop/111259/huge-bets-fast-buzzer-sports-bettor-smashes-jeopardy-records","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new star has risen on a classic game show.\u003c/p>\n\u003cp>James Holzhauer, a Las Vegas professional sports bettor, is on a \u003cem>Jeopardy!\u003c/em> hot streak. He has breezily won the last 12 games in a row.\u003c/p>\n\u003cp>But most notably, the 34-year-old is drawing attention for his unique strategy and big bets. Over the 12 wins as of Friday, he now holds the \u003ca href=\"https://www.jeopardy.com/contestant-zone/hall-of-fame\">top five slots for single-day winning records\u003c/a> on the show in regular play, racking up a total of $851,926.\u003c/p>\n\u003cp>Last week, he won $131,127 in a single game, setting yet another new record. He answered every single question correctly that he buzzed in for. Before his appearance on the show, the previous single-day record in regular play was $77,000.\u003c/p>\n\u003cp>For comparison, Ken Jennings, the show's most successful player ever during nontournament play, had won $410,158 after 12 games, \u003ca href=\"https://thejeopardyfan.com/2019/04/james-holzhauer-ken-jennings-comparison.html\">according to The Jeopardy Fan\u003c/a>.\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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1118727290249068544"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\"All good professional gamblers are selectively aggressive. You need to pick your spots and bet big when you identify them,\" Holzhauer tells NPR over email. \"That's basically my \u003cem>Jeopardy!\u003c/em> strategy in a nutshell.\"\u003c/p>\n\u003cp>Holzhauer starts by choosing the highest-value clues on the six-by-five board. Contestants have typically started with the lowest value of a category and worked down the board to the more valuable spots.\u003c/p>\n\u003cp>\"You need a decent-sized bankroll to bet for profit, which is why I start at the bottom of the board,\" he says. That bankroll pays off when he hits a \"Daily Double,\" a question where he can bet more if he has more money in his pocket already. And he routinely bets everything he has.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1118710748681687041"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The show's host, Alex Trebek, put it simply during a recent show: \"If you control the board and constantly come up with correct responses, you're likely to hit most of the Daily Doubles, which is what you do,\" he remarked to Holzhauer. He asked the other contestants: \"How does it feel to come into a buzz saw?\"\u003c/p>\n\u003cp>Holzhauer, who has a degree in math from the University of Illinois, says that sports betting comes naturally to him. \"There's nothing better for my interests and talents than combining math and sports for profit.\"\u003c/p>\n\u003cp>He says he initially focused on baseball \"because it is the easiest sport to break down mathematically, but as betting markets have adjusted, I'm spending more time on football and hockey now.\"\u003c/p>\n\u003cp>His grandmother, who is now deceased, inspired him to try out for the show.\u003c/p>\n\u003cp>\"She moved from Japan to help raise me and my brother, spoke barely any English, if anything at all,\" he told Trebek \u003ca href=\"https://twitter.com/Jeopardy/status/1118987747027329024\">in a recent episode\u003c/a>. \"But \u003cem>Jeopardy!\u003c/em> was on in the afternoon at our house. ... She would watch the program with me even though she didn't understand a lick of it. And I promised her someday, she'd see me on the stage up here.\"\u003c/p>\n\u003cp>\"So, I hope wherever she is right now, she's looking down,\" Holzhauer added. He has written a short message in her honor on the final question's write-in space. On other days, he has given shout-outs to his young child and other family and friends.\u003c/p>\n\u003cp>Holzhauer dominates across topics—with answers such as \"Who is Aquaman?\" \"What is the Reformation?\" \"What is\u003cem> Quantum Leap\u003c/em>?\"\u003c/p>\n\u003cp>He says some categories come more easily to him than others. \"I spent almost no time studying categories like geography and sports, even though they came up frequently on \u003cem>Jeopardy!\u003c/em>, because I'm already strong in those subjects,\" he tells NPR. Categories he says he did spend time reviewing: animals, classical music and literature.\u003c/p>\n\u003cp>In 2004,\u003cem> Jeopardy!\u003c/em> champion Ken Jennings eventually went on to win 74 straight games and more than $2.5 million.\u003c/p>\n\u003cp>\"I'm just gobsmacked by James,\" \u003ca href=\"https://www.wired.com/story/ken-jennings-james-holzhauer-jeopardy/?utm_source=pocket-newtab\">Jennings told \u003cem>Wired\u003c/em>\u003c/a>. \"It's absolutely insane what he's doing. Like, I thought I had seen everything on \u003cem>Jeopardy!\u003c/em> And this is something I would have thought was just impossible, these numbers.\"\u003c/p>\n\u003cp>He says he played the game very differently. \"I was playing a game show like I had on my couch. My top priority wasn't maximizing winnings,\" he said. \"I would never have had the stomach for those kinds of bets.\"\u003c/p>\n\u003cp>Jennings told the magazine that he is surprised his record has stood for some 15 years. \"As a fan of the show, I'm actually rooting for James or anybody who can take a swing at that record,\" he added.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1115343556498022405"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>On April 8, \u003cem>Jeopardy!\u003c/em> released a \u003ca href=\"https://twitter.com/Jeopardy/status/1115343556498022405\">trailer pumping up\u003c/a> excitement about the new challenger. \"This April ... every record ... is in \u003cem>Jeopardy!\u003c/em>\" it said. \"The next great champion ... is coming. ... Is it too soon to start making comparisons with Ken Jennings?\" (\u003cem>Jeopardy!\u003c/em> is taped in advance—the episodes that have aired thus far were taped in early February, Holzhauer said.)\u003c/p>\n\u003cp>\"It's an honor to be compared to him, but he and I play very differently,\" said Holzhauer. \"Studying his game film would be about as useful as someone my size trying to play like Shaq in a pickup basketball game.\"\u003c/p>\n\u003cp>Holzhauer has shown extraordinary speed with the buzzer—and it's notoriously difficult to get that timing right.\u003c/p>\n\u003cp>Originally on the show, contestants could buzz in as soon as the clue appeared. That \"led to a lot of quick guesses, negative scores and general confusion,\" \u003ca href=\"https://www.jeopardy.com/jbuzz/behind-scenes/how-does-jeopardy-buzzer-work\">Jeopardy!'s website says\u003c/a>. These days, the contestants can't buzz in until Trebek has finished reading the clue. Then, a staff member pushes a button that illuminates lights on either side of the game board and opens up the system to allow contestants to buzz in.\u003c/p>\n\u003cp>However, if a contestant buzzes in before the system is operating, he or she gets locked out for a quarter of second—a huge disadvantage when tiny fractions of a second determine who has the edge. As \u003cem>The Ringer\u003c/em> reported, before he appeared on the show, Holzhauer practiced his timing using \u003ca href=\"https://www.theringer.com/tv/2019/4/18/18456756/james-holzhauer-jeopardy-winner-alex-trebek-ken-jennings\">an improvised buzzer\u003c/a>—a mechanical pencil wrapped in masking tape.\u003c/p>\n\u003cp>The \u003cem>Jeopardy!\u003c/em> success hasn't changed his life much yet—\"I would say I'm currently a C-list celebrity with Vegas locals,\" Holzhauer says. But that may be different when he visits his hometown of Naperville, Ill., where he hears his success is generating a lot of buzz. \"My dad has never been more popular,\" he adds.\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>And at this point, he says sportsbook managers have said they are rooting for him. \"Maybe they think I will stop betting on sports if I stay on \u003cem>Jeopardy!\u003c/em> forever,\" Holzhauer adds.\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=Huge+Bets%2C+Fast+Buzzer%3A+Sports+Bettor+Smashes+%27Jeopardy%21%27+Records&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/111259/huge-bets-fast-buzzer-sports-bettor-smashes-jeopardy-records","authors":["byline_pop_111259"],"categories":["pop_3"],"tags":["pop_3583","pop_533","pop_478","pop_88"],"featImg":"pop_111260","label":"pop"},"pop_111218":{"type":"posts","id":"pop_111218","meta":{"index":"posts_1591205157","site":"pop","id":"111218","score":null,"sort":[1555968514000]},"guestAuthors":[],"slug":"ramy-is-about-one-millennial-muslim-and-everyones-racist-uncles","title":"'Ramy' Is About One Millennial Muslim—And Everyone's Racist Uncles","publishDate":1555968514,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Stories of first-generation Americans tend to stress the same struggles. How do you fit in with your peers when your parents aren't assimilating? How do you balance your instinct to rebel against your parents with your awareness of what they sacrificed to get here?\u003c/p>\n\u003cp>A new TV series called \u003cem>Ramy\u003c/em> addresses many of those issues. Its namesake character is an Egyptian-American millennial in his 20s grappling with being a practicing Muslim. He's also struggling to blend his religious beliefs with 21st century life in the U.S: praying, dating, working, drinking, relating to your parents. It's complicated.\u003c/p>\n\u003cp>The show is out on Hulu, and it's co-written and co-created by Ramy Youssef, an actor and stand-up comedian. He based the main character on his own experiences growing up in suburban New Jersey as a Muslim who considers himself religious.\u003c/p>\n\u003cp>\"I would say it's all very emotionally true,\" Youssef says. \"I tried to imagine a character that didn't have a creative outlet. In real life, I have these creative outlets, and I have really clear conversations with my parents. But this is a little bit removed from that, and just a little bit more at the base level of emotion. So he's a little more stunted, and I wanted to write from that place.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N4Ek09B9YaY\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how first-generation Americans who are millennials may have it different from previous first-generation experiences\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Well, I think that we face just some different economic things. I mean, I think a lot of the pressure that happens in this show is about money. I mean, we see my character kind of forced into this relationship with his uncle, this family member that is pretty intolerable. But it's clear that the only reason he hangs around is because he has money, and he has this influence over the family. And so you see somebody who is trying to do good and be good and figure out what that means to him morally. But he's also pressed to kind of accelerate his life.\u003c/p>\n\u003cp>\u003cstrong>On the cringeworthy uncle Naseem character\u003c/strong>\u003c/p>\n\u003cp>For the record, he's also racist and homophobic and Islamophobic. So he is all of those things. And absolutely, I think that the show isn't going to sit for everyone with the approach that we took. And that's okay. There's a lot of—there's, I think, 500 shows on TV this year. So we wanted to take this approach not to be sensational, not to offend for the sake of offending—that's not even really what we're setting out to do. And I think that many people who have watched this show and they see that character, along with seeing the other characters, say, \"I know that guy.