'Veronica Mars' Offers More Than Nostalgia; She's Always Been a Survivor
It's About Damn Time We Got A Show Like 'A Black Lady Sketch Show'
Sarah Jessica Parker On 'Divorce,' 'Sex,' And Her Own #MeToo Moments
'Euphoria' Is Great—But It Does A Disservice To Gen Z Teens Too
Like 'Black Mirror' And 'Handmaid's Tale'? Get Ready To Love 'Years And Years'
With 1 Huge Lie Revealed, 'Big Little Lies' Season 2 Takes A Slow-Burn Strategy
MTV Moves From Reality TV To Serious Documentary For Generation Z
HBO's 'Gentleman Jack' Brings Britain's "First Modern Lesbian" To Swaggering Life
Which Characters Will Lose The 'Game Of Thrones?': A Chronicle Of Many Deaths Foretold
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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":""},"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_112690":{"type":"posts","id":"pop_112690","meta":{"index":"posts_1591205157","site":"pop","id":"112690","score":null,"sort":[1562616955000]},"guestAuthors":[],"slug":"its-about-damn-time-we-got-a-show-like-a-black-lady-sketch-show","title":"It's About Damn Time We Got A Show Like 'A Black Lady Sketch Show'","publishDate":1562616955,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Over the weekend, the first trailer for \u003cem>A Black Lady Sketch Show\u003c/em> dropped and we haven't been this excited to watch skits since \u003cem>SNL\u003c/em>'s 2005 cast first got together.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EPBi9ttKbeU\u003c/p>\n\u003cp>Executive produced by \u003cem>Insecure\u003c/em>'s Issa Rae, \u003cem>BLSS\u003c/em> is the brainchild of Robin Thede. You might recognize Thede from her BET talk show, \u003ca href=\"https://www.youtube.com/watch?v=h2tzpWJ0frE\">\u003cem>The Rundown\u003c/em>\u003c/a>, or her guest appearances on \u003cem>Key & Peele\u003c/em> and \u003ci>Difficult People,\u003c/i> but behind the scenes, she has also worked as head writer for both \u003cem>The Nightly Show With Larry Wilmore\u003c/em> and \u003cem>The Queen Latifah Show. \u003c/em>\"This team is so dynamic,\" \u003ca href=\"https://www.youtube.com/watch?v=Db2o12JEVBo\">Thede says\u003c/a> in a clip posted to \u003cem>Issa Rae Presents\u003c/em>' YouTube channel. \"We are so ready to bring you the funniest sketches like you have never seen.\"\u003c/p>\n\u003cp>Thede and Rae's on-screen crew is rounded out by Ashley Nicole Black (of \u003ca href=\"https://www.youtube.com/watch?v=CXDe9DYUONE\">\u003cem>Full Frontal With Samantha Bee\u003c/em>\u003c/a>), Gabrielle Dennis (of \u003ca href=\"https://www.youtube.com/watch?v=dYfiFc1yiSw\">\u003cem>Luke Cage\u003c/em>\u003c/a>) and Quinta Brunson (\u003ca href=\"https://www.youtube.com/watch?v=J-FZ2e0uk64\">viral video star\u003c/a> turned BuzzFeed producer). The ladies have also gathered a super-impressive roster of guest stars including Lena Waithe, Kelly Rowland, Angela Bassett, Laverne Cox, Patti LaBelle and Yvette Nicole Brown.\u003c/p>\n\u003cp>\u003cem>A Black Lady Sketch Show\u003c/em> has the astounding distinction of being the first TV sketch show in history created by, written by and starring black women. It is about damn time we got one of those. Thankfully, with the jaw-dropping amount of talent involved, it's bound to be worth the wait.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>'A Black Lady Sketch Show' premieres on HBO, August 2.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The first TV sketch show in history created by, written by and starring black women finally arrives on August 2.","status":"publish","parent":0,"modified":1562616955,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":264},"headData":{"title":"It's About Damn Time We Got A Show Like 'A Black Lady Sketch Show' | KQED","description":"The first TV sketch show in history created by, written by and starring black women finally arrives on August 2.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"112690 https://ww2.kqed.org/pop/?p=112690","disqusUrl":"https://ww2.kqed.org/pop/2019/07/08/its-about-damn-time-we-got-a-show-like-a-black-lady-sketch-show/","disqusTitle":"It's About Damn Time We Got A Show Like 'A Black Lady Sketch Show'","path":"/pop/112690/its-about-damn-time-we-got-a-show-like-a-black-lady-sketch-show","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the weekend, the first trailer for \u003cem>A Black Lady Sketch Show\u003c/em> dropped and we haven't been this excited to watch skits since \u003cem>SNL\u003c/em>'s 2005 cast first got together.\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/EPBi9ttKbeU'\n title='//www.youtube.com/embed/EPBi9ttKbeU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Executive produced by \u003cem>Insecure\u003c/em>'s Issa Rae, \u003cem>BLSS\u003c/em> is the brainchild of Robin Thede. You might recognize Thede from her BET talk show, \u003ca href=\"https://www.youtube.com/watch?v=h2tzpWJ0frE\">\u003cem>The Rundown\u003c/em>\u003c/a>, or her guest appearances on \u003cem>Key & Peele\u003c/em> and \u003ci>Difficult People,\u003c/i> but behind the scenes, she has also worked as head writer for both \u003cem>The Nightly Show With Larry Wilmore\u003c/em> and \u003cem>The Queen Latifah Show. \u003c/em>\"This team is so dynamic,\" \u003ca href=\"https://www.youtube.com/watch?v=Db2o12JEVBo\">Thede says\u003c/a> in a clip posted to \u003cem>Issa Rae Presents\u003c/em>' YouTube channel. \"We are so ready to bring you the funniest sketches like you have never seen.\"\u003c/p>\n\u003cp>Thede and Rae's on-screen crew is rounded out by Ashley Nicole Black (of \u003ca href=\"https://www.youtube.com/watch?v=CXDe9DYUONE\">\u003cem>Full Frontal With Samantha Bee\u003c/em>\u003c/a>), Gabrielle Dennis (of \u003ca href=\"https://www.youtube.com/watch?v=dYfiFc1yiSw\">\u003cem>Luke Cage\u003c/em>\u003c/a>) and Quinta Brunson (\u003ca href=\"https://www.youtube.com/watch?v=J-FZ2e0uk64\">viral video star\u003c/a> turned BuzzFeed producer). The ladies have also gathered a super-impressive roster of guest stars including Lena Waithe, Kelly Rowland, Angela Bassett, Laverne Cox, Patti LaBelle and Yvette Nicole Brown.\u003c/p>\n\u003cp>\u003cem>A Black Lady Sketch Show\u003c/em> has the astounding distinction of being the first TV sketch show in history created by, written by and starring black women. It is about damn time we got one of those. Thankfully, with the jaw-dropping amount of talent involved, it's bound to be worth the wait.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>'A Black Lady Sketch Show' premieres on HBO, August 2.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/112690/its-about-damn-time-we-got-a-show-like-a-black-lady-sketch-show","authors":["11242"],"categories":["pop_3"],"tags":["pop_3745","pop_3749","pop_3341","pop_3748","pop_271","pop_2915","pop_3746","pop_3744","pop_3750","pop_3743","pop_3751","pop_3747"],"featImg":"pop_112700","label":"pop"},"pop_112650":{"type":"posts","id":"pop_112650","meta":{"index":"posts_1591205157","site":"pop","id":"112650","score":null,"sort":[1562182158000]},"guestAuthors":[],"slug":"sarah-jessica-parker-on-divorce-sex-and-her-own-metoo-moments","title":"Sarah Jessica Parker On 'Divorce,' 'Sex,' And Her Own #MeToo Moments","publishDate":1562182158,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Sarah Jessica Parker has spent much of her acting career exploring what it means to be in a relationship—and to be single. In the HBO series\u003cem> Sex and the City\u003c/em>, which ran from 1998 until 2004, she played Carrie Bradshaw, a single writer chronicling her experiences with the Manhattan dating scene. Now, in the HBO comedy series, \u003cem>Divorce\u003c/em>, she stars as Frances, a mother of two navigating the dissolution of her marriage.\u003c/p>\n\u003cp>Currently in its third and final season, the series has followed Frances and her ex-husband, Robert (Thomas Haden Church), as they work through the details of divorce and custody—and their new, post-divorce relationships. Parker, who also serves as one of the show's executive producers, says the series aims to portray the \"smaller stories of divorce—the stories of divorce that are not accompanied by high-powered attorneys.\"\u003c/p>\n\u003cp>She describes Frances and Robert as \"people who find that they are terrible at divorce because they've never done it before, and they don't know how to be strategic.\"\u003c/p>\n\u003cp>Parker notes that while certain aspects of the show feel familiar—such as Frances' efforts to connect with her children—the dynamic between Frances and Robert feels \"very unrelated\" to her own, 22-year marriage to actor \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1139938\">Matthew Broderick\u003c/a>. \"The marriage stuff [in \u003cem>Divorce\u003c/em>] is fantastically, happily unfamiliar,\" she says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZVaIZ0cLM_s\u003c/p>\n\u003chr>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On her own parents divorcing when she was around 2 years old\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I'm sort of mystified by how little trauma I feel about it. I can't pretend that it in any way sort of shaped my own feelings about marriage, or a relationship, or what I wanted to do specifically with this show. And that might be because my mother remarried fairly quickly, and my father had a relationship fairly soon after that. And a majority of my life these were two separate people. ... I knew them only as separate people, separate of one another.\u003c/p>\n\u003cp>\u003cstrong>On how her mom made sure she was exposed to the arts, even as her family struggled to make ends meet\u003c/strong>\u003c/p>\n\u003cp>[My mother] wanted us to be exposed to the arts. She wanted us to be readers. She wanted us to be curious. She wanted us to see everything we could see, hear everything we could hear, eat everything we could eat. She wanted us to feel that we were witnessing the unfamiliar. ...\u003c/p>\n\u003cp>We did receive free lunches at school. There were times that we existed with the help of many of those programs, but there was this wonderful period in the '70s where arts was also funded by our government and there were programs and tickets available for free or for a very small stipend. My mother is industrious and smart and was always aware of any opportunity that she could afford. And listen, there were all sorts of things we didn't have, but my mother felt those were not nearly as necessary as exposure to the arts. I mean, she really felt that your life was far more enriched by [arts] than a Barbie doll, or a television set, or air conditioning, or clothes that everybody else in your grade wore, or sneakers that were popular, or Popsicles. ...\u003c/p>\n\u003cp>I was very interested in all of it. That didn't mean that I always found the symphony the most dazzling place to be, and I'm sure there were many times that I had fantasies of being at my friends' house because they were watching maybe \u003cem>The Partridge Family\u003c/em> or \u003cem>The Brady Bunch\u003c/em> and eating sugar—a Hostess product. But I will say that when I was in the audience at the ballet or the theater, and occasionally at the philharmonic, I was engrossed and engaged ... like, transported—unquestionably, nowhere else I'd rather be. I loved the work. I loved the discipline.\u003c/p>\n\u003cp>\u003cstrong>On how ballet training helped her as an actor \u003c/strong>\u003c/p>\n\u003cp>[It] allowed me to be physical in my work—and that's not something everybody wants to do, or can do, or thinks of integrating. But I think even for \u003cem>L.A. Story,\u003c/em> I think being a dancer was helpful in sorting out that role. Especially because Steve Martin had written that part—and he was such a physical performer—I thought: Oh, well, I can be physical, because he might write imagining a physical performance as well. And even as Carrie Bradshaw [in S\u003cem>ex and the City\u003c/em>], running all the time, or moving around, finding ways to be physical in lots of things, [it] has been maybe something that I call upon.\u003c/p>\n\u003cp>\u003cstrong>On whether she related to the four women on \u003c/strong>\u003cem>\u003cstrong>Sex and the City \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>I was really familiar with Candace Bushnell's column [upon which the series was based]. I had actually read the book when all those columns had been compiled into a book, from those \u003cem>New York Observer \u003c/em>columns. But those women, or the women that we eventually played, they were not women that I knew. ... They were sort of a different species to me, which was thrilling and completely intriguing. ...\u003c/p>\n\u003cp>I never went to clubs growing up, I always felt intimidated by the atmosphere, by the rope, by a guard, by someone asking my name, and how many were in my party. All of it seemed forbidding and I never felt cool enough, so I didn't do any of that. But I didn't feel it was necessary for me to understand what was being asked of me. I loved playing [Carrie] so much. I think we all love playing those characters so much, and we were consumed by work. I was working 18-, 20-hour days for years and years, until I had a child.\u003c/p>\n\u003cp>\u003cstrong>On how the \u003c/strong>\u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">\u003cstrong>#MeToo \u003c/strong>\u003c/a>\u003cstrong>movement made her reassess experiences she's had with men in her career \u003c/strong>\u003c/p>\n\u003cp>It really wasn't, I would say, until about six or eight months ago that I started recognizing countless experiences of men behaving poorly, inappropriately, and all the ways that I had made it possible to keep coming to work or to remain on set, or to simply ... just push it down, push it away, find a little space for it and move on. ...\u003c/p>\n\u003cp>[I] really just didn't allow it to consume me. To be honest, I don't know why I either wasn't courageous or more destroyed by some of the things that I was privy to, that I was on the receiving end of.\u003c/p>\n\u003cp>\u003cstrong>On how she handled working with a big movie star who was behaving inappropriately \u003c/strong>\u003c/p>\n\u003cp>I think no matter how evolved or how modern I thought I was ... I didn't feel entirely in a position—no matter what my role was on set—I didn't feel as powerful as the man who was behaving inappropriately, which ... strikes me as just stunning to say out loud, because there were plenty of occasions where it was happening and I was in a different position and I was as powerful. I mean, I had every right to say, \"This is inappropriate.\" I could have felt safe in going to a superior.\u003c/p>\n\u003cp>And, in fact, I will say, when there was a situation with somebody and I\u003cem> did\u003c/em> go to my agent—because I felt I was no longer able to convey how uncomfortable this was making me, how inappropriate it was ... within hours everything had changed. ... He said to them, \"If this continues, I have sent her a ticket, a one-way ticket out of this city\"—where I was shooting—\"and she will not be returning.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Mooj Zadie produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper 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=Sarah+Jessica+Parker+On+%27Sex%2C%27+%27Divorce%2C%27+Marriage+And+%23MeToo&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"SJP spills on her HBO shows, her own marriage and the #MeToo moments from her own career.","status":"publish","parent":0,"modified":1562183743,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1322},"headData":{"title":"Sarah Jessica Parker On 'Divorce,' 'Sex,' And Her Own #MeToo Moments | KQED","description":"SJP spills on her HBO shows, her own marriage and the #MeToo moments from her own career.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"112650 https://ww2.kqed.org/pop/?p=112650","disqusUrl":"https://ww2.kqed.org/pop/2019/07/03/sarah-jessica-parker-on-divorce-sex-and-her-own-metoo-moments/","disqusTitle":"Sarah Jessica Parker On 'Divorce,' 'Sex,' And Her Own #MeToo Moments","nprImageCredit":"Craig Blankenhorn","nprByline":"Terry Gross","nprImageAgency":"HBO","nprStoryId":"738328959","nprApiLink":"http://api.npr.org/query?id=738328959&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/07/03/738328959/sarah-jessica-parker-on-sex-divorce-marriage-and-metoo?ft=nprml&f=738328959","nprRetrievedStory":"1","nprPubDate":"Wed, 03 Jul 2019 13:43:00 -0400","nprStoryDate":"Wed, 03 Jul 2019 12:27:06 -0400","nprLastModifiedDate":"Wed, 03 Jul 2019 12:39:20 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2019/07/20190703_fa_01.mp3?orgId=427869011&topicId=1138&d=2232&p=13&story=738328959&ft=nprml&f=738328959","nprAudioM3u":"http://api.npr.org/m3u/1738518935-ee888d.m3u?orgId=427869011&topicId=1138&d=2232&p=13&story=738328959&ft=nprml&f=738328959","audioTrackLength":2233,"path":"/pop/112650/sarah-jessica-parker-on-divorce-sex-and-her-own-metoo-moments","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2019/07/20190703_fa_01.mp3?orgId=427869011&topicId=1138&d=2232&p=13&story=738328959&ft=nprml&f=738328959","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sarah Jessica Parker has spent much of her acting career exploring what it means to be in a relationship—and to be single. In the HBO series\u003cem> Sex and the City\u003c/em>, which ran from 1998 until 2004, she played Carrie Bradshaw, a single writer chronicling her experiences with the Manhattan dating scene. Now, in the HBO comedy series, \u003cem>Divorce\u003c/em>, she stars as Frances, a mother of two navigating the dissolution of her marriage.\u003c/p>\n\u003cp>Currently in its third and final season, the series has followed Frances and her ex-husband, Robert (Thomas Haden Church), as they work through the details of divorce and custody—and their new, post-divorce relationships. Parker, who also serves as one of the show's executive producers, says the series aims to portray the \"smaller stories of divorce—the stories of divorce that are not accompanied by high-powered attorneys.\"\u003c/p>\n\u003cp>She describes Frances and Robert as \"people who find that they are terrible at divorce because they've never done it before, and they don't know how to be strategic.\"\u003c/p>\n\u003cp>Parker notes that while certain aspects of the show feel familiar—such as Frances' efforts to connect with her children—the dynamic between Frances and Robert feels \"very unrelated\" to her own, 22-year marriage to actor \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1139938\">Matthew Broderick\u003c/a>. \"The marriage stuff [in \u003cem>Divorce\u003c/em>] is fantastically, happily unfamiliar,\" she says.\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/ZVaIZ0cLM_s'\n title='//www.youtube.com/embed/ZVaIZ0cLM_s'\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 her own parents divorcing when she was around 2 years old\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>I'm sort of mystified by how little trauma I feel about it. I can't pretend that it in any way sort of shaped my own feelings about marriage, or a relationship, or what I wanted to do specifically with this show. And that might be because my mother remarried fairly quickly, and my father had a relationship fairly soon after that. And a majority of my life these were two separate people. ... I knew them only as separate people, separate of one another.\u003c/p>\n\u003cp>\u003cstrong>On how her mom made sure she was exposed to the arts, even as her family struggled to make ends meet\u003c/strong>\u003c/p>\n\u003cp>[My mother] wanted us to be exposed to the arts. She wanted us to be readers. She wanted us to be curious. She wanted us to see everything we could see, hear everything we could hear, eat everything we could eat. She wanted us to feel that we were witnessing the unfamiliar. ...\u003c/p>\n\u003cp>We did receive free lunches at school. There were times that we existed with the help of many of those programs, but there was this wonderful period in the '70s where arts was also funded by our government and there were programs and tickets available for free or for a very small stipend. My mother is industrious and smart and was always aware of any opportunity that she could afford. And listen, there were all sorts of things we didn't have, but my mother felt those were not nearly as necessary as exposure to the arts. I mean, she really felt that your life was far more enriched by [arts] than a Barbie doll, or a television set, or air conditioning, or clothes that everybody else in your grade wore, or sneakers that were popular, or Popsicles. ...\u003c/p>\n\u003cp>I was very interested in all of it. That didn't mean that I always found the symphony the most dazzling place to be, and I'm sure there were many times that I had fantasies of being at my friends' house because they were watching maybe \u003cem>The Partridge Family\u003c/em> or \u003cem>The Brady Bunch\u003c/em> and eating sugar—a Hostess product. But I will say that when I was in the audience at the ballet or the theater, and occasionally at the philharmonic, I was engrossed and engaged ... like, transported—unquestionably, nowhere else I'd rather be. I loved the work. I loved the discipline.\u003c/p>\n\u003cp>\u003cstrong>On how ballet training helped her as an actor \u003c/strong>\u003c/p>\n\u003cp>[It] allowed me to be physical in my work—and that's not something everybody wants to do, or can do, or thinks of integrating. But I think even for \u003cem>L.A. Story,\u003c/em> I think being a dancer was helpful in sorting out that role. Especially because Steve Martin had written that part—and he was such a physical performer—I thought: Oh, well, I can be physical, because he might write imagining a physical performance as well. And even as Carrie Bradshaw [in S\u003cem>ex and the City\u003c/em>], running all the time, or moving around, finding ways to be physical in lots of things, [it] has been maybe something that I call upon.