\" You know, \"I know a Ramy,\" or \"I know an uncle Naseem,\" or \"I have an uncle Naseem, and instead of the racist anti-Semitic thing he says, he actually says stuff about Muslims, or he actually says stuff about black people, or he actually says stuff, you know, 'insert group'—and we don't know what to do with him.\"\u003c/p>\n\u003cp>And so what we were really looking to do here is to not hide any of these characters, but actually set them up and show them and begin their stories so that we can trace out their arc over multiple seasons. That is very much my intention with the first season of my show, is to plant the seeds of a lot of things that can grow. So there isn't this resolution or instant karma. I think that there's a little bit of an uneasy feeling, and I think that's okay. I think that that's what's really nice about TV, is that things can play out a little bit slower.\u003c/p>\n\u003cp>\u003cstrong>On being a religious person, \u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=I9R6vtcD09I\">\u003cstrong>as he joked on \u003c/strong>\u003cstrong>\u003cem>The Late Show with Stephen Colbert\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cblockquote>\u003cp>I grew up in a town where I watched my gay friends struggle to come out to the religious community. And now I live in LA, where I'm a religious person struggling to come out to the gay community.\u003c/p>\u003c/blockquote>\n\u003cp>I think it's something that I found early on in doing stand-up—that I could just feel a little bit of a tension in the room when I started talking about it in an honest way. 'Cause I think church is kind of a punch line, you know? Like, that sounds like the end of the joke, right? \"And then I took her to church!\" And I think religion has earned being made fun of. I think that religious culture and the industry of religion pretty much deserves most of the heat that it gets.\u003c/p>\n\u003cp>But I think that there's a human side to why the faiths have continued, and I think that there's some really valuable things, and is my personal belief. And so presenting a character that isn't trying to erase this part of his life, isn't trying to erase his parents' culture and the tradition that he comes from, was what we really tried to do with this show. And I think ... most of the [first-generation] stories that we've seen is somebody fighting to have the ability to just be not like their family, or like everyone that's in front of them. There's almost this subtext of, like, \"Hey, I want to be white too, and I have the right to do that, mom.\" And that that feels like every narrative that's been jammed down my throat as a viewer.\u003c/p>\n\u003cp>And so what I wanted to show was something that felt more of a internal look at the character being introspective—who is actually struggling to keep his faith in his life, while also take some of the opportunities that are presented to him in the place that he grew up in. 'Cause that's closer to my life.\u003c/p>\n\u003cfigure id=\"attachment_111245\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111245\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/02153a75-bc51-4e79-9a22-d2d4d0a23152-800x450.jpg\" alt=\"'Ramy' \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/04/02153a75-bc51-4e79-9a22-d2d4d0a23152-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/02153a75-bc51-4e79-9a22-d2d4d0a23152-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/02153a75-bc51-4e79-9a22-d2d4d0a23152-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/02153a75-bc51-4e79-9a22-d2d4d0a23152-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/02153a75-bc51-4e79-9a22-d2d4d0a23152-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/02153a75-bc51-4e79-9a22-d2d4d0a23152-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/02153a75-bc51-4e79-9a22-d2d4d0a23152.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">'Ramy' \u003ccite>(Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On dedicating episodes to his on-screen sister and mother\u003c/strong>\u003c/p>\n\u003cp>That was something that I fought for a bunch when we were presenting it to the network. But it was really important because I felt like it was the only way you could understand the world. And I think that when we talk about representation, and showing a family that hasn't been seen before, representation isn't three lines in a scene. Representation is actually when the character doesn't have lines, but the camera is lingering on them in their thoughts after something happened, and then we get to see them walk to their car. You really need to follow a character in order to understand what they're going through.\u003c/p>\n\u003cp>So I didn't want to just play this game where I was checking boxes by giving my sister and my mom a line here or there. I wanted to actually sit with them and experience what they were going through, and I want that to be the tone of this show. So we might not have every type of character or every type of experience—yet. But that's because we want to give it the right treatment and we want to actually represent them.\u003c/p>\n\u003cp>\u003cstrong>On what he might want to show people about Muslims with the show\u003c/strong>\u003c/p>\n\u003cp>I just want people to see Muslims as human. That's it. I don't really think that there's much more you could get out of this series, because it's so limited. We're talking about one type of family. To say that all Muslims are like this—to even say that Arab Muslims in North Jersey are like this—would be ridiculous. This is my point of view, and that's why I call the show \u003cem>Ramy\u003c/em>. I made the show that I would want to see. So it's only going to hit on certain things.\u003c/p>\n\u003cp>I just want to complicate the conversation. I want you, instead of thinking of terrorism when you think about a mosque, maybe you can think about the characters in this show. I would love to re-frame certain words in certain settings. But outside of that, even my re-frame is not worthy of where your mind should land. It's just a complication of the conversation.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/715290814/715774859\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Eliza Dennis and Natalie Friedman Winston produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\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=%27Ramy%27+Is+About+One+Millennial+American+Muslim+%E2%80%94+And+Everyone%27s+Racist+Uncles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"A new TV series from comedian Ramy Youssef—based on his own experience growing up as an Egyptian American in New Jersey—is trying out some different first-generation narratives.","status":"publish","parent":0,"modified":1555968514,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1444},"headData":{"title":"'Ramy' Is About One Millennial Muslim—And Everyone's Racist Uncles | KQED","description":"A new TV series from comedian Ramy Youssef—based on his own experience growing up as an Egyptian American in New Jersey—is trying out some different first-generation narratives.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Ramy' Is About One Millennial Muslim—And Everyone's Racist Uncles","datePublished":"2019-04-22T21:28:34.000Z","dateModified":"2019-04-22T21:28:34.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"111218 https://ww2.kqed.org/pop/?p=111218","disqusUrl":"https://ww2.kqed.org/pop/2019/04/22/ramy-is-about-one-millennial-muslim-and-everyones-racist-uncles/","disqusTitle":"'Ramy' Is About One Millennial Muslim—And Everyone's Racist Uncles","nprImageCredit":"Barbara Nitke","nprImageAgency":"Hulu","path":"/pop/111218/ramy-is-about-one-millennial-muslim-and-everyones-racist-uncles","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stories of first-generation Americans tend to stress the same struggles. How do you fit in with your peers when your parents aren't assimilating? How do you balance your instinct to rebel against your parents with your awareness of what they sacrificed to get here?\u003c/p>\n\u003cp>A new TV series called \u003cem>Ramy\u003c/em> addresses many of those issues. Its namesake character is an Egyptian-American millennial in his 20s grappling with being a practicing Muslim. He's also struggling to blend his religious beliefs with 21st century life in the U.S: praying, dating, working, drinking, relating to your parents. It's complicated.\u003c/p>\n\u003cp>The show is out on Hulu, and it's co-written and co-created by Ramy Youssef, an actor and stand-up comedian. He based the main character on his own experiences growing up in suburban New Jersey as a Muslim who considers himself religious.\u003c/p>\n\u003cp>\"I would say it's all very emotionally true,\" Youssef says. \"I tried to imagine a character that didn't have a creative outlet. In real life, I have these creative outlets, and I have really clear conversations with my parents. But this is a little bit removed from that, and just a little bit more at the base level of emotion. So he's a little more stunted, and I wanted to write from that place.\"\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/N4Ek09B9YaY'\n title='//www.youtube.com/embed/N4Ek09B9YaY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how first-generation Americans who are millennials may have it different from previous first-generation experiences\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>Well, I think that we face just some different economic things. I mean, I think a lot of the pressure that happens in this show is about money. I mean, we see my character kind of forced into this relationship with his uncle, this family member that is pretty intolerable. But it's clear that the only reason he hangs around is because he has money, and he has this influence over the family. And so you see somebody who is trying to do good and be good and figure out what that means to him morally. But he's also pressed to kind of accelerate his life.\u003c/p>\n\u003cp>\u003cstrong>On the cringeworthy uncle Naseem character\u003c/strong>\u003c/p>\n\u003cp>For the record, he's also racist and homophobic and Islamophobic. So he is all of those things. And absolutely, I think that the show isn't going to sit for everyone with the approach that we took. And that's okay. There's a lot of—there's, I think, 500 shows on TV this year. So we wanted to take this approach not to be sensational, not to offend for the sake of offending—that's not even really what we're setting out to do. And I think that many people who have watched this show and they see that character, along with seeing the other characters, say, \"I know that guy.\" You know, \"I know a Ramy,\" or \"I know an uncle Naseem,\" or \"I have an uncle Naseem, and instead of the racist anti-Semitic thing he says, he actually says stuff about Muslims, or he actually says stuff about black people, or he actually says stuff, you know, 'insert group'—and we don't know what to do with him.\"\u003c/p>\n\u003cp>And so what we were really looking to do here is to not hide any of these characters, but actually set them up and show them and begin their stories so that we can trace out their arc over multiple seasons. That is very much my intention with the first season of my show, is to plant the seeds of a lot of things that can grow. So there isn't this resolution or instant karma. I think that there's a little bit of an uneasy feeling, and I think that's okay. I think that that's what's really nice about TV, is that things can play out a little bit slower.\u003c/p>\n\u003cp>\u003cstrong>On being a religious person, \u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=I9R6vtcD09I\">\u003cstrong>as he joked on \u003c/strong>\u003cstrong>\u003cem>The Late Show with Stephen Colbert\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cblockquote>\u003cp>I grew up in a town where I watched my gay friends struggle to come out to the religious community. And now I live in LA, where I'm a religious person struggling to come out to the gay community.\u003c/p>\u003c/blockquote>\n\u003cp>I think it's something that I found early on in doing stand-up—that I could just feel a little bit of a tension in the room when I started talking about it in an honest way. 'Cause I think church is kind of a punch line, you know? Like, that sounds like the end of the joke, right? \"And then I took her to church!\" And I think religion has earned being made fun of. I think that religious culture and the industry of religion pretty much deserves most of the heat that it gets.\u003c/p>\n\u003cp>But I think that there's a human side to why the faiths have continued, and I think that there's some really valuable things, and is my personal belief. And so presenting a character that isn't trying to erase this part of his life, isn't trying to erase his parents' culture and the tradition that he comes from, was what we really tried to do with this show. And I think ... most of the [first-generation] stories that we've seen is somebody fighting to have the ability to just be not like their family, or like everyone that's in front of them. There's almost this subtext of, like, \"Hey, I want to be white too, and I have the right to do that, mom.\" And that that feels like every narrative that's been jammed down my throat as a viewer.\u003c/p>\n\u003cp>And so what I wanted to show was something that felt more of a internal look at the character being introspective—who is actually struggling to keep his faith in his life, while also take some of the opportunities that are presented to him in the place that he grew up in. 'Cause that's closer to my life.\u003c/p>\n\u003cfigure id=\"attachment_111245\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111245\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/02153a75-bc51-4e79-9a22-d2d4d0a23152-800x450.jpg\" alt=\"'Ramy' \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/04/02153a75-bc51-4e79-9a22-d2d4d0a23152-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/02153a75-bc51-4e79-9a22-d2d4d0a23152-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/02153a75-bc51-4e79-9a22-d2d4d0a23152-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/02153a75-bc51-4e79-9a22-d2d4d0a23152-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/02153a75-bc51-4e79-9a22-d2d4d0a23152-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/02153a75-bc51-4e79-9a22-d2d4d0a23152-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/02153a75-bc51-4e79-9a22-d2d4d0a23152.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">'Ramy' \u003ccite>(Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On dedicating episodes to his on-screen sister and mother\u003c/strong>\u003c/p>\n\u003cp>That was something that I fought for a bunch when we were presenting it to the network. But it was really important because I felt like it was the only way you could understand the world. And I think that when we talk about representation, and showing a family that hasn't been seen before, representation isn't three lines in a scene. Representation is actually when the character doesn't have lines, but the camera is lingering on them in their thoughts after something happened, and then we get to see them walk to their car. You really need to follow a character in order to understand what they're going through.\u003c/p>\n\u003cp>So I didn't want to just play this game where I was checking boxes by giving my sister and my mom a line here or there. I wanted to actually sit with them and experience what they were going through, and I want that to be the tone of this show. So we might not have every type of character or every type of experience—yet. But that's because we want to give it the right treatment and we want to actually represent them.\u003c/p>\n\u003cp>\u003cstrong>On what he might want to show people about Muslims with the show\u003c/strong>\u003c/p>\n\u003cp>I just want people to see Muslims as human. That's it. I don't really think that there's much more you could get out of this series, because it's so limited. We're talking about one type of family. To say that all Muslims are like this—to even say that Arab Muslims in North Jersey are like this—would be ridiculous. This is my point of view, and that's why I call the show \u003cem>Ramy\u003c/em>. I made the show that I would want to see. So it's only going to hit on certain things.\u003c/p>\n\u003cp>I just want to complicate the conversation. I want you, instead of thinking of terrorism when you think about a mosque, maybe you can think about the characters in this show. I would love to re-frame certain words in certain settings. But outside of that, even my re-frame is not worthy of where your mind should land. It's just a complication of the conversation.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/715290814/715774859\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\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>Eliza Dennis and Natalie Friedman Winston produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\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=%27Ramy%27+Is+About+One+Millennial+American+Muslim+%E2%80%94+And+Everyone%27s+Racist+Uncles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/111218/ramy-is-about-one-millennial-muslim-and-everyones-racist-uncles","authors":["2421"],"categories":["pop_3"],"tags":["pop_533","pop_3581","pop_3582","pop_340"],"featImg":"pop_111247","label":"pop"},"pop_110403":{"type":"posts","id":"pop_110403","meta":{"index":"posts_1591205157","site":"pop","id":"110403","score":null,"sort":[1552900957000]},"guestAuthors":[],"slug":"in-shrill-lindy-west-made-the-body-positive-show-that-she-never-had","title":"In 'Shrill,' Lindy West Made the Body Positive Show She Never Had","publishDate":1552900957,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Lindy West did not set out to make an after school special. The new Hulu show \u003cem>Shrill\u003c/em>, based on her \u003ca href=\"https://www.npr.org/books/titles/498400353/shrill-notes-from-a-loud-woman\">2016 memoir\u003c/a> about being feminist and body positive, is not \"all about the message,\" she says.\u003c/p>\n\u003cp>\"The reality of being a fat person isn't that every moment of your life is about being fat,\" she says. \"It's that you're trying to live the same kind of complicated, exciting, fun, beautiful, difficult life as everyone else.\"\u003c/p>\n\u003cp>The only problem, West says, is that at every turn, society says \"you should apologize for just living in your body.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JyUr_-jxWZA\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2019/03/14/703305271/aidy-bryant-on-shrill-snl-thrills-and-not-feeling-bad-about-her-body\">SNL's Aidy Bryant\u003c/a> plays West's character in the show. \"Annie\" is not exactly Lindy, but there are some obvious parallels, like being an aspiring writer at an alternative weekly newspaper in the Pacific Northwest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When West was writing her memoir, she'd ask herself one question whenever she got lost or stuck: \"What's the book that I needed to read when I was younger?\" That was the guiding principle for West and Bryant as they shaped the screen adaptation, too: \"Aidy and I just said over and over ... We're going to make the show that we needed when we were younger.\"\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/703468584/703535395\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the notion that there's a small person \"inside\" every fat person\u003c/strong>\u003c/p>\n\u003cp>I've had variations of that said to me my whole life. ... That's what diet culture advertising is all about—that there is this small person inside of you waiting to be unleashed ... that my body is a prison for a smaller, more important person. ... It's really hard to have a good comeback in the moment when you're being emotionally abused by a stranger, so it's nice to redo that with a writers' room.\u003c/p>\n\u003cp>\u003cstrong>On resisting diet culture\u003c/strong>\u003c/p>\n\u003cp>It's such a hard transition to sort of wrench your head out of diet culture. We're really taught from birth that the only way to have a good life is to have this one certain kind of body. And people spend their whole lives, you know, struggling to attain that one specific shape. ... I still feel the pull of that. ... I broke through that wall a long time ago and built the life that I want for myself in this body that I have—this fat body—and I can still feel it pulling on me. ...\u003c/p>\n\u003cp>This is why we made the show. You don't see fat people being happy on TV. If there's a fat character on TV they are sad. They're trying to lose weight, or they're having a makeover montage, or they get whacked over the head and believe that they're beautiful because it's a delusion. You know it can't just be a sincere truth.\u003c/p>\n\u003cp>\u003cstrong>On depicting an abortion on the show\u003c/strong>\u003c/p>\n\u003cp>Obviously there are all kinds of abortion stories and people have all different kinds of experiences. ... We really wanted to tell this sort of smaller, not-sensationalized, true story about a person who ... was pregnant who didn't want to be pregnant and had access to her constitutionally protected right and exercised it. You know, that's a really simple, really common story.\u003c/p>\n\u003cp>I think the way that we do talk about abortion in media—when we talk about it at all ... is as this sort of high-drama moment. ... It meant a lot to me to get to put this abortion onscreen in such ... an honest and small way, where, you know, it's a big moment in her life, but not because she's conflicted about the procedure.\u003c/p>\n\u003cfigure id=\"attachment_110406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-110406\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/GettyImages-1135649204-800x579.jpg\" alt=\"Executive Producer Lindy West attends Hulu's 'Shrill' New York Premiere at the Lincoln Center. \" width=\"800\" height=\"579\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/GettyImages-1135649204-800x579.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/GettyImages-1135649204-160x116.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/GettyImages-1135649204-768x556.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/GettyImages-1135649204-1020x738.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/GettyImages-1135649204-1200x868.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/GettyImages-1135649204-1920x1389.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/GettyImages-1135649204.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Executive Producer Lindy West attends Hulu's 'Shrill' New York Premiere at the Lincoln Center. \u003ccite>(Monica Schipper/Getty Images for Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On sharing personal stories in the writers' room\u003c/strong>\u003c/p>\n\u003cp>It [was] super collaborative in the writers' room. It is such a personal, vulnerable show that, yeah, there was a lot of sharing and, you know, commiserating and kind of beautiful cathartic moments. ...\u003c/p>\n\u003cp>Especially the men really, like, couldn't believe that some of these things had been said to us. Especially when we would talk about the way we've been treated in relationships ... they were just very disturbed and astonished. ... It's not just that these things happened to us one time, but they were like a normal part of dating in our 20s. ...\u003c/p>\n\u003cp>Society really does not teach young men how to value plus-size women. And it's rough, man. I think that's part of what we wanted to do with the show—was make that experience accessible to people who maybe don't really understand quite how cruel it can be.