\u003c/p>\n\u003cp>\u003cstrong>On whether she related to the four women on \u003c/strong>\u003cem>\u003cstrong>Sex and the City \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>I was really familiar with Candace Bushnell's column [upon which the series was based]. I had actually read the book when all those columns had been compiled into a book, from those \u003cem>New York Observer \u003c/em>columns. But those women, or the women that we eventually played, they were not women that I knew. ... They were sort of a different species to me, which was thrilling and completely intriguing. ...\u003c/p>\n\u003cp>I never went to clubs growing up, I always felt intimidated by the atmosphere, by the rope, by a guard, by someone asking my name, and how many were in my party. All of it seemed forbidding and I never felt cool enough, so I didn't do any of that. But I didn't feel it was necessary for me to understand what was being asked of me. I loved playing [Carrie] so much. I think we all love playing those characters so much, and we were consumed by work. I was working 18-, 20-hour days for years and years, until I had a child.\u003c/p>\n\u003cp>\u003cstrong>On how the \u003c/strong>\u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">\u003cstrong>#MeToo \u003c/strong>\u003c/a>\u003cstrong>movement made her reassess experiences she's had with men in her career \u003c/strong>\u003c/p>\n\u003cp>It really wasn't, I would say, until about six or eight months ago that I started recognizing countless experiences of men behaving poorly, inappropriately, and all the ways that I had made it possible to keep coming to work or to remain on set, or to simply ... just push it down, push it away, find a little space for it and move on. ...\u003c/p>\n\u003cp>[I] really just didn't allow it to consume me. To be honest, I don't know why I either wasn't courageous or more destroyed by some of the things that I was privy to, that I was on the receiving end of.\u003c/p>\n\u003cp>\u003cstrong>On how she handled working with a big movie star who was behaving inappropriately \u003c/strong>\u003c/p>\n\u003cp>I think no matter how evolved or how modern I thought I was ... I didn't feel entirely in a position—no matter what my role was on set—I didn't feel as powerful as the man who was behaving inappropriately, which ... strikes me as just stunning to say out loud, because there were plenty of occasions where it was happening and I was in a different position and I was as powerful. I mean, I had every right to say, \"This is inappropriate.\" I could have felt safe in going to a superior.\u003c/p>\n\u003cp>And, in fact, I will say, when there was a situation with somebody and I\u003cem> did\u003c/em> go to my agent—because I felt I was no longer able to convey how uncomfortable this was making me, how inappropriate it was ... within hours everything had changed. ... He said to them, \"If this continues, I have sent her a ticket, a one-way ticket out of this city\"—where I was shooting—\"and she will not be returning.\"\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>Heidi Saman and Mooj Zadie produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper 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=Sarah+Jessica+Parker+On+%27Sex%2C%27+%27Divorce%2C%27+Marriage+And+%23MeToo&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/112650/sarah-jessica-parker-on-divorce-sex-and-her-own-metoo-moments","authors":["byline_pop_112650"],"categories":["pop_3"],"tags":["pop_3740","pop_271","pop_3741","pop_3126","pop_3151","pop_3742"],"featImg":"pop_112654","label":"pop"},"pop_112407":{"type":"posts","id":"pop_112407","meta":{"index":"posts_1591205157","site":"pop","id":"112407","score":null,"sort":[1561405531000]},"guestAuthors":[],"slug":"euphoria-is-great-but-it-does-a-disservice-to-gen-z-teens-too","title":"'Euphoria' Is Great—But It Does A Disservice To Gen Z Teens Too","publishDate":1561405531,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>In many ways, HBO's \u003cem>Euphoria\u003c/em> perfectly captures the anxieties, the concerns and the general discomfort of being a Gen Z teenager. Getting through high school one lockdown at a time, navigating sex in an age when kids have more access to porn than ever before, wondering if the new boy in school is a mass shooter or \u003ca href=\"https://www.vox.com/the-highlight/2019/4/16/18287446/incel-definition-reddit\">incel\u003c/a>—the first two episodes beautifully capture the stress and foreboding quality of it all. Unfortunately, \u003cem>Euphoria\u003c/em> also frequently and willfully goes out of its way to misrepresent teen life in 2019, adding a self-consciously messy layer intended to shock, rather than reflect reality. [aside postid='pop_95643']\u003c/p>\n\u003cp>\u003cem>Euphoria\u003c/em> is a show that follows the example of prior generations' more extreme movies about adolescence—think \u003ca href=\"https://www.imdb.com/title/tt0093407/?ref_=fn_al_tt_1\">\u003cem>Less Than Zero\u003c/em>\u003c/a>, \u003ca href=\"https://www.imdb.com/title/tt0113540/?ref_=fn_al_tt_1\">\u003cem>Kids\u003c/em>\u003c/a>, \u003ca href=\"https://www.imdb.com/title/tt0328538/?ref_=nm_knf_t1\">\u003cem>Thirteen\u003c/em>\u003c/a>—without factoring in how much better behaved kids are now in comparison to Generation X, Baby Boomers and even Millennials. Teens now have \u003ca href=\"https://www.businessinsider.com/generation-z-sex-alcohol-driving-study-2017-9\">sex less, do drugs less, try alcohol later\u003c/a> and go out less than any other teens in modern history—yet the 17-year-olds in \u003cem>Euphoria\u003c/em> are presented as doing almost nothing else.\u003c/p>\n\u003cp>It's not just that teens are less likely to abuse drugs now, it's that when they do, the drugs are different from those of prior generations. The way the show handles new \u003ca href=\"https://www.kqed.org/pop/107245/celebrity-fentanyl-use-isnt-rooted-in-hedonism-its-desperation\">fears around fentanyl\u003c/a> in the second episode is a stroke of brilliance, but watching Rue (\u003ca href=\"https://www.kqed.org/pop/95643/how-oaklands-zendaya-became-the-most-woke-disney-star-ever\">Zendaya\u003c/a>) doing lines of coke at every opportunity feels out of place and dated. If the show had stuck to her merely stealing prescription pills out of bathroom cabinets or oxycontin from her sick father, it would have made more sense both in terms of the drugs Americans are most likely to abuse today and the financial constraints of being a jobless teen from a single-parent household.\u003c/p>\n\u003cp>Even factoring that in, the rates of high school seniors abusing pain medication has been \u003ca href=\"https://www.hhs.gov/ash/oah/adolescent-development/substance-use/drugs/opioids/index.html\">steadily dropping\u003c/a> since 2004, when it peaked at 9.4 percent. In 2018, it was just 3.4 percent, and CDC research shows a consistent drop in drug use across the board.\u003c/p>\n\u003cfigure id=\"attachment_112438\" class=\"wp-caption alignnone\" style=\"max-width: 690px\">\u003cimg class=\"size-full wp-image-112438\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/06/Screen-Shot-2019-06-18-at-11.49.32-AM.png\" alt=\"The rate of drug use in teens has been dropping since the 1990s.\" width=\"690\" height=\"273\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/06/Screen-Shot-2019-06-18-at-11.49.32-AM.png 690w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/Screen-Shot-2019-06-18-at-11.49.32-AM-160x63.png 160w\" sizes=\"(max-width: 690px) 100vw, 690px\">\u003cfigcaption class=\"wp-caption-text\">The rate of drug use in teens has been dropping since the 1990s. \u003ccite>(CDC.gov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Euphoria\u003c/em>'s creator, Sam Levinson, has talked openly about the fact that Rue's character is based on his own experience as a drug-dependent teen. \"I spent the majority of my teenage years in hospitals, rehabs and halfway houses,” \u003ca href=\"https://variety.com/2019/scene/news/euphoria-creator-sam-levinson-opens-up-drug-addiction-1203233881/\">Levinson said\u003c/a> at the show's Hollywood premiere. “Sometime around the age of 16, I resigned myself to the idea that eventually drugs would kill me and there was no reason to fight it.” It seems that by putting so much of himself into the character of Rue, Levinson—who had his own drug problem in the late '90s and early-aughts—has accidentally dated her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The same can be said for \u003cem>Euphoria\u003c/em>'s treatment of teen sex. At one point, Jules—a transgender girl played superbly by Hunter Schafer—finds out that classmate Kat is still a virgin and blurts out, \"Bitch, this isn't the '80s! You need to catch a d**k!\" But for almost 20 years now, the number of teens having sex has been \u003ca href=\"https://www.kqed.org/pop/110884/new-sexting-system-slutbot-is-a-real-life-black-mirror-episode-waiting-to-happen\">dropping, not increasing\u003c/a>. High school kids in the '80s went on 30% more dates than 2015 students and lost their virginity a year earlier. Today, 18 to 24-year-olds have less sex than 50-somethings. Presenting 2019 teens as the most sexually promiscuous generation ever is an outright falsehood.\u003c/p>\n\u003cfigure id=\"attachment_112444\" class=\"wp-caption alignnone\" style=\"max-width: 688px\">\u003cimg class=\"size-full wp-image-112444\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/06/Screen-Shot-2019-06-18-at-2.47.25-PM.png\" alt=\"Figures from the CDC regarding sexual activity amongst high school students.\" width=\"688\" height=\"433\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/06/Screen-Shot-2019-06-18-at-2.47.25-PM.png 688w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/Screen-Shot-2019-06-18-at-2.47.25-PM-160x101.png 160w\" sizes=\"(max-width: 688px) 100vw, 688px\">\u003cfigcaption class=\"wp-caption-text\">Figures from the CDC regarding sexual activity amongst high school students. \u003ccite>(CDC.gov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It's a shame \u003cem>Euphoria\u003c/em> gets these important details so wrong when some of the toughest sexual issues facing Gen Z are handled astoundingly well, like Nate's inherited toxic masculinity and homophobia; Cassie being slut-shamed by Chris one minute and pressured into texting him nudes the next; and Kat being secretly filmed during sex. One incredible voiceover from Rue in the premiere explains that nude photos are 2019's \"currency of love,\" and asks adults to \"stop shaming us—shame the assholes who create password-protected online directories of naked underage girls.\" (Sadly, even that moment is almost ruined by a section in the middle where she says: \"I’m sorry—I know your generation relied on flowers and father’s permission...\" Is she talking to her great-grandparents here?)