\u003c/p>\n\u003cp>\u003cstrong>On the \"Fat Babe Pool Party\" scene\u003c/strong>\u003c/p>\n\u003cp>[Fat Babe Pool Parties are] a real thing in multiple cities—there are these body positive pool parties because for generations fat people have been told not to go swimming. ...\u003c/p>\n\u003cp>We shot it at this gorgeous country club outside of Portland and it was a two-day shoot. And the great thing about shooting a Fat Babe Pool Party for two days at a gorgeous country club is that you have to \u003cem>throw\u003c/em> a Fat Babe Pool Party for two days at a gorgeous country club. ... I was just weeping every day because it was so beautiful. ...\u003c/p>\n\u003cp>I'm so excited for people to see this show—especially the pool party—and to feel that little sort of tickle of recognition ... \u003cem>That's me. That's what I look like.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>On hoping the show helps young women feel good about their bodies\u003c/strong>\u003c/p>\n\u003cp>Obviously things are different now than they were 10 years ago when I was going through this process. There is a lot more body diversity on screen and there's a lot more open conversation about this stuff in the media. So probably these ideas aren't as new to young people now as they were to me. ... But I do hope that that message makes it to people and resonates with people. If it changes one person's life a little tiny bit, I'm so, so, so glad.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Gringlas and Sarah Handel produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR.org\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Shrill%2C%27+Lindy+West+Made+The+Body+Positive+Show+That+She+Never+Had&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/a>\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"\"You don't see fat people being happy on TV. If there's a fat character on TV they are sad,\" West says. That's definitely not the case in 'Shrill'—a Hulu comedy series adapted from West's 2016 memoir.","status":"publish","parent":0,"modified":1552900989,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1068},"headData":{"title":"In 'Shrill,' Lindy West Made the Body Positive Show She Never Had | KQED","description":""You don't see fat people being happy on TV. If there's a fat character on TV they are sad," West says. That's definitely not the case in 'Shrill'—a Hulu comedy series adapted from West's 2016 memoir.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"In 'Shrill,' Lindy West Made the Body Positive Show She Never Had","datePublished":"2019-03-18T09:22:37.000Z","dateModified":"2019-03-18T09:23:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"110403 https://ww2.kqed.org/pop/?p=110403","disqusUrl":"https://ww2.kqed.org/pop/2019/03/18/in-shrill-lindy-west-made-the-body-positive-show-that-she-never-had/","disqusTitle":"In 'Shrill,' Lindy West Made the Body Positive Show She Never Had","path":"/pop/110403/in-shrill-lindy-west-made-the-body-positive-show-that-she-never-had","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lindy West did not set out to make an after school special. The new Hulu show \u003cem>Shrill\u003c/em>, based on her \u003ca href=\"https://www.npr.org/books/titles/498400353/shrill-notes-from-a-loud-woman\">2016 memoir\u003c/a> about being feminist and body positive, is not \"all about the message,\" she says.\u003c/p>\n\u003cp>\"The reality of being a fat person isn't that every moment of your life is about being fat,\" she says. \"It's that you're trying to live the same kind of complicated, exciting, fun, beautiful, difficult life as everyone else.\"\u003c/p>\n\u003cp>The only problem, West says, is that at every turn, society says \"you should apologize for just living in your body.\"\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/JyUr_-jxWZA'\n title='//www.youtube.com/embed/JyUr_-jxWZA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/2019/03/14/703305271/aidy-bryant-on-shrill-snl-thrills-and-not-feeling-bad-about-her-body\">SNL's Aidy Bryant\u003c/a> plays West's character in the show. \"Annie\" is not exactly Lindy, but there are some obvious parallels, like being an aspiring writer at an alternative weekly newspaper in the Pacific Northwest.\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>When West was writing her memoir, she'd ask herself one question whenever she got lost or stuck: \"What's the book that I needed to read when I was younger?\" That was the guiding principle for West and Bryant as they shaped the screen adaptation, too: \"Aidy and I just said over and over ... We're going to make the show that we needed when we were younger.\"\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/703468584/703535395\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the notion that there's a small person \"inside\" every fat person\u003c/strong>\u003c/p>\n\u003cp>I've had variations of that said to me my whole life. ... That's what diet culture advertising is all about—that there is this small person inside of you waiting to be unleashed ... that my body is a prison for a smaller, more important person. ... It's really hard to have a good comeback in the moment when you're being emotionally abused by a stranger, so it's nice to redo that with a writers' room.\u003c/p>\n\u003cp>\u003cstrong>On resisting diet culture\u003c/strong>\u003c/p>\n\u003cp>It's such a hard transition to sort of wrench your head out of diet culture. We're really taught from birth that the only way to have a good life is to have this one certain kind of body. And people spend their whole lives, you know, struggling to attain that one specific shape. ... I still feel the pull of that. ... I broke through that wall a long time ago and built the life that I want for myself in this body that I have—this fat body—and I can still feel it pulling on me. ...\u003c/p>\n\u003cp>This is why we made the show. You don't see fat people being happy on TV. If there's a fat character on TV they are sad. They're trying to lose weight, or they're having a makeover montage, or they get whacked over the head and believe that they're beautiful because it's a delusion. You know it can't just be a sincere truth.\u003c/p>\n\u003cp>\u003cstrong>On depicting an abortion on the show\u003c/strong>\u003c/p>\n\u003cp>Obviously there are all kinds of abortion stories and people have all different kinds of experiences. ... We really wanted to tell this sort of smaller, not-sensationalized, true story about a person who ... was pregnant who didn't want to be pregnant and had access to her constitutionally protected right and exercised it. You know, that's a really simple, really common story.\u003c/p>\n\u003cp>I think the way that we do talk about abortion in media—when we talk about it at all ... is as this sort of high-drama moment. ... It meant a lot to me to get to put this abortion onscreen in such ... an honest and small way, where, you know, it's a big moment in her life, but not because she's conflicted about the procedure.\u003c/p>\n\u003cfigure id=\"attachment_110406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-110406\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/03/GettyImages-1135649204-800x579.jpg\" alt=\"Executive Producer Lindy West attends Hulu's 'Shrill' New York Premiere at the Lincoln Center. \" width=\"800\" height=\"579\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/03/GettyImages-1135649204-800x579.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/GettyImages-1135649204-160x116.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/GettyImages-1135649204-768x556.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/GettyImages-1135649204-1020x738.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/GettyImages-1135649204-1200x868.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/GettyImages-1135649204-1920x1389.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/03/GettyImages-1135649204.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Executive Producer Lindy West attends Hulu's 'Shrill' New York Premiere at the Lincoln Center. \u003ccite>(Monica Schipper/Getty Images for Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On sharing personal stories in the writers' room\u003c/strong>\u003c/p>\n\u003cp>It [was] super collaborative in the writers' room. It is such a personal, vulnerable show that, yeah, there was a lot of sharing and, you know, commiserating and kind of beautiful cathartic moments. ...\u003c/p>\n\u003cp>Especially the men really, like, couldn't believe that some of these things had been said to us. Especially when we would talk about the way we've been treated in relationships ... they were just very disturbed and astonished. ... It's not just that these things happened to us one time, but they were like a normal part of dating in our 20s. ...\u003c/p>\n\u003cp>Society really does not teach young men how to value plus-size women. And it's rough, man. I think that's part of what we wanted to do with the show—was make that experience accessible to people who maybe don't really understand quite how cruel it can be.\u003c/p>\n\u003cp>\u003cstrong>On the \"Fat Babe Pool Party\" scene\u003c/strong>\u003c/p>\n\u003cp>[Fat Babe Pool Parties are] a real thing in multiple cities—there are these body positive pool parties because for generations fat people have been told not to go swimming. ...\u003c/p>\n\u003cp>We shot it at this gorgeous country club outside of Portland and it was a two-day shoot. And the great thing about shooting a Fat Babe Pool Party for two days at a gorgeous country club is that you have to \u003cem>throw\u003c/em> a Fat Babe Pool Party for two days at a gorgeous country club. ... I was just weeping every day because it was so beautiful. ...\u003c/p>\n\u003cp>I'm so excited for people to see this show—especially the pool party—and to feel that little sort of tickle of recognition ... \u003cem>That's me. That's what I look like.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>On hoping the show helps young women feel good about their bodies\u003c/strong>\u003c/p>\n\u003cp>Obviously things are different now than they were 10 years ago when I was going through this process. There is a lot more body diversity on screen and there's a lot more open conversation about this stuff in the media. So probably these ideas aren't as new to young people now as they were to me. ... But I do hope that that message makes it to people and resonates with people. If it changes one person's life a little tiny bit, I'm so, so, so glad.\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>Sam Gringlas and Sarah Handel produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR.org\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Shrill%2C%27+Lindy+West+Made+The+Body+Positive+Show+That+She+Never+Had&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/a>\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/110403/in-shrill-lindy-west-made-the-body-positive-show-that-she-never-had","authors":["2421"],"categories":["pop_1"],"tags":["pop_3501","pop_3426","pop_2910","pop_3502","pop_533","pop_2858"],"featImg":"pop_110405","label":"pop"},"pop_105585":{"type":"posts","id":"pop_105585","meta":{"index":"posts_1591205157","site":"pop","id":"105585","score":null,"sort":[1536695125000]},"guestAuthors":[],"slug":"the-castle-rock-finale-is-probably-going-to-disappoint-us-all","title":"The 'Castle Rock' Finale is (Probably) Going to Disappoint Us All","publishDate":1536695125,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>\u003cem>The following contains major spoilers for \u003c/em>Castle Rock\u003cem>, Season 1.\u003c/em>\u003c/p>\n\u003cp>It started with so much promise: a mysterious young man, secretly imprisoned in the basement of Shawshank Prison for 27 years; the violent suicide of the corrupt warden that held him there without charge; whispers that the strange man is — \u003cem>gasp \u003c/em>— the devil!