\u003c/p>\n\u003cp>In much the same way that \u003ca href=\"https://www.kqed.org/pop/103934/dear-13-reasons-why-tattoos-and-self-harm-arent-interchangeable\">\u003cem>13 Reasons Why\u003c/em>\u003c/a> abandoned any degree of subtlety in its second season and tacked on a heroin addiction side-plot, it is when \u003cem>Euphoria\u003c/em> actively tries to shock viewers that it becomes least powerful. \u003cem>Grown-ish—\u003c/em>generally considered a comedy\u003cem>—\u003c/em>has in some ways done a better job of depicting realistic teen drug use. As Zoey Johnson casually pops illegally-acquired Adderall to get through her college workload, the show refuses to pass judgment on her or her drug-dealing friend Vivek. There is no big dramatic scene where she realizes the error of her ways, and the two are never portrayed as particularly in danger. That commonplace handling of Zoey's pill problem feels far more meaningful than watching Rue buying drugs from a pre-teen with face tattoos. [aside postid='arts_13891785']\u003c/p>\n\u003cp>Zendaya told \u003cem>Entertainment Weekly\u003c/em> that \u003cem>Euphoria\u003c/em>'s first episode is \"\u003ca href=\"https://ew.com/tv/2019/06/16/zendaya-hbo-euphoria-premiere-interview/\">the most mild,\u003c/a>\" which suggests the show is going to keep trying to one-up itself. That's a shame, given that, in the moments it's actively trying to scare parents, the show loses touch with the very people it's supposed to be representing. Of course, there will always be teens who are drug addicts, or who have sex in swimming pools at parties, or who have violent compulsions, but where \u003cem>Euphoria\u003c/em> fails is in its depiction of \u003cem>all\u003c/em> high schoolers behaving that way. Lexi is the only one in the bunch so far who seems even vaguely average—and even she's still willing to give Rue her urine to cheat drug tests.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As \u003cem>Euphoria\u003c/em> acknowledges in its finer moments, Generation Z has an entirely new set of problems than any generation that has come before. If the rest of the season could focus more intently on those, rather than muddying the waters with exaggerated depictions of sex and drugs, it would be infinitely more impactful.\u003c/p>\n\n","blocks":[],"excerpt":"'Euphoria' presents 2019 teenagers as the most over-sexed and drug-addicted in history. In reality, the opposite is true. ","status":"publish","parent":0,"modified":1611723944,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":1080},"headData":{"title":"'Euphoria' Is Great—But It Does A Disservice To Gen Z Teens Too - KQED Pop","description":"'Euphoria' presents 2019 teenagers as the most over-sexed and drug-addicted in history. In reality, the opposite is true. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"112407 https://ww2.kqed.org/pop/?p=112407","disqusUrl":"https://ww2.kqed.org/pop/2019/06/24/euphoria-is-great-but-it-does-a-disservice-to-gen-z-teens-too/","disqusTitle":"'Euphoria' Is Great—But It Does A Disservice To Gen Z Teens Too","templateType":"standard","featuredImageType":"standard","path":"/pop/112407/euphoria-is-great-but-it-does-a-disservice-to-gen-z-teens-too","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In many ways, HBO's \u003cem>Euphoria\u003c/em> perfectly captures the anxieties, the concerns and the general discomfort of being a Gen Z teenager. Getting through high school one lockdown at a time, navigating sex in an age when kids have more access to porn than ever before, wondering if the new boy in school is a mass shooter or \u003ca href=\"https://www.vox.com/the-highlight/2019/4/16/18287446/incel-definition-reddit\">incel\u003c/a>—the first two episodes beautifully capture the stress and foreboding quality of it all. Unfortunately, \u003cem>Euphoria\u003c/em> also frequently and willfully goes out of its way to misrepresent teen life in 2019, adding a self-consciously messy layer intended to shock, rather than reflect reality. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_95643","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Euphoria\u003c/em> is a show that follows the example of prior generations' more extreme movies about adolescence—think \u003ca href=\"https://www.imdb.com/title/tt0093407/?ref_=fn_al_tt_1\">\u003cem>Less Than Zero\u003c/em>\u003c/a>, \u003ca href=\"https://www.imdb.com/title/tt0113540/?ref_=fn_al_tt_1\">\u003cem>Kids\u003c/em>\u003c/a>, \u003ca href=\"https://www.imdb.com/title/tt0328538/?ref_=nm_knf_t1\">\u003cem>Thirteen\u003c/em>\u003c/a>—without factoring in how much better behaved kids are now in comparison to Generation X, Baby Boomers and even Millennials. Teens now have \u003ca href=\"https://www.businessinsider.com/generation-z-sex-alcohol-driving-study-2017-9\">sex less, do drugs less, try alcohol later\u003c/a> and go out less than any other teens in modern history—yet the 17-year-olds in \u003cem>Euphoria\u003c/em> are presented as doing almost nothing else.\u003c/p>\n\u003cp>It's not just that teens are less likely to abuse drugs now, it's that when they do, the drugs are different from those of prior generations. The way the show handles new \u003ca href=\"https://www.kqed.org/pop/107245/celebrity-fentanyl-use-isnt-rooted-in-hedonism-its-desperation\">fears around fentanyl\u003c/a> in the second episode is a stroke of brilliance, but watching Rue (\u003ca href=\"https://www.kqed.org/pop/95643/how-oaklands-zendaya-became-the-most-woke-disney-star-ever\">Zendaya\u003c/a>) doing lines of coke at every opportunity feels out of place and dated. If the show had stuck to her merely stealing prescription pills out of bathroom cabinets or oxycontin from her sick father, it would have made more sense both in terms of the drugs Americans are most likely to abuse today and the financial constraints of being a jobless teen from a single-parent household.\u003c/p>\n\u003cp>Even factoring that in, the rates of high school seniors abusing pain medication has been \u003ca href=\"https://www.hhs.gov/ash/oah/adolescent-development/substance-use/drugs/opioids/index.html\">steadily dropping\u003c/a> since 2004, when it peaked at 9.4 percent. In 2018, it was just 3.4 percent, and CDC research shows a consistent drop in drug use across the board.\u003c/p>\n\u003cfigure id=\"attachment_112438\" class=\"wp-caption alignnone\" style=\"max-width: 690px\">\u003cimg class=\"size-full wp-image-112438\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/06/Screen-Shot-2019-06-18-at-11.49.32-AM.png\" alt=\"The rate of drug use in teens has been dropping since the 1990s.\" width=\"690\" height=\"273\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/06/Screen-Shot-2019-06-18-at-11.49.32-AM.png 690w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/Screen-Shot-2019-06-18-at-11.49.32-AM-160x63.png 160w\" sizes=\"(max-width: 690px) 100vw, 690px\">\u003cfigcaption class=\"wp-caption-text\">The rate of drug use in teens has been dropping since the 1990s. \u003ccite>(CDC.gov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Euphoria\u003c/em>'s creator, Sam Levinson, has talked openly about the fact that Rue's character is based on his own experience as a drug-dependent teen. \"I spent the majority of my teenage years in hospitals, rehabs and halfway houses,” \u003ca href=\"https://variety.com/2019/scene/news/euphoria-creator-sam-levinson-opens-up-drug-addiction-1203233881/\">Levinson said\u003c/a> at the show's Hollywood premiere. “Sometime around the age of 16, I resigned myself to the idea that eventually drugs would kill me and there was no reason to fight it.” It seems that by putting so much of himself into the character of Rue, Levinson—who had his own drug problem in the late '90s and early-aughts—has accidentally dated her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The same can be said for \u003cem>Euphoria\u003c/em>'s treatment of teen sex. At one point, Jules—a transgender girl played superbly by Hunter Schafer—finds out that classmate Kat is still a virgin and blurts out, \"Bitch, this isn't the '80s! You need to catch a d**k!\" But for almost 20 years now, the number of teens having sex has been \u003ca href=\"https://www.kqed.org/pop/110884/new-sexting-system-slutbot-is-a-real-life-black-mirror-episode-waiting-to-happen\">dropping, not increasing\u003c/a>. High school kids in the '80s went on 30% more dates than 2015 students and lost their virginity a year earlier. Today, 18 to 24-year-olds have less sex than 50-somethings. Presenting 2019 teens as the most sexually promiscuous generation ever is an outright falsehood.\u003c/p>\n\u003cfigure id=\"attachment_112444\" class=\"wp-caption alignnone\" style=\"max-width: 688px\">\u003cimg class=\"size-full wp-image-112444\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/06/Screen-Shot-2019-06-18-at-2.47.25-PM.png\" alt=\"Figures from the CDC regarding sexual activity amongst high school students.\" width=\"688\" height=\"433\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/06/Screen-Shot-2019-06-18-at-2.47.25-PM.png 688w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/Screen-Shot-2019-06-18-at-2.47.25-PM-160x101.png 160w\" sizes=\"(max-width: 688px) 100vw, 688px\">\u003cfigcaption class=\"wp-caption-text\">Figures from the CDC regarding sexual activity amongst high school students. \u003ccite>(CDC.gov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It's a shame \u003cem>Euphoria\u003c/em> gets these important details so wrong when some of the toughest sexual issues facing Gen Z are handled astoundingly well, like Nate's inherited toxic masculinity and homophobia; Cassie being slut-shamed by Chris one minute and pressured into texting him nudes the next; and Kat being secretly filmed during sex. One incredible voiceover from Rue in the premiere explains that nude photos are 2019's \"currency of love,\" and asks adults to \"stop shaming us—shame the assholes who create password-protected online directories of naked underage girls.\" (Sadly, even that moment is almost ruined by a section in the middle where she says: \"I’m sorry—I know your generation relied on flowers and father’s permission...\" Is she talking to her great-grandparents here?)\u003c/p>\n\u003cp>In much the same way that \u003ca href=\"https://www.kqed.org/pop/103934/dear-13-reasons-why-tattoos-and-self-harm-arent-interchangeable\">\u003cem>13 Reasons Why\u003c/em>\u003c/a> abandoned any degree of subtlety in its second season and tacked on a heroin addiction side-plot, it is when \u003cem>Euphoria\u003c/em> actively tries to shock viewers that it becomes least powerful. \u003cem>Grown-ish—\u003c/em>generally considered a comedy\u003cem>—\u003c/em>has in some ways done a better job of depicting realistic teen drug use. As Zoey Johnson casually pops illegally-acquired Adderall to get through her college workload, the show refuses to pass judgment on her or her drug-dealing friend Vivek. There is no big dramatic scene where she realizes the error of her ways, and the two are never portrayed as particularly in danger. That commonplace handling of Zoey's pill problem feels far more meaningful than watching Rue buying drugs from a pre-teen with face tattoos. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13891785","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Zendaya told \u003cem>Entertainment Weekly\u003c/em> that \u003cem>Euphoria\u003c/em>'s first episode is \"\u003ca href=\"https://ew.com/tv/2019/06/16/zendaya-hbo-euphoria-premiere-interview/\">the most mild,\u003c/a>\" which suggests the show is going to keep trying to one-up itself. That's a shame, given that, in the moments it's actively trying to scare parents, the show loses touch with the very people it's supposed to be representing. Of course, there will always be teens who are drug addicts, or who have sex in swimming pools at parties, or who have violent compulsions, but where \u003cem>Euphoria\u003c/em> fails is in its depiction of \u003cem>all\u003c/em> high schoolers behaving that way. Lexi is the only one in the bunch so far who seems even vaguely average—and even she's still willing to give Rue her urine to cheat drug tests.\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 \u003cem>Euphoria\u003c/em> acknowledges in its finer moments, Generation Z has an entirely new set of problems than any generation that has come before. If the rest of the season could focus more intently on those, rather than muddying the waters with exaggerated depictions of sex and drugs, it would be infinitely more impactful.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/112407/euphoria-is-great-but-it-does-a-disservice-to-gen-z-teens-too","authors":["11242"],"categories":["pop_3"],"tags":["pop_3717","pop_3341","pop_271","pop_585"],"featImg":"pop_112410","label":"pop"},"pop_112517":{"type":"posts","id":"pop_112517","meta":{"index":"posts_1591205157","site":"pop","id":"112517","score":null,"sort":[1561403064000]},"guestAuthors":[],"slug":"like-black-mirror-and-handmaids-tale-get-ready-to-love-years-and-years","title":"Like 'Black Mirror' And 'Handmaid's Tale'? Get Ready To Love 'Years And Years'","publishDate":1561403064,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Things are looking bright for pessimists these days—the world has caught up with their sense of gloom. Well over half of those living in the developed world think their countries are heading in the \u003ca href=\"https://www.ipsos.com/ipsos-mori/en-uk/majority-across-25-countries-say-their-country-wrong-track\">wrong direction\u003c/a>, away from the prosperity and stability that people over age 40 once took for granted. Be it climate change, financial collapse, terrorism, political gridlock or the ceaseless psychic tasering of social media, ordinary people often feel caught in a reality that's spinning out of control.\u003c/p>\n\u003cp>Such a feeling underlies the rip-roaring BBC show \u003cem>Years and Years\u003c/em> airing on HBO. With hints of everything from \u003ca href=\"https://www.npr.org/2019/06/05/729701805/originality-and-uncertainty-still-reign-as-black-mirror-enters-its-5th-season\">\u003cem>Black Mirror\u003c/em>\u003c/a> to \u003ca href=\"https://www.npr.org/2017/04/26/525557843/hulus-handmaids-tale-is-compelling-and-chilling\">\u003cem>The Handmaid's Tale\u003c/em>\u003c/a> to \u003cem>The Apprentice\u003c/em>, this six-part family saga gazes through a crystal ball to tell a darkly unsettling tale about how history affects individual lives. The action begins right now, in 2019, and carries us 15 years into the future.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SY41jhIP_xI\u003c/p>\n\u003cp>The story centers on the Manchester-based Lyons family. The eldest brother Stephen Lyons (Rory Kinnear) is a prosperous financial planner married to Celeste Bisme-Lyons (T'Nia Miller), a successful accountant with whom he has two daughters. He has a gay younger brother, Daniel (Russell Tovey), who works for the Manchester city government, and two younger sisters. There's earnest Edith (Jessica Hynes), who's a globetrotting social activist, and the rousing Rosie (Ruth Madeley), a blue-collar single mom with spina bifida. On holidays they visit the home of their redoubtable grandmother (Anne Reid), who lives in—metaphor, anyone?—a big old house in serious need of repair.\u003c/p>\n\u003cp>As the show begins, they're simply going about their lives. But history soon starts roaring around them like a hurricane. Donald Trump is re-elected and begins a nuclear stare-down with China. Vladimir Putin takes over Ukraine, and refugees pour into Britain. Banks begin to wobble, political parties dither, and Britain watches the rise of Vivienne Rook—played by a terrific \u003ca href=\"https://www.npr.org/2019/06/15/732433046/mindy-kaling-and-emma-thompson-shatter-the-late-night-glass-ceiling\">Emma Thompson\u003c/a>—a plain-speaking businesswoman turned populist politician who owns her own TV network. Some of the Lyons find Rook a breath of fresh air; the others think she's Satan.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Years and Years\u003c/em> is the brainchild of \u003ca href=\"https://www.npr.org/2015/04/01/396809966/from-banana-to-cucumber-new-series-spans-the-spectrum-of-sex\">Russell T. Davies\u003c/a>, who's well-known in Britain for his smart resurrection of \u003cem>Dr. Who\u003c/em> in 2005 and his landmark series \u003cem>Queer as Folk\u003c/em>. Here, Davies is less interested in inventing an imaginary dystopia than in taking the world we now inhabit—with Brexit, refugees, Putin, Siri, etc.—and spinning a vision of how things will play out in daily life. As huge and terrifying things happen, fortunes crumble and rise, love affairs flower for good and ill and young people embrace \u003ca href=\"https://inews.co.uk/culture/television/transhumanism-years-and-years-what-explained-bethany-bisme-lyons/\">transhumanism\u003c/a>—while some of their elders meet death.\u003c/p>\n\u003cp>The whooshing cultural changes—and the family's plucky adjustments to them—make \u003cem>Years and Years\u003c/em> addictive, doubly so as the show boasts one of those crack British casts so well trained in realism. The actors keep the dizziest events anchored in common experience, and Davies is brilliant at finding real emotion in fanciful circumstances.\u003c/p>\n\u003cfigure id=\"attachment_112519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-112519\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-800x536.jpg\" alt=\"Lydia West (left) and Jade Alleyne play Bisme-Lyons sisters Bethany and Ruby.\" width=\"800\" height=\"536\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-800x536.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-768x515.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-1020x684.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-1200x804.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-1920x1287.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lydia West (left) and Jade Alleyne play Bisme-Lyons sisters Bethany and Ruby. \u003ccite>(Robert Ludovic/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, depictions of the future often prove to be profoundly wrong, as those still waiting for their flying cars can attest. Indeed, speculative fiction usually tells us more about the present than the future. That's true here. Despite some witty doodles around the margins, Davies' dire sense of the next few years isn't exactly revelatory. He basically extrapolates from today's big issues, be it refugees, fervent nationalism, fake news, or the collapse of traditional political parties. At times, Davies falls into what George Orwell called the trap of believing that what's happening now will keep happening forever.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Steeped in liberal paranoia, \u003cem>Years and Years\u003c/em> skillfully captures how the world now feels to folks like Davies who voted against Brexit, fear Donald Trump, and dread that the tolerant, democratic, globalized social order of the late 20\u003csup>th\u003c/sup> century is collapsing around them. But whether or not you share Davies's politics, you will almost certainly find the show chilling and identify with the Lyons family's struggles to understand, and survive, forces they can't begin to control.\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=Imagining+A+Dismal+Future%2C+%27Years+And+Years%27+Says+Plenty+About+The+Present&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"The six-part BBC series airing on HBO follows one British family over the course of 15 years, and imagines the dismal future that liberals fear.","status":"publish","parent":0,"modified":1561403064,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":734},"headData":{"title":"Like 'Black Mirror' And 'Handmaid's Tale'? Get Ready To Love 'Years And Years' | KQED","description":"The six-part BBC series airing on HBO follows one British family over the course of 15 years, and imagines the dismal future that liberals fear.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"112517 https://ww2.kqed.org/pop/?p=112517","disqusUrl":"https://ww2.kqed.org/pop/2019/06/24/like-black-mirror-and-handmaids-tale-get-ready-to-love-years-and-years/","disqusTitle":"Like 'Black Mirror' And 'Handmaid's Tale'? Get Ready To Love 'Years And Years'","nprByline":"John Powers","nprImageAgency":"HBO","nprStoryId":"735377947","nprApiLink":"http://api.npr.org/query?id=735377947&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/06/24/735377947/imagining-a-dismal-future-years-and-years-says-plenty-about-the-present?ft=nprml&f=735377947","nprRetrievedStory":"1","nprPubDate":"Mon, 24 Jun 2019 13:45:00 -0400","nprStoryDate":"Mon, 24 Jun 2019 12:45:34 -0400","nprLastModifiedDate":"Mon, 24 Jun 2019 12:45:50 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2019/06/20190624_fa_02.mp3?orgId=427869011&topicId=1163&d=441&p=13&story=735377947&ft=nprml&f=735377947","nprAudioM3u":"http://api.npr.org/m3u/1735460569-4a418c.m3u?orgId=427869011&topicId=1163&d=441&p=13&story=735377947&ft=nprml&f=735377947","audioTrackLength":442,"path":"/pop/112517/like-black-mirror-and-handmaids-tale-get-ready-to-love-years-and-years","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2019/06/20190624_fa_02.mp3?orgId=427869011&topicId=1163&d=441&p=13&story=735377947&ft=nprml&f=735377947","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Things are looking bright for pessimists these days—the world has caught up with their sense of gloom. Well over half of those living in the developed world think their countries are heading in the \u003ca href=\"https://www.ipsos.com/ipsos-mori/en-uk/majority-across-25-countries-say-their-country-wrong-track\">wrong direction\u003c/a>, away from the prosperity and stability that people over age 40 once took for granted. Be it climate change, financial collapse, terrorism, political gridlock or the ceaseless psychic tasering of social media, ordinary people often feel caught in a reality that's spinning out of control.\u003c/p>\n\u003cp>Such a feeling underlies the rip-roaring BBC show \u003cem>Years and Years\u003c/em> airing on HBO. With hints of everything from \u003ca href=\"https://www.npr.org/2019/06/05/729701805/originality-and-uncertainty-still-reign-as-black-mirror-enters-its-5th-season\">\u003cem>Black Mirror\u003c/em>\u003c/a> to \u003ca href=\"https://www.npr.org/2017/04/26/525557843/hulus-handmaids-tale-is-compelling-and-chilling\">\u003cem>The Handmaid's Tale\u003c/em>\u003c/a> to \u003cem>The Apprentice\u003c/em>, this six-part family saga gazes through a crystal ball to tell a darkly unsettling tale about how history affects individual lives. The action begins right now, in 2019, and carries us 15 years into the future.