\u003c/p>\n\u003cp>For the first half of its initial season, \u003ca href=\"https://www.imdb.com/title/tt6548228/?ref_=nv_sr_1\">\u003cem>Castle Rock\u003c/em>\u003c/a> was one of the most intriguing and entertaining things on television. And then, like so many mystery shows, it tied us up in knots, threw pointless curveballs at us and then introduced a parallel universe/alternate reality storyline. In Castle Rock, they call that a schism, but it's such a well-worn trope, we all know perfectly well what it means (the show got desperate). Unfortunately, the introduction of this second timeline contradicted everything we've learned so far about the mystery prisoner, previously known only as \"The Kid.\"\u003c/p>\n\u003cp>https://twitter.com/FreddyInSpace/status/1035001484071583744\u003c/p>\n\u003cp>In episode 9, we learned that The Kid is, in fact, Henry Deaver. Yes, folks, there is a parallel timeline when Henry isn't the adopted African American lawyer we've come to know these last couple of months, but rather the bug-eyed creepy dude who we thought might be Satan, but who, in another reality, is actually a very nice doctor and soon-to-be family man.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In white Henry's timeline, Ruth Deaver left her abusive husband Matthew when Henry was still a child and moved to Florida, followed by her Sheriff love, Alan Pangborn. When this Henry goes back to Castle Rock, as an adult, to deal with Matthew's suicide, he discovers young, original Henry in a cage in the basement of his childhood home and frees him. Young black Henry leads adult white Henry to the woods, where the schism moves white Henry to the past where he gets imprisoned by the warden, thereby becoming The Kid.\u003c/p>\n\u003cp>Clear as mud, right?\u003c/p>\n\u003cp>https://twitter.com/ayahstyles/status/1037154387532161025\u003c/p>\n\u003cp>Episode 9 basically asked us to forget everything we have so far learned about The Kid. If he started life with a relatively normal childhood and a loving family and went on to be a successful adult, how exactly have 27 years in a cage granted him all of those dark powers we've seen? How did this man end up with the ability to prompt perfectly nice prison guards to go on killing sprees, and hospital patients to set fire to their own beds? And, more importantly, why does he want to do those things? Also, crucially: Why hasn't he aged at all?\u003c/p>\n\u003cp>Further, where does all this new information leave our original Henry Deaver? Is \u003cem>he\u003c/em> the real devil? A lady police officer did suggest as much in episode 8, telling him that chaos and devastation have always followed him. It would also explain why childhood Molly felt propelled by her psychic connection to Henry to kill his father in the original timeline. This twist, however, would contradict everything we know about original Henry so far, not least of which his empathetic work with death row prisoners.\u003c/p>\n\u003cp>Of course, for most of us, this isn't our first split-timeline rodeo. Eight years after its finale, \u003ca href=\"https://theconcourse.deadspin.com/lost-was-the-best-before-it-was-the-worst-1635804502\">people are still furious\u003c/a> about how many questions \u003ca href=\"https://www.imdb.com/title/tt0411008/?ref_=nv_sr_1\">\u003cem>Lost\u003c/em>\u003c/a> left unanswered, not to mention that whole \"flash-sideways\" (yes, another parallel universe) storyline. The third season of \u003ca href=\"https://www.imdb.com/title/tt4093826/?ref_=nv_sr_2\">\u003cem>Twin Peaks\u003c/em>\u003c/a> surprised viewers by providing a truly satisfying close to all of the town's mysteries... only to muddy everything up again in the finale by introducing — you've guessed it! — a parallel universe in which Laura Palmer never even died! (Laura screaming in the street in the show's final moments was all of us.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=23p8RbnlRn4\u003c/p>\n\u003cp>The trick to getting parallel universes to work on television seems to be either to have them be darker, more surreal versions of reality (like the Upside Down in \u003ca href=\"https://www.imdb.com/title/tt4574334/?ref_=nv_sr_1\">\u003cem>Stranger Things\u003c/em>\u003c/a>, or the Black Lodge in \u003cem>Twin Peaks\u003c/em>), have them be a perfectly reasonable extension of a sci-fi universe (see: \u003ca href=\"https://www.imdb.com/title/tt0112167/?ref_=nv_sr_1\">\u003cem>Sliders\u003c/em>\u003c/a>, \u003ca href=\"https://www.imdb.com/title/tt0436992/?ref_=nv_sr_1\">\u003cem>Doctor Who\u003c/em>\u003c/a>) or to employ them purely for comedy, as animated shows like \u003ca href=\"https://www.youtube.com/watch?v=W0UkdFskwes\">\u003cem>Futurama\u003c/em>\u003c/a> and \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=PmPN7jZvMHc\">Rick and Morty\u003c/a> \u003c/em>have done. Comedy-wise, \u003cem>Community\u003c/em> proved the potential of alternate-timeline greatness in an episode titled \u003ca href=\"https://www.youtube.com/watch?v=f-jVbjtTKVM\">\"Remedial Chaos Theory.\"\u003c/a> In it, we saw the gang play out the exact same evening in six slightly different, increasingly entertaining ways. Perhaps if \u003cem>Castle Rock \u003c/em>had also split its attention evenly between its differing timelines, the second one would feel less tacked on.\u003c/p>\n\u003cp>In terms of how \u003cem>Castle Rock\u003c/em> is going to end tonight, it's worth noting that\u003cem> Lost\u003c/em> creator, \u003ca href=\"https://www.imdb.com/name/nm0009190/?ref_=tt_ov_wr\">JJ Abrams\u003c/a>, is an executive producer on the show. Abrams is \u003ca href=\"https://io9.gizmodo.com/5827048/jj-abrams-wants-your-ideas-for-how-lost-should-have-ended\">acutely aware\u003c/a> that people didn't like the ending of \u003cem>Lost\u003c/em>, so would he really be willing to leave viewers with a bunch of unanswered questions again?\u003c/p>\n\u003cp>Sadly for Abrams, \u003cem>Castle Rock\u003c/em> has made it almost impossible to finish out the series in a satisfying way. There are just too many unanswered questions to handle in one hour. Such as: What did the warden know about the schism? Why did he think The Kid was the devil? Is the voice of God, heard in the woods, really the voice of God? Why did alternate universe Matthew Deaver keep original Henry locked up in his basement? Is the warden's suicide related to Matthew's suicide? What does the schism have to do with all of the misfortune that repeatedly befalls Castle Rock residents? Why is Molly more psychic in one timeline than the other? What will happen to Ruth Deaver, now that she has accidentally killed Alan? What happened to white Henry's fiancé and baby after he disappeared into the schism? Is Ruth Deaver a time-traveler? Why was she so terrified of The Kid if, on some level, she recognized him as her alternate son? What the hell was the point of that side plot about the bed and breakfast owners?\u003c/p>\n\u003cp>Truthfully, if the show had kept things a little more simple, it would be infinitely easier to leave us with a more satisfying ending. An explanation for The Kid's evil deeds, preferably discovered by Henry Deaver, would be great. So would a detailed explanation about the warden's suicide. Some sort of answer as to why so much tragedy befalls this tiny town in Maine would be magnificent, not just for the show, but for the wider Stephen King universe that has been referenced throughout. An ending in which The Kid is sent back from whence he came would be nice too, especially if a risk is posed that he could come back and wreak havoc in subsequent seasons again.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As it stands, what we have, going into the finale, is a complicated mess with no hero, no villain, two dead characters we wish were still alive (Alan and prison guard, Dennis) and a schism in the woods to fruitlessly point at every time something doesn't make any sense. One can only hope that the Season 1 finale restores \u003cem>Castle Rock\u003c/em> to its former glory, but looking at the evidence of the last few weeks? Probably only in a parallel universe.\u003c/p>\n\n","blocks":[],"excerpt":"Can the 'Castle Rock' season finale restore the show to its former glory? Probably only in a parallel universe.","status":"publish","parent":0,"modified":1536695125,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1226},"headData":{"title":"The 'Castle Rock' Finale is (Probably) Going to Disappoint Us All | KQED","description":"Can the 'Castle Rock' season finale restore the show to its former glory? Probably only in a parallel universe.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 'Castle Rock' Finale is (Probably) Going to Disappoint Us All","datePublished":"2018-09-11T19:45:25.000Z","dateModified":"2018-09-11T19:45:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"105585 https://ww2.kqed.org/pop/?p=105585","disqusUrl":"https://ww2.kqed.org/pop/2018/09/11/the-castle-rock-finale-is-probably-going-to-disappoint-us-all/","disqusTitle":"The 'Castle Rock' Finale is (Probably) Going to Disappoint Us All","path":"/pop/105585/the-castle-rock-finale-is-probably-going-to-disappoint-us-all","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The following contains major spoilers for \u003c/em>Castle Rock\u003cem>, Season 1.\u003c/em>\u003c/p>\n\u003cp>It started with so much promise: a mysterious young man, secretly imprisoned in the basement of Shawshank Prison for 27 years; the violent suicide of the corrupt warden that held him there without charge; whispers that the strange man is — \u003cem>gasp \u003c/em>— the devil!\u003c/p>\n\u003cp>For the first half of its initial season, \u003ca href=\"https://www.imdb.com/title/tt6548228/?ref_=nv_sr_1\">\u003cem>Castle Rock\u003c/em>\u003c/a> was one of the most intriguing and entertaining things on television. And then, like so many mystery shows, it tied us up in knots, threw pointless curveballs at us and then introduced a parallel universe/alternate reality storyline. In Castle Rock, they call that a schism, but it's such a well-worn trope, we all know perfectly well what it means (the show got desperate). Unfortunately, the introduction of this second timeline contradicted everything we've learned so far about the mystery prisoner, previously known only as \"The Kid.\"\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1035001484071583744"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In episode 9, we learned that The Kid is, in fact, Henry Deaver. Yes, folks, there is a parallel timeline when Henry isn't the adopted African American lawyer we've come to know these last couple of months, but rather the bug-eyed creepy dude who we thought might be Satan, but who, in another reality, is actually a very nice doctor and soon-to-be family man.\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>In white Henry's timeline, Ruth Deaver left her abusive husband Matthew when Henry was still a child and moved to Florida, followed by her Sheriff love, Alan Pangborn. When this Henry goes back to Castle Rock, as an adult, to deal with Matthew's suicide, he discovers young, original Henry in a cage in the basement of his childhood home and frees him. Young black Henry leads adult white Henry to the woods, where the schism moves white Henry to the past where he gets imprisoned by the warden, thereby becoming The Kid.\u003c/p>\n\u003cp>Clear as mud, right?\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1037154387532161025"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Episode 9 basically asked us to forget everything we have so far learned about The Kid. If he started life with a relatively normal childhood and a loving family and went on to be a successful adult, how exactly have 27 years in a cage granted him all of those dark powers we've seen? How did this man end up with the ability to prompt perfectly nice prison guards to go on killing sprees, and hospital patients to set fire to their own beds? And, more importantly, why does he want to do those things? Also, crucially: Why hasn't he aged at all?