\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/SY41jhIP_xI'\n title='//www.youtube.com/embed/SY41jhIP_xI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The story centers on the Manchester-based Lyons family. The eldest brother Stephen Lyons (Rory Kinnear) is a prosperous financial planner married to Celeste Bisme-Lyons (T'Nia Miller), a successful accountant with whom he has two daughters. He has a gay younger brother, Daniel (Russell Tovey), who works for the Manchester city government, and two younger sisters. There's earnest Edith (Jessica Hynes), who's a globetrotting social activist, and the rousing Rosie (Ruth Madeley), a blue-collar single mom with spina bifida. On holidays they visit the home of their redoubtable grandmother (Anne Reid), who lives in—metaphor, anyone?—a big old house in serious need of repair.\u003c/p>\n\u003cp>As the show begins, they're simply going about their lives. But history soon starts roaring around them like a hurricane. Donald Trump is re-elected and begins a nuclear stare-down with China. Vladimir Putin takes over Ukraine, and refugees pour into Britain. Banks begin to wobble, political parties dither, and Britain watches the rise of Vivienne Rook—played by a terrific \u003ca href=\"https://www.npr.org/2019/06/15/732433046/mindy-kaling-and-emma-thompson-shatter-the-late-night-glass-ceiling\">Emma Thompson\u003c/a>—a plain-speaking businesswoman turned populist politician who owns her own TV network. Some of the Lyons find Rook a breath of fresh air; the others think she's Satan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Years and Years\u003c/em> is the brainchild of \u003ca href=\"https://www.npr.org/2015/04/01/396809966/from-banana-to-cucumber-new-series-spans-the-spectrum-of-sex\">Russell T. Davies\u003c/a>, who's well-known in Britain for his smart resurrection of \u003cem>Dr. Who\u003c/em> in 2005 and his landmark series \u003cem>Queer as Folk\u003c/em>. Here, Davies is less interested in inventing an imaginary dystopia than in taking the world we now inhabit—with Brexit, refugees, Putin, Siri, etc.—and spinning a vision of how things will play out in daily life. As huge and terrifying things happen, fortunes crumble and rise, love affairs flower for good and ill and young people embrace \u003ca href=\"https://inews.co.uk/culture/television/transhumanism-years-and-years-what-explained-bethany-bisme-lyons/\">transhumanism\u003c/a>—while some of their elders meet death.\u003c/p>\n\u003cp>The whooshing cultural changes—and the family's plucky adjustments to them—make \u003cem>Years and Years\u003c/em> addictive, doubly so as the show boasts one of those crack British casts so well trained in realism. The actors keep the dizziest events anchored in common experience, and Davies is brilliant at finding real emotion in fanciful circumstances.\u003c/p>\n\u003cfigure id=\"attachment_112519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-112519\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-800x536.jpg\" alt=\"Lydia West (left) and Jade Alleyne play Bisme-Lyons sisters Bethany and Ruby.\" width=\"800\" height=\"536\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-800x536.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-768x515.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-1020x684.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-1200x804.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35-1920x1287.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/af63aa6b561ae2a36b0020ff9c0599f965309411d1e88156b2340b92c13f6338429cf060198f014f9444a954937e48a5_enl-0257ae650a0b6184d88478777d4fa6a04af71a35.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lydia West (left) and Jade Alleyne play Bisme-Lyons sisters Bethany and Ruby. \u003ccite>(Robert Ludovic/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, depictions of the future often prove to be profoundly wrong, as those still waiting for their flying cars can attest. Indeed, speculative fiction usually tells us more about the present than the future. That's true here. Despite some witty doodles around the margins, Davies' dire sense of the next few years isn't exactly revelatory. He basically extrapolates from today's big issues, be it refugees, fervent nationalism, fake news, or the collapse of traditional political parties. At times, Davies falls into what George Orwell called the trap of believing that what's happening now will keep happening forever.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Steeped in liberal paranoia, \u003cem>Years and Years\u003c/em> skillfully captures how the world now feels to folks like Davies who voted against Brexit, fear Donald Trump, and dread that the tolerant, democratic, globalized social order of the late 20\u003csup>th\u003c/sup> century is collapsing around them. But whether or not you share Davies's politics, you will almost certainly find the show chilling and identify with the Lyons family's struggles to understand, and survive, forces they can't begin to control.\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=Imagining+A+Dismal+Future%2C+%27Years+And+Years%27+Says+Plenty+About+The+Present&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/112517/like-black-mirror-and-handmaids-tale-get-ready-to-love-years-and-years","authors":["byline_pop_112517"],"categories":["pop_3"],"tags":["pop_3011","pop_3116","pop_3715","pop_271"],"featImg":"pop_112518","label":"pop"},"pop_112303":{"type":"posts","id":"pop_112303","meta":{"index":"posts_1591205157","site":"pop","id":"112303","score":null,"sort":[1559854075000]},"guestAuthors":[],"slug":"with-1-huge-lie-revealed-big-little-lies-season-2-takes-a-slow-burn-strategy","title":"With 1 Huge Lie Revealed, 'Big Little Lies' Season 2 Takes A Slow-Burn Strategy","publishDate":1559854075,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Sequels have come to seem inescapable in movies and TV, where the commercial logic is to keep a franchise going—even if it has nowhere to go. That's why I was leery of Season 2 of \u003cem>Big Little Lies\u003c/em>. I'd been a fan of the original HBO series, a sneaky deep blend of satire and mystery that built to a satisfying finale in which its sexually violent villain is killed and the show's five heroines testify that his death was an accident. The story was over. But the show was too successful to end.\u003c/p>\n\u003cp>And so we have Season 2, set a few months after the death. We're back in the entitled coastal enclave around Monterey, Calif., with its yoga classes, photo-op real estate and overbearing parents who treat the local grade school as their personal fiefdom. As a new school year begins, our heroines—now dubbed the Monterey Five—are dealing with the emotional aftermath of their big \u003cem>big\u003c/em> lie about the killing, as well as the littler untruths of daily life.\u003c/p>\n\u003cp>The tireless busybody Madeline (Reese Witherspoon) has alienated her loving but prickly husband, played by Adam Scott. Nicole Kidman's Celeste is grappling with the death of her abusive husband, whom she can't get out of her head. Jane (Shailene Woodley), a single mom who became pregnant after being raped, must cope with her son knowing who his father really was. Tech exec Renata—a deliciously histrionic character played by Laura Dern—is riding high, until her husband's business dealings go bad. Meanwhile, Zoë Kravitz's new age-y character, Bonnie—who actually did the killing—is in a funk over taking a human life.\u003c/p>\n\u003cp>The key to any sequel is to keep things the same yet add something extra. In a show like \u003cem>Big Little Lies\u003c/em>, that means the addition of Oscar-winning actor \u003ca href=\"https://www.npr.org/2016/08/10/489464731/meryl-streep-embodies-the-pull-of-music-in-florence-foster-jenkins\">Meryl Streep\u003c/a>, who isn't about to be shown up by Season 1's tremendous cast. Sporting vaguely rodential teeth, Streep is effortlessly dominating as Mary Louise, the dead man's grieving, slyly aggressive mother, who doubts the official version of her son's death and refuses to believe he was a sexual thug. Mary Louise flutters around the Monterey Five, an unsettling presence who keeps turning up like Lt. Columbo and keeps strewing slivers of glass into everything she says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eCWevZV945M\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Based on the novel by Liane Moriarty, the original \u003cem>Big Little Lies\u003c/em> took a seemingly idyllic community of suburban moms and showed the infernal stuff festering beneath it. This wasn't the most original idea ever, but the show deftly pulled you in with alluring surfaces—only to confront you with disturbing truths about sexual violence. The whole thing whooshed along with a mysterious sense of impending doom.\u003c/p>\n\u003cp>With the mysteries revealed, Moriarty and screenwriter David E. Kelley—plus a new director, Andrea Arnold—have adopted a slow-burn strategy this time out, at least in the three episodes screened for critics. Steeped in shame, anger and melancholy, the storytelling is moodier and less electric.\u003c/p>\n\u003cp>While this may ultimately prove deeper, it's initially less gripping. Although Kidman is terrific at capturing Celeste's confused sense of loss, for instance, these feelings are less dramatically compelling than Season 1's Emmy-winning portrait of a woman who fears but also desires her husband's sexualized violence.\u003c/p>\n\u003cp>That said, this sequel is worth seeing for its ensemble of leading ladies—maybe the greatest in TV history—who bring invention and life to every scene. Dern's Renata and Woodley's Jane are thinly drawn, but you scarcely notice because these actresses flesh them out with such skill.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I'd like to give a particular shoutout to Witherspoon, who, though the prime mover of the series, never got as much praise as she deserved for her smart, funny performance as Madeline, a woman with so many bees in her bonnet she might as well wear a hive. Controlling and insecure, Madeline is the show's glue and its most enjoyable character. I'd cheerfully watch a series about her sparring with the school principal, bickering with her teenage daughter, yelling at random drivers on the road and trying to save her marriage. \u003cem>Big Little Lies 3\u003c/em>, anyone?\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=With+1+Huge+Lie+Revealed%2C+%27Big+Little+Lies%27+Season+2+Takes+A+Slow-Burn+Strategy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Meryl Streep joins the 'Big Little Lies' cast as the mother of the man killed at the end of Season 1—complicating things for the Monterey Five, who are still processing the aftermath of the death.","status":"publish","parent":0,"modified":1559854075,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":743},"headData":{"title":"With 1 Huge Lie Revealed, 'Big Little Lies' Season 2 Takes A Slow-Burn Strategy | KQED","description":"Meryl Streep joins the 'Big Little Lies' cast as the mother of the man killed at the end of Season 1—complicating things for the Monterey Five, who are still processing the aftermath of the death.