\u003c/p>\n\u003cp>Further, where does all this new information leave our original Henry Deaver? Is \u003cem>he\u003c/em> the real devil? A lady police officer did suggest as much in episode 8, telling him that chaos and devastation have always followed him. It would also explain why childhood Molly felt propelled by her psychic connection to Henry to kill his father in the original timeline. This twist, however, would contradict everything we know about original Henry so far, not least of which his empathetic work with death row prisoners.\u003c/p>\n\u003cp>Of course, for most of us, this isn't our first split-timeline rodeo. Eight years after its finale, \u003ca href=\"https://theconcourse.deadspin.com/lost-was-the-best-before-it-was-the-worst-1635804502\">people are still furious\u003c/a> about how many questions \u003ca href=\"https://www.imdb.com/title/tt0411008/?ref_=nv_sr_1\">\u003cem>Lost\u003c/em>\u003c/a> left unanswered, not to mention that whole \"flash-sideways\" (yes, another parallel universe) storyline. The third season of \u003ca href=\"https://www.imdb.com/title/tt4093826/?ref_=nv_sr_2\">\u003cem>Twin Peaks\u003c/em>\u003c/a> surprised viewers by providing a truly satisfying close to all of the town's mysteries... only to muddy everything up again in the finale by introducing — you've guessed it! — a parallel universe in which Laura Palmer never even died! (Laura screaming in the street in the show's final moments was all of us.)\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/23p8RbnlRn4'\n title='//www.youtube.com/embed/23p8RbnlRn4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The trick to getting parallel universes to work on television seems to be either to have them be darker, more surreal versions of reality (like the Upside Down in \u003ca href=\"https://www.imdb.com/title/tt4574334/?ref_=nv_sr_1\">\u003cem>Stranger Things\u003c/em>\u003c/a>, or the Black Lodge in \u003cem>Twin Peaks\u003c/em>), have them be a perfectly reasonable extension of a sci-fi universe (see: \u003ca href=\"https://www.imdb.com/title/tt0112167/?ref_=nv_sr_1\">\u003cem>Sliders\u003c/em>\u003c/a>, \u003ca href=\"https://www.imdb.com/title/tt0436992/?ref_=nv_sr_1\">\u003cem>Doctor Who\u003c/em>\u003c/a>) or to employ them purely for comedy, as animated shows like \u003ca href=\"https://www.youtube.com/watch?v=W0UkdFskwes\">\u003cem>Futurama\u003c/em>\u003c/a> and \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=PmPN7jZvMHc\">Rick and Morty\u003c/a> \u003c/em>have done. Comedy-wise, \u003cem>Community\u003c/em> proved the potential of alternate-timeline greatness in an episode titled \u003ca href=\"https://www.youtube.com/watch?v=f-jVbjtTKVM\">\"Remedial Chaos Theory.\"\u003c/a> In it, we saw the gang play out the exact same evening in six slightly different, increasingly entertaining ways. Perhaps if \u003cem>Castle Rock \u003c/em>had also split its attention evenly between its differing timelines, the second one would feel less tacked on.\u003c/p>\n\u003cp>In terms of how \u003cem>Castle Rock\u003c/em> is going to end tonight, it's worth noting that\u003cem> Lost\u003c/em> creator, \u003ca href=\"https://www.imdb.com/name/nm0009190/?ref_=tt_ov_wr\">JJ Abrams\u003c/a>, is an executive producer on the show. Abrams is \u003ca href=\"https://io9.gizmodo.com/5827048/jj-abrams-wants-your-ideas-for-how-lost-should-have-ended\">acutely aware\u003c/a> that people didn't like the ending of \u003cem>Lost\u003c/em>, so would he really be willing to leave viewers with a bunch of unanswered questions again?\u003c/p>\n\u003cp>Sadly for Abrams, \u003cem>Castle Rock\u003c/em> has made it almost impossible to finish out the series in a satisfying way. There are just too many unanswered questions to handle in one hour. Such as: What did the warden know about the schism? Why did he think The Kid was the devil? Is the voice of God, heard in the woods, really the voice of God? Why did alternate universe Matthew Deaver keep original Henry locked up in his basement? Is the warden's suicide related to Matthew's suicide? What does the schism have to do with all of the misfortune that repeatedly befalls Castle Rock residents? Why is Molly more psychic in one timeline than the other? What will happen to Ruth Deaver, now that she has accidentally killed Alan? What happened to white Henry's fiancé and baby after he disappeared into the schism? Is Ruth Deaver a time-traveler? Why was she so terrified of The Kid if, on some level, she recognized him as her alternate son? What the hell was the point of that side plot about the bed and breakfast owners?\u003c/p>\n\u003cp>Truthfully, if the show had kept things a little more simple, it would be infinitely easier to leave us with a more satisfying ending. An explanation for The Kid's evil deeds, preferably discovered by Henry Deaver, would be great. So would a detailed explanation about the warden's suicide. Some sort of answer as to why so much tragedy befalls this tiny town in Maine would be magnificent, not just for the show, but for the wider Stephen King universe that has been referenced throughout. An ending in which The Kid is sent back from whence he came would be nice too, especially if a risk is posed that he could come back and wreak havoc in subsequent seasons again.\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>As it stands, what we have, going into the finale, is a complicated mess with no hero, no villain, two dead characters we wish were still alive (Alan and prison guard, Dennis) and a schism in the woods to fruitlessly point at every time something doesn't make any sense. One can only hope that the Season 1 finale restores \u003cem>Castle Rock\u003c/em> to its former glory, but looking at the evidence of the last few weeks? Probably only in a parallel universe.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/105585/the-castle-rock-finale-is-probably-going-to-disappoint-us-all","authors":["11242"],"categories":["pop_3"],"tags":["pop_533","pop_3289"],"featImg":"pop_105588","label":"pop"},"pop_104524":{"type":"posts","id":"pop_104524","meta":{"index":"posts_1591205157","site":"pop","id":"104524","score":null,"sort":[1531336802000]},"guestAuthors":[],"slug":"the-truck-the-choice-and-the-handmaids-tale-finale","title":"The Truck, the Choice and the 'Handmaid's Tale' Finale","publishDate":1531336802,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>\u003cstrong>This review of the second-season finale of \u003c/strong>\u003cem>\u003cstrong>The Handmaid's Tale \u003c/strong>\u003c/em>\u003cstrong>discusses in detail what happens in the second-season finale of \u003c/strong>\u003cem>\u003cstrong>The Handmaid's Tale\u003c/strong>\u003c/em>\u003cstrong>. \u003c/strong>\u003c/p>\n\u003cp>The sound of the second season of Hulu's \u003cem>The Handmaid's Tale \u003c/em>coming to an end was the sound of a balloon, expertly inflated to the point where it seemed about to break, being let go so that it releases its tension in a long, anticlimactic raspberry.\u003c/p>\n\u003cp>\u003cem>She didn't go. \u003c/em>For two seasons, June's goals have been to get her daughter and get the blessed fruit out of Gilead. But in the past — in the first season, when she tried to flee by train, and in the second season, when she escaped to the \u003cem>Boston Globe \u003c/em>offices, and later in the second season, when she tried to escape in a plane, and even later, when she tried to escape in a car — she has understood that the first order of business was to get out of Gilead, where she couldn't help Hannah. She has watched other Gilead women be raped, beaten, mutilated, and murdered. She has now seen Serena, who has as much power in this society as any woman can, attempt to work, with great civility, within the system and lose a finger for it. She has a baby to protect whom the Waterfords, Fred and Serena, have stolen from her — the baby she calls Holly and Serena calls Nicole.\u003c/p>\n\u003cp>Still, when a group of Marthas — women whose status isn't much higher than hers — risk their lives to smuggle June out; when she reunites with Emily, her one real remaining friend; when the back of that truck opens and an opportunity emerges for June to flee with her baby and find her husband in a place where she will not be brutalized, where she might actually be able to do something to help her daughter get out of Gilead, she just ... \u003cem>doesn't go\u003c/em>. She hands over the baby to Emily, puts her hood up, and walks off into the city like a bad-ass in an action movie.\u003c/p>\n\u003cp>\u003cem>That's it? \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She was never going to go, all this time? Because Hannah was still in Gilead, June was never going to go? And she just realized it \u003cem>now\u003c/em>? She has lived for the chance to escape and reunite with her family for what seems to be a couple of years in show time, and only when crouched in a ditch with an infant did she decide she wouldn't actually go without Hannah? She had never considered this complication during any of her previous escape attempts?\u003c/p>\n\u003cp>This doesn't play as a satisfying story beat, and it therefore plays as yet another way for this show to demonstrate that \u003cem>The Adventures of Sisyphus \u003c/em>would not be a good television show. If the inescapability of Gilead is the one central truth of the show, then trying to build the central tension of the show from the possibility of rebellion and escape has been a fool's errand and a treacherous fake-out, and it's beginning to look like exactly that.\u003c/p>\n\u003cp>At the end of last season, it looked like the Handmaids were rebelling, but a few episodes later, the situation had largely reverted to its previous state. At one point this season, June seemed to have escaped to a house where she found a car, but almost immediately, she ended up back in the Waterfords' house. She has been caught, thwarted, captured over and over, with the tantalizing possibility that she will manage to escape dangled as the payoff that may or may not ever come, and then it actually happens, she actually makes it, and she looks at the open back of a truck and says, \"Nah\"?\u003c/p>\n\u003cp>Oh, yes, she wants to save Hannah. The flashback, lit with gold, reminds you how much. But there's no indication that Gilead is crumbling, only that individuals are escaping. Why on earth will \u003cem>staying here\u003c/em> help? An electric guitar and yet another shot of Elisabeth Moss' eyes looking nearly crazed are insufficient to suggest that we are on a path forward rather than backward. It's entirely possible that there is a plan for what the next season will be where it won't just rely on a reversion to June as a Handmaid — the same reset, complete with shedding but then again donning the bonnet and dress — that has already happened more than once. But for now? Yes, it looks like a reversion, based around June making a decision that the show hasn't justified. It makes sense that she would die to save Hannah, of course, but it doesn't make any sense that she would think Handmaid June would have a chance to do that, compared to a hypothetical Escaped June who might be able to tell her story, and the story of the Marthas and Handmaids and Unwomen.\u003c/p>\n\u003cp>Without any explanation of why June is doing this, it's too easy for it to appear that the reason she's doing it is ... to keep the show going. It may have been a mistake to extend the series past the first season, past the end of Margaret Atwood's novel. But it would emphatically be a mistake to let it devolve into a dystopian version of a will-they-or-won't-they romance, where you get so so so close and then ... no. And then so so so close and then ... no. Because in the end, those stories are only satisfying if you get your big kiss at the end, which would here be an undoing of Gilead by, maybe, the United Nations? Rescue, at a level that would make all of this work out in a satisfying way at the end, is what qualifies, in dystopian terms, as selling out.\u003c/p>\n\u003cp>But over and above the unsatisfying ending, this season also attempted to bend sympathies well beyond any conceivable breaking point. Of all the ding-dong things this show or \u003cem>any \u003c/em>show will ever ask you to believe, it is among the ding-dong-iest that June gives baby Holly to her friend Emily, perhaps never to see the child again, and says, \"Call her Nicole.\" \u003cem>Call her Nicole? \u003c/em>This is out of sympathy for Serena? Serena, who stole this baby from her? Who held her down while she was raped? Who physically abused her? Who decided to participate actively in the dehumanization of and violence toward others and then had a weepy moment of \"conscience\" once it was \u003cem>her \u003c/em>being struck, \u003cem>her \u003c/em>finger being cut off? For this, June wants this child to be forever called by the name given her by her mother's abusers? The same June who carved NOLITE TE BASTARDES CARBORUNDORUM into the wall of the house on her way out so that Fred could see it? This same June has so softened toward Serena that she wants the baby to carry the name she got from Serena and Fred?\u003c/p>\n\u003cp>This \"Serena isn't all bad\" angle flared up in the previous episode too, when Serena allowed June to nurse Holly, the daughter Serena and Fred forced her to conceive and carry, who they took away from June at birth. Serena seemed to consider this — and perhaps June did, too — an act of kindness, as if interrupting a kidnapping in progress to allow a moment of contact is a flash of decency rather than something very much less than the very least a decent person would do. Fred had done the same earlier in the season with June's older daughter Hannah, allowing her a brief visit with the child he was entirely complicit in keeping from her.\u003c/p>\n\u003cp>They are trying to complicate the narrative, certainly. But it is a bridge too far to narratively urge sympathy for someone who would crush those under her and actively participate in their imprisonment, their rape, and their suffering, simply because she eventually suffered a fraction of that suffering herself. There are a lot of ways to feel about an attitude of \"I never thought this society's suffering would become\u003cem> mine\u003c/em>, but now it is, so now I don't like it anymore.\" But \"aw, she's not so bad\" isn't one of them.\u003c/p>\n\u003cp>In a multitude of ways, Emily's story in this episode is vastly more satisfying and interesting than June's. Emily finds herself living with a new commander, Joseph, played by Bradley Whitford. He seems weird. He seems creepy. He chooses not to carry out the ritual rape \"ceremony,\" a decision that almost seems more ominous than if he had. Emily is near a breakdown when Aunt Lydia shows up the next morning and makes the mistake of calling Emily a degenerate and reminding her of the way she was mutilated. Emily, in response, unleashing two seasons worth of rage, stabs Lydia, throws her down the stairs, and kicks the living hell out of her — not literally, but truly, in more ways than one.\u003c/p>\n\u003cp>Alexis Bledel gives a brilliant performance in the moments after Lydia's grave injuries are discovered, when Emily seems overjoyed, terrified and sad all at once. Emily knows that she has finally gotten some measure of blunt, desperate justice, but she also knows she will probably die for it. And when she's rushed off in the car with Joseph, he blasts Annie Lennox's \"Walking On Broken Glass,\" a strangely upbeat selection that she can barely tolerate as she waits to learn her fate. To her surprise, he takes her off to her escape.\u003c/p>\n\u003cp>That story is satisfying, not because it (so far) ends with escape, but because it moves. Where June implausibly starts feeling sorry for Serena, Emily doesn't just stab her tormentor and abuser; she shoves her down the stairs, kicks her, and opens her own psychic wounds in a way that seems meaningful. Joseph emerges as an unexpected ally whose behavior is a true surprise. And his behavior, by the way, neatly undermines any sympathy for Serena. Decent people do not go along, floating on the power they have in an unjust society as long as the brutality is only for others. Decent people take risks rather than become complicit. Serena is not decent because she finally got around to drawing a line when the blood that was spilled and the humanity that was degraded was hers. Any pedestrian coward will do that.\u003c/p>\n\u003cp>And June? June would know this. June would look at Serena's tears and see them for what they are: too little, too late, too self-indulgent, and too self-pitying. As Serena has just learned, the brutality you build, the authoritarian state you nestle into? It will come for you too, and that's why the decent and the pragmatic sometimes wind up playing on the same team. But late-arriving pragmatists do not deserve the sympathy of those they've abused.\u003c/p>\n\u003cp>Ultimately, the finale muddles the entire story we've heard up to this point. That walk away from the truck with the guitar grinding and the hood fully up is a perplexing piece of imagery that seems determined to glamorize June's decision not to leave — to make it an iconic moment of toughness. But there is nothing weak about becoming a refugee from violence. Everything we know about June suggests that she knows perfectly well she can do nothing from here, from this place where she is shackled and tracked. It's one thing for June to lose and lose and lose at the game of escape, but it's another to suggest that what really shows her grit is that she volunteers for a life of being tortured with no plan to reunite with either of her children. The agony of oppressive regimes is not reducible to a moment in which an individual decides to stand alone against them and an audience cheers. If we should have learned anything from this show, it is that the will of individuals is, in fact, breakable by an army backed by weak bullies like Fred and complacent, ethically empty vessels like Serena.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Without some narrative purpose, what is all this for? The suffering, the violence, the rape scenes, the blood, the stoning, the drowning — what is it for? The first season was an unsettling examination of what an authoritarian theocracy might look like. But now we seem to just be circling that society, spying on it with something like prurience, watching it kill and violate. We had a chance to see outside of it, to see what the rest of the world is doing while all of this is going on. But it is not to be, at least for now.\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=The+Truck%2C+The+Choice+And+The+%27Handmaid%27s+Tale%27+Finale&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"The second season finale of 'The Handmaid's Tale' brought some truths about the series into sharp focus. ","status":"publish","parent":0,"modified":1531430048,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":2158},"headData":{"title":"The Truck, the Choice and the 'Handmaid's Tale' Finale | KQED","description":"The second season finale of 'The Handmaid's Tale' brought some truths about the series into sharp focus. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Truck, the Choice and the 'Handmaid's Tale' Finale","datePublished":"2018-07-11T19:20:02.000Z","dateModified":"2018-07-12T21:14:08.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"104524 https://ww2.kqed.org/pop/?p=104524","disqusUrl":"https://ww2.kqed.org/pop/2018/07/11/the-truck-the-choice-and-the-handmaids-tale-finale/","disqusTitle":"The Truck, the Choice and the 'Handmaid's Tale' Finale","nprImageCredit":"George Kraychyk","nprByline":"Linda Holmes","nprImageAgency":"Hulu","nprStoryId":"623945373","nprApiLink":"http://api.npr.org/query?id=623945373&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/sections/monkeysee/2018/07/11/623945373/the-truck-the-choice-and-the-handmaid-s-tale-finale?ft=nprml&f=623945373","nprRetrievedStory":"1","nprPubDate":"Wed, 11 Jul 2018 05:00:00 -0400","nprStoryDate":"Wed, 11 Jul 2018 05:00:47 -0400","nprLastModifiedDate":"Wed, 11 Jul 2018 05:00:47 -0400","path":"/pop/104524/the-truck-the-choice-and-the-handmaids-tale-finale","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>This review of the second-season finale of \u003c/strong>\u003cem>\u003cstrong>The Handmaid's Tale \u003c/strong>\u003c/em>\u003cstrong>discusses in detail what happens in the second-season finale of \u003c/strong>\u003cem>\u003cstrong>The Handmaid's Tale\u003c/strong>\u003c/em>\u003cstrong>. \u003c/strong>\u003c/p>\n\u003cp>The sound of the second season of Hulu's \u003cem>The Handmaid's Tale \u003c/em>coming to an end was the sound of a balloon, expertly inflated to the point where it seemed about to break, being let go so that it releases its tension in a long, anticlimactic raspberry.\u003c/p>\n\u003cp>\u003cem>She didn't go. \u003c/em>For two seasons, June's goals have been to get her daughter and get the blessed fruit out of Gilead. But in the past — in the first season, when she tried to flee by train, and in the second season, when she escaped to the \u003cem>Boston Globe \u003c/em>offices, and later in the second season, when she tried to escape in a plane, and even later, when she tried to escape in a car — she has understood that the first order of business was to get out of Gilead, where she couldn't help Hannah. She has watched other Gilead women be raped, beaten, mutilated, and murdered. She has now seen Serena, who has as much power in this society as any woman can, attempt to work, with great civility, within the system and lose a finger for it. She has a baby to protect whom the Waterfords, Fred and Serena, have stolen from her — the baby she calls Holly and Serena calls Nicole.\u003c/p>\n\u003cp>Still, when a group of Marthas — women whose status isn't much higher than hers — risk their lives to smuggle June out; when she reunites with Emily, her one real remaining friend; when the back of that truck opens and an opportunity emerges for June to flee with her baby and find her husband in a place where she will not be brutalized, where she might actually be able to do something to help her daughter get out of Gilead, she just ... \u003cem>doesn't go\u003c/em>. She hands over the baby to Emily, puts her hood up, and walks off into the city like a bad-ass in an action movie.\u003c/p>\n\u003cp>\u003cem>That's it? \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>She was never going to go, all this time? Because Hannah was still in Gilead, June was never going to go? And she just realized it \u003cem>now\u003c/em>? She has lived for the chance to escape and reunite with her family for what seems to be a couple of years in show time, and only when crouched in a ditch with an infant did she decide she wouldn't actually go without Hannah? She had never considered this complication during any of her previous escape attempts?\u003c/p>\n\u003cp>This doesn't play as a satisfying story beat, and it therefore plays as yet another way for this show to demonstrate that \u003cem>The Adventures of Sisyphus \u003c/em>would not be a good television show. If the inescapability of Gilead is the one central truth of the show, then trying to build the central tension of the show from the possibility of rebellion and escape has been a fool's errand and a treacherous fake-out, and it's beginning to look like exactly that.