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"112303 https://ww2.kqed.org/pop/?p=112303","disqusUrl":"https://ww2.kqed.org/pop/2019/06/06/with-1-huge-lie-revealed-big-little-lies-season-2-takes-a-slow-burn-strategy/","disqusTitle":"With 1 Huge Lie Revealed, 'Big Little Lies' Season 2 Takes A Slow-Burn Strategy","nprByline":"John Powers","nprImageAgency":"HBO","nprStoryId":"730275468","nprApiLink":"http://api.npr.org/query?id=730275468&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/06/06/730275468/with-1-huge-lie-revealed-big-little-lies-season-2-takes-a-slow-burn-strategy?ft=nprml&f=730275468","nprRetrievedStory":"1","nprPubDate":"Thu, 06 Jun 2019 14:03:00 -0400","nprStoryDate":"Thu, 06 Jun 2019 12:31:04 -0400","nprLastModifiedDate":"Thu, 06 Jun 2019 13:36:57 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2019/06/20190606_fa_02.mp3?orgId=427869011&topicId=1163&d=520&p=13&story=730275468&ft=nprml&f=730275468","nprAudioM3u":"http://api.npr.org/m3u/1730377029-31ec71.m3u?orgId=427869011&topicId=1163&d=520&p=13&story=730275468&ft=nprml&f=730275468","audioTrackLength":521,"path":"/pop/112303/with-1-huge-lie-revealed-big-little-lies-season-2-takes-a-slow-burn-strategy","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2019/06/20190606_fa_02.mp3?orgId=427869011&topicId=1163&d=520&p=13&story=730275468&ft=nprml&f=730275468","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sequels have come to seem inescapable in movies and TV, where the commercial logic is to keep a franchise going—even if it has nowhere to go. That's why I was leery of Season 2 of \u003cem>Big Little Lies\u003c/em>. I'd been a fan of the original HBO series, a sneaky deep blend of satire and mystery that built to a satisfying finale in which its sexually violent villain is killed and the show's five heroines testify that his death was an accident. The story was over. But the show was too successful to end.\u003c/p>\n\u003cp>And so we have Season 2, set a few months after the death. We're back in the entitled coastal enclave around Monterey, Calif., with its yoga classes, photo-op real estate and overbearing parents who treat the local grade school as their personal fiefdom. As a new school year begins, our heroines—now dubbed the Monterey Five—are dealing with the emotional aftermath of their big \u003cem>big\u003c/em> lie about the killing, as well as the littler untruths of daily life.\u003c/p>\n\u003cp>The tireless busybody Madeline (Reese Witherspoon) has alienated her loving but prickly husband, played by Adam Scott. Nicole Kidman's Celeste is grappling with the death of her abusive husband, whom she can't get out of her head. Jane (Shailene Woodley), a single mom who became pregnant after being raped, must cope with her son knowing who his father really was. Tech exec Renata—a deliciously histrionic character played by Laura Dern—is riding high, until her husband's business dealings go bad. Meanwhile, Zoë Kravitz's new age-y character, Bonnie—who actually did the killing—is in a funk over taking a human life.\u003c/p>\n\u003cp>The key to any sequel is to keep things the same yet add something extra. In a show like \u003cem>Big Little Lies\u003c/em>, that means the addition of Oscar-winning actor \u003ca href=\"https://www.npr.org/2016/08/10/489464731/meryl-streep-embodies-the-pull-of-music-in-florence-foster-jenkins\">Meryl Streep\u003c/a>, who isn't about to be shown up by Season 1's tremendous cast. Sporting vaguely rodential teeth, Streep is effortlessly dominating as Mary Louise, the dead man's grieving, slyly aggressive mother, who doubts the official version of her son's death and refuses to believe he was a sexual thug. Mary Louise flutters around the Monterey Five, an unsettling presence who keeps turning up like Lt. Columbo and keeps strewing slivers of glass into everything she says.\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/eCWevZV945M'\n title='//www.youtube.com/embed/eCWevZV945M'\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>Based on the novel by Liane Moriarty, the original \u003cem>Big Little Lies\u003c/em> took a seemingly idyllic community of suburban moms and showed the infernal stuff festering beneath it. This wasn't the most original idea ever, but the show deftly pulled you in with alluring surfaces—only to confront you with disturbing truths about sexual violence. The whole thing whooshed along with a mysterious sense of impending doom.\u003c/p>\n\u003cp>With the mysteries revealed, Moriarty and screenwriter David E. Kelley—plus a new director, Andrea Arnold—have adopted a slow-burn strategy this time out, at least in the three episodes screened for critics. Steeped in shame, anger and melancholy, the storytelling is moodier and less electric.\u003c/p>\n\u003cp>While this may ultimately prove deeper, it's initially less gripping. Although Kidman is terrific at capturing Celeste's confused sense of loss, for instance, these feelings are less dramatically compelling than Season 1's Emmy-winning portrait of a woman who fears but also desires her husband's sexualized violence.\u003c/p>\n\u003cp>That said, this sequel is worth seeing for its ensemble of leading ladies—maybe the greatest in TV history—who bring invention and life to every scene. Dern's Renata and Woodley's Jane are thinly drawn, but you scarcely notice because these actresses flesh them out with such skill.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I'd like to give a particular shoutout to Witherspoon, who, though the prime mover of the series, never got as much praise as she deserved for her smart, funny performance as Madeline, a woman with so many bees in her bonnet she might as well wear a hive. Controlling and insecure, Madeline is the show's glue and its most enjoyable character. I'd cheerfully watch a series about her sparring with the school principal, bickering with her teenage daughter, yelling at random drivers on the road and trying to save her marriage. \u003cem>Big Little Lies 3\u003c/em>, anyone?\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=With+1+Huge+Lie+Revealed%2C+%27Big+Little+Lies%27+Season+2+Takes+A+Slow-Burn+Strategy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/112303/with-1-huge-lie-revealed-big-little-lies-season-2-takes-a-slow-burn-strategy","authors":["byline_pop_112303"],"categories":["pop_3"],"tags":["pop_3109","pop_271","pop_269","pop_254","pop_3690","pop_3691","pop_3692","pop_2978"],"featImg":"pop_112304","label":"pop"},"pop_111672":{"type":"posts","id":"pop_111672","meta":{"index":"posts_1591205157","site":"pop","id":"111672","score":null,"sort":[1557258452000]},"guestAuthors":[],"slug":"mtv-moves-from-reality-tv-to-serious-documentary-for-generation-z","title":"MTV Moves From Reality TV To Serious Documentary For Generation Z","publishDate":1557258452,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>The global youth brand MTV has chosen Sheila Nevins to head a new documentary division. Nicknamed the \"doyenne of documentaries,\" Nevins, 80, was the president of HBO Documentary Films. With some 1,500 credits to her name, Nevins has won numerous Oscar, Emmy and Peabody Awards, including several lifetime achievement awards.\u003c/p>\n\u003cp>Nevins says she feels \"lucky\" to have landed the MTV job. \"At my age, most people would think that I would be out to pasture, or that I would be gardening, or that I would be taking pictures of my grandchildren—of which I have none,\" Nevins says. \"But I'm really not. I'm engaged in making a difference and will be until I lose it—and I haven't lost it yet.\"\u003c/p>\n\u003cp>Nevins brings an extremely broad palate to MTV, for both subject matter and style. She's executive produced biographical films on creative figures such as \u003ca href=\"https://www.imdb.com/title/tt7689966/?ref_=ttfc_fc_tt\">Robin Williams\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=PGkj3ljFGs8\">Stephen Sondheim\u003c/a> and true-crime dramas such as \u003ca href=\"https://www.hbo.com/embed/the-jinx-the-life-and-deaths-of-robert-durst/videos/s1-trailer\">\u003cem>The Jinx\u003c/em>\u003c/a> about real estate heir Robert Durst and \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=thjpLjNKpc4&t=46s\">Paradise Lost\u003c/a> \u003c/em>about the West Memphis Three.\u003c/p>\n\u003cp>After years of declining ratings and ad revenue, MTV is undergoing a turnaround under president Chris McCarthy who hopes Nevins will bring up the next generation of filmmakers on his network.\u003c/p>\n\u003cfigure id=\"attachment_111673\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111673\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/sheila-nevins_enl-09bc2faef0eb9de81c295b498134420e7e720a7a-800x533.jpg\" alt=\"Sheila Nevins, the former president of HBO Documentary Films, will join MTV to launch MTV Documentary Films.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/sheila-nevins_enl-09bc2faef0eb9de81c295b498134420e7e720a7a-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/sheila-nevins_enl-09bc2faef0eb9de81c295b498134420e7e720a7a-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/sheila-nevins_enl-09bc2faef0eb9de81c295b498134420e7e720a7a-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/sheila-nevins_enl-09bc2faef0eb9de81c295b498134420e7e720a7a-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/sheila-nevins_enl-09bc2faef0eb9de81c295b498134420e7e720a7a-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/sheila-nevins_enl-09bc2faef0eb9de81c295b498134420e7e720a7a-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/sheila-nevins_enl-09bc2faef0eb9de81c295b498134420e7e720a7a.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sheila Nevins, the former president of HBO Documentary Films, will join MTV to launch MTV Documentary Films. \u003ccite>(Brigitte Lacombe/Viacom)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He tells NPR he was a fan of Nevins long before he started working in media; he remembers watching HBO's unscripted, cinema verite-style series \u003ca href=\"https://www.youtube.com/watch?v=NgWVmi5P-D0\">Taxicab Confessions\u003c/a> as a kid growing up in Levittown, Pa.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"You really got to see true human stories,\" McCarthy says. \"Even the theme song itself was quite brilliant. It helped you to understand there's another world out there more than the small worlds many of us were living in.\"\u003c/p>\n\u003cp>He also praises Nevins' interest in \"underdog stories.\"\u003c/p>\n\u003cp>Nevins would like to see MTV's documentary division tackle topics like addiction, race, the legalization of marijuana and climate change.\u003c/p>\n\u003cp>\"The world is changing and the world is hurting itself ... in ways that matter to a 14, 18, 25 and 39-year-old,\" Nevins says. \"We have to show that, and we have to activate that person to think that they can do something about it.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Pressed for more details about how she plans to do that, Nevins jokes: \"It depends on how much money they give me.