\u003c/p>\n\u003cp>At the end of last season, it looked like the Handmaids were rebelling, but a few episodes later, the situation had largely reverted to its previous state. At one point this season, June seemed to have escaped to a house where she found a car, but almost immediately, she ended up back in the Waterfords' house. She has been caught, thwarted, captured over and over, with the tantalizing possibility that she will manage to escape dangled as the payoff that may or may not ever come, and then it actually happens, she actually makes it, and she looks at the open back of a truck and says, \"Nah\"?\u003c/p>\n\u003cp>Oh, yes, she wants to save Hannah. The flashback, lit with gold, reminds you how much. But there's no indication that Gilead is crumbling, only that individuals are escaping. Why on earth will \u003cem>staying here\u003c/em> help? An electric guitar and yet another shot of Elisabeth Moss' eyes looking nearly crazed are insufficient to suggest that we are on a path forward rather than backward. It's entirely possible that there is a plan for what the next season will be where it won't just rely on a reversion to June as a Handmaid — the same reset, complete with shedding but then again donning the bonnet and dress — that has already happened more than once. But for now? Yes, it looks like a reversion, based around June making a decision that the show hasn't justified. It makes sense that she would die to save Hannah, of course, but it doesn't make any sense that she would think Handmaid June would have a chance to do that, compared to a hypothetical Escaped June who might be able to tell her story, and the story of the Marthas and Handmaids and Unwomen.\u003c/p>\n\u003cp>Without any explanation of why June is doing this, it's too easy for it to appear that the reason she's doing it is ... to keep the show going. It may have been a mistake to extend the series past the first season, past the end of Margaret Atwood's novel. But it would emphatically be a mistake to let it devolve into a dystopian version of a will-they-or-won't-they romance, where you get so so so close and then ... no. And then so so so close and then ... no. Because in the end, those stories are only satisfying if you get your big kiss at the end, which would here be an undoing of Gilead by, maybe, the United Nations? Rescue, at a level that would make all of this work out in a satisfying way at the end, is what qualifies, in dystopian terms, as selling out.\u003c/p>\n\u003cp>But over and above the unsatisfying ending, this season also attempted to bend sympathies well beyond any conceivable breaking point. Of all the ding-dong things this show or \u003cem>any \u003c/em>show will ever ask you to believe, it is among the ding-dong-iest that June gives baby Holly to her friend Emily, perhaps never to see the child again, and says, \"Call her Nicole.\" \u003cem>Call her Nicole? \u003c/em>This is out of sympathy for Serena? Serena, who stole this baby from her? Who held her down while she was raped? Who physically abused her? Who decided to participate actively in the dehumanization of and violence toward others and then had a weepy moment of \"conscience\" once it was \u003cem>her \u003c/em>being struck, \u003cem>her \u003c/em>finger being cut off? For this, June wants this child to be forever called by the name given her by her mother's abusers? The same June who carved NOLITE TE BASTARDES CARBORUNDORUM into the wall of the house on her way out so that Fred could see it? This same June has so softened toward Serena that she wants the baby to carry the name she got from Serena and Fred?\u003c/p>\n\u003cp>This \"Serena isn't all bad\" angle flared up in the previous episode too, when Serena allowed June to nurse Holly, the daughter Serena and Fred forced her to conceive and carry, who they took away from June at birth. Serena seemed to consider this — and perhaps June did, too — an act of kindness, as if interrupting a kidnapping in progress to allow a moment of contact is a flash of decency rather than something very much less than the very least a decent person would do. Fred had done the same earlier in the season with June's older daughter Hannah, allowing her a brief visit with the child he was entirely complicit in keeping from her.\u003c/p>\n\u003cp>They are trying to complicate the narrative, certainly. But it is a bridge too far to narratively urge sympathy for someone who would crush those under her and actively participate in their imprisonment, their rape, and their suffering, simply because she eventually suffered a fraction of that suffering herself. There are a lot of ways to feel about an attitude of \"I never thought this society's suffering would become\u003cem> mine\u003c/em>, but now it is, so now I don't like it anymore.\" But \"aw, she's not so bad\" isn't one of them.\u003c/p>\n\u003cp>In a multitude of ways, Emily's story in this episode is vastly more satisfying and interesting than June's. Emily finds herself living with a new commander, Joseph, played by Bradley Whitford. He seems weird. He seems creepy. He chooses not to carry out the ritual rape \"ceremony,\" a decision that almost seems more ominous than if he had. Emily is near a breakdown when Aunt Lydia shows up the next morning and makes the mistake of calling Emily a degenerate and reminding her of the way she was mutilated. Emily, in response, unleashing two seasons worth of rage, stabs Lydia, throws her down the stairs, and kicks the living hell out of her — not literally, but truly, in more ways than one.\u003c/p>\n\u003cp>Alexis Bledel gives a brilliant performance in the moments after Lydia's grave injuries are discovered, when Emily seems overjoyed, terrified and sad all at once. Emily knows that she has finally gotten some measure of blunt, desperate justice, but she also knows she will probably die for it. And when she's rushed off in the car with Joseph, he blasts Annie Lennox's \"Walking On Broken Glass,\" a strangely upbeat selection that she can barely tolerate as she waits to learn her fate. To her surprise, he takes her off to her escape.\u003c/p>\n\u003cp>That story is satisfying, not because it (so far) ends with escape, but because it moves. Where June implausibly starts feeling sorry for Serena, Emily doesn't just stab her tormentor and abuser; she shoves her down the stairs, kicks her, and opens her own psychic wounds in a way that seems meaningful. Joseph emerges as an unexpected ally whose behavior is a true surprise. And his behavior, by the way, neatly undermines any sympathy for Serena. Decent people do not go along, floating on the power they have in an unjust society as long as the brutality is only for others. Decent people take risks rather than become complicit. Serena is not decent because she finally got around to drawing a line when the blood that was spilled and the humanity that was degraded was hers. Any pedestrian coward will do that.\u003c/p>\n\u003cp>And June? June would know this. June would look at Serena's tears and see them for what they are: too little, too late, too self-indulgent, and too self-pitying. As Serena has just learned, the brutality you build, the authoritarian state you nestle into? It will come for you too, and that's why the decent and the pragmatic sometimes wind up playing on the same team. But late-arriving pragmatists do not deserve the sympathy of those they've abused.\u003c/p>\n\u003cp>Ultimately, the finale muddles the entire story we've heard up to this point. That walk away from the truck with the guitar grinding and the hood fully up is a perplexing piece of imagery that seems determined to glamorize June's decision not to leave — to make it an iconic moment of toughness. But there is nothing weak about becoming a refugee from violence. Everything we know about June suggests that she knows perfectly well she can do nothing from here, from this place where she is shackled and tracked. It's one thing for June to lose and lose and lose at the game of escape, but it's another to suggest that what really shows her grit is that she volunteers for a life of being tortured with no plan to reunite with either of her children. The agony of oppressive regimes is not reducible to a moment in which an individual decides to stand alone against them and an audience cheers. If we should have learned anything from this show, it is that the will of individuals is, in fact, breakable by an army backed by weak bullies like Fred and complacent, ethically empty vessels like Serena.\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>Without some narrative purpose, what is all this for? The suffering, the violence, the rape scenes, the blood, the stoning, the drowning — what is it for? The first season was an unsettling examination of what an authoritarian theocracy might look like. But now we seem to just be circling that society, spying on it with something like prurience, watching it kill and violate. We had a chance to see outside of it, to see what the rest of the world is doing while all of this is going on. But it is not to be, at least for now.\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=The+Truck%2C+The+Choice+And+The+%27Handmaid%27s+Tale%27+Finale&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/104524/the-truck-the-choice-and-the-handmaids-tale-finale","authors":["byline_pop_104524"],"categories":["pop_3"],"tags":["pop_2946","pop_533"],"featImg":"pop_104525","label":"pop"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us","airtime":"SUN 2pm-3pm, MON 12am-1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png","officialWebsiteLink":"https://www.wnycstudios.org/shows/otm","meta":{"site":"news","source":"wnyc"},"link":"/radio/program/on-the-media","subscribe":{"apple":"https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2","tuneIn":"https://tunein.com/radio/On-the-Media-p69/","rss":"http://feeds.wnyc.org/onthemedia"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"pbs-newshour":{"id":"pbs-newshour","title":"PBS NewsHour","info":"Analysis, background reports and updates from the PBS NewsHour putting today's news in context.","airtime":"MON-FRI 3pm-4pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.pbs.org/newshour/","meta":{"site":"news","source":"pbs"},"link":"/radio/program/pbs-newshour","subscribe":{"apple":"https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2","tuneIn":"https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/","rss":"https://www.pbs.org/newshour/feeds/rss/podcasts/show"}},"perspectives":{"id":"perspectives","title":"Perspectives","tagline":"KQED's series of of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"link":"/perspectives","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/id73801135","npr":"https://www.npr.org/podcasts/432309616/perspectives","rss":"https://ww2.kqed.org/perspectives/category/perspectives/feed/","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"}},"planet-money":{"id":"planet-money","title":"Planet Money","info":"The economy explained. 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The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.","airtime":"SAT 4pm-5pm","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png","officialWebsiteLink":"https://www.revealnews.org/episodes/","meta":{"site":"news","source":"npr"},"link":"/radio/program/reveal","subscribe":{"apple":"https://itunes.apple.com/us/podcast/reveal/id886009669","tuneIn":"https://tunein.com/radio/Reveal-p679597/","rss":"http://feeds.revealradio.org/revealpodcast"}},"says-you":{"id":"says-you","title":"Says You!","info":"Public radio's game show of bluff and bluster, words and whimsy. 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