\"\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=MTV+Launches+New+Documentary+Division+Led+By+Producer+Sheila+Nevins&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Nevins, 80, has some 1,500 credits to her name, and is best known for running HBO's prestigious documentary division. \"At my age, most people would think that I would be out to pasture,\" she says.","status":"publish","parent":0,"modified":1557258452,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":413},"headData":{"title":"MTV Moves From Reality TV To Serious Documentary For Generation Z | KQED","description":"Nevins, 80, has some 1,500 credits to her name, and is best known for running HBO's prestigious documentary division. "At my age, most people would think that I would be out to pasture," she says.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"111672 https://ww2.kqed.org/pop/?p=111672","disqusUrl":"https://ww2.kqed.org/pop/2019/05/07/mtv-moves-from-reality-tv-to-serious-documentary-for-generation-z/","disqusTitle":"MTV Moves From Reality TV To Serious Documentary For Generation Z","nprImageCredit":"Brigitte Lacombe","nprByline":"Elizabeth Blair","nprImageAgency":"Viacom","nprStoryId":"721039182","nprApiLink":"http://api.npr.org/query?id=721039182&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/05/07/721039182/mtv-launches-new-documentary-division-led-by-producer-sheila-nevins?ft=nprml&f=721039182","nprRetrievedStory":"1","nprPubDate":"Tue, 07 May 2019 15:33:00 -0400","nprStoryDate":"Tue, 07 May 2019 14:00:03 -0400","nprLastModifiedDate":"Tue, 07 May 2019 15:33:08 -0400","path":"/pop/111672/mtv-moves-from-reality-tv-to-serious-documentary-for-generation-z","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The global youth brand MTV has chosen Sheila Nevins to head a new documentary division. Nicknamed the \"doyenne of documentaries,\" Nevins, 80, was the president of HBO Documentary Films. With some 1,500 credits to her name, Nevins has won numerous Oscar, Emmy and Peabody Awards, including several lifetime achievement awards.\u003c/p>\n\u003cp>Nevins says she feels \"lucky\" to have landed the MTV job. \"At my age, most people would think that I would be out to pasture, or that I would be gardening, or that I would be taking pictures of my grandchildren—of which I have none,\" Nevins says. \"But I'm really not. I'm engaged in making a difference and will be until I lose it—and I haven't lost it yet.\"\u003c/p>\n\u003cp>Nevins brings an extremely broad palate to MTV, for both subject matter and style. She's executive produced biographical films on creative figures such as \u003ca href=\"https://www.imdb.com/title/tt7689966/?ref_=ttfc_fc_tt\">Robin Williams\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=PGkj3ljFGs8\">Stephen Sondheim\u003c/a> and true-crime dramas such as \u003ca href=\"https://www.hbo.com/embed/the-jinx-the-life-and-deaths-of-robert-durst/videos/s1-trailer\">\u003cem>The Jinx\u003c/em>\u003c/a> about real estate heir Robert Durst and \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=thjpLjNKpc4&t=46s\">Paradise Lost\u003c/a> \u003c/em>about the West Memphis Three.\u003c/p>\n\u003cp>After years of declining ratings and ad revenue, MTV is undergoing a turnaround under president Chris McCarthy who hopes Nevins will bring up the next generation of filmmakers on his network.\u003c/p>\n\u003cfigure id=\"attachment_111673\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111673\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/sheila-nevins_enl-09bc2faef0eb9de81c295b498134420e7e720a7a-800x533.jpg\" alt=\"Sheila Nevins, the former president of HBO Documentary Films, will join MTV to launch MTV Documentary Films.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/sheila-nevins_enl-09bc2faef0eb9de81c295b498134420e7e720a7a-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/sheila-nevins_enl-09bc2faef0eb9de81c295b498134420e7e720a7a-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/sheila-nevins_enl-09bc2faef0eb9de81c295b498134420e7e720a7a-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/sheila-nevins_enl-09bc2faef0eb9de81c295b498134420e7e720a7a-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/sheila-nevins_enl-09bc2faef0eb9de81c295b498134420e7e720a7a-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/sheila-nevins_enl-09bc2faef0eb9de81c295b498134420e7e720a7a-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/sheila-nevins_enl-09bc2faef0eb9de81c295b498134420e7e720a7a.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sheila Nevins, the former president of HBO Documentary Films, will join MTV to launch MTV Documentary Films. \u003ccite>(Brigitte Lacombe/Viacom)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He tells NPR he was a fan of Nevins long before he started working in media; he remembers watching HBO's unscripted, cinema verite-style series \u003ca href=\"https://www.youtube.com/watch?v=NgWVmi5P-D0\">Taxicab Confessions\u003c/a> as a kid growing up in Levittown, Pa.\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>\"You really got to see true human stories,\" McCarthy says. \"Even the theme song itself was quite brilliant. It helped you to understand there's another world out there more than the small worlds many of us were living in.\"\u003c/p>\n\u003cp>He also praises Nevins' interest in \"underdog stories.\"\u003c/p>\n\u003cp>Nevins would like to see MTV's documentary division tackle topics like addiction, race, the legalization of marijuana and climate change.\u003c/p>\n\u003cp>\"The world is changing and the world is hurting itself ... in ways that matter to a 14, 18, 25 and 39-year-old,\" Nevins says. \"We have to show that, and we have to activate that person to think that they can do something about it.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Pressed for more details about how she plans to do that, Nevins jokes: \"It depends on how much money they give me.\"\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=MTV+Launches+New+Documentary+Division+Led+By+Producer+Sheila+Nevins&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/111672/mtv-moves-from-reality-tv-to-serious-documentary-for-generation-z","authors":["byline_pop_111672"],"categories":["pop_3"],"tags":["pop_1168","pop_271","pop_52"],"featImg":"pop_111675","label":"pop"},"pop_111202":{"type":"posts","id":"pop_111202","meta":{"index":"posts_1591205157","site":"pop","id":"111202","score":null,"sort":[1555926333000]},"guestAuthors":[],"slug":"hbos-gentleman-jack-brings-britains-first-modern-lesbian-to-swaggering-life","title":"HBO's 'Gentleman Jack' Brings Britain's \"First Modern Lesbian\" To Swaggering Life","publishDate":1555926333,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>HBO's new period drama, \u003cem>Gentleman Jack\u003c/em>, is set in the 1830s and tells the extraordinary story of Anne Lister: landowner, businesswoman, mountaineer, and sometimes called \"the first modern lesbian.\" Lister came from a wealthy family in Halifax, England, and began recording her love affairs with women in coded entries in her diary. Eventually she would live openly with her neighbor Ann Walker as a couple. Those explicit diaries remained a secret until the 1980s—and in 2011 they were named by UNESCO as a pivotal document in British history. The HBO adaptation looks at Lister's relationship Ann Walker and her defiant embrace of her sexual orientation. Suranne Jones stars as Anne Lister—she says it's become possible to tell Lister's story now, because we finally have the language to discuss gender and sexuality more openly. \"So I just feel like this is the right time to tell her story in the full-bodied way that it needs to be told.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gce44fIgV3g\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On preparing to play Anne's complexities\u003c/strong>\u003c/p>\n\u003cp>Sometimes when you get a part, you're almost cooked, you're ready to go ... but with this, both me and [writer and director Sally Wainwright] felt like I was a work in progress, and I was going to have to put a lot of work in ... I was able to visit Halifax library and actually take out one of Anne Lister's original diaries and read that for myself, which was a real emotional experience, because I'm touching the paper which she had her hands all over, and Sally was able to read the code to me, over my shoulder, which was again extraordinary ... the code itself, parts of the diary still hadn't been decoded, so it was being decoded especially for us as we filmed, which was really exciting. We'd get an email, and it was kind of like live, as we were filming scenes in the end, where we were getting pieces of information that had never been seen before ... we got to film in Shibden Hall, which was her actual house, so the whole experience was magical; I felt like she was with us every step of the way. But the experience of that really allowed her to get into my bones every single day on set.\u003c/p>\n\u003cp>\u003cstrong>On Anne's physicality\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A lot of the work that Sally's done over the eight episodes are direct from the diaries. A lot of the words that I speak, Sally has used, not verbatim but she's really worked them into the way she writes her dialogue. And there's pieces of information that we have—she walked fast, and she walked upright. She was mistaken for her masculinity. She had a low voice, she looked like an oddity. She was very striking. She always wore black, in mourning for an ex-girlfriend that she lost to a man, to a marriage. So by the time we meet her, she's been wearing black for 16 years. And she was fiercely intelligent, so we wanted to tell the story of her intelligence through her physicality as well, which is kind of the big hand gestures and the tapping; she checks out of scenes before other people do, because she's already on to the next thing ... and she hard to be larger than life, she had to be a presence that anyone who knows the diaries can feel it when they read it off the page, and I really wanted to encapsulate that on screen.\u003c/p>\n\u003cp>\u003cstrong>On Anne's self-certainty\u003c/strong>\u003c/p>\n\u003cp>Sally described her to me as having a very healthy opinion of herself, a very healthy opinion of life, excited by life, wanted to live life to the full. And she was true to her nature. She never wavered from wanting to, in her words again, \"love, and only love the fairer sex.\" She felt like it was her god-given nature to do that. She was authentic in that way, and she had no blueprint, there were no communities. Lesbian wasn't a word then. But she just was striking in the way that she knew exactly who she wanted to be, and pushed on and lived in that way.\u003c/p>\n\u003cp>\u003cstrong>On what we should take from her story today\u003c/strong>\u003c/p>\n\u003cp>I think whether you're part of the LGBTQIA community or not, Anne Lister is trail-blazing, she's life-affirming, she's uplifting, she's courageous. And she believes that everyone has a voice and deserves to be themselves and to speak. And I think in this climate, we need more stories like that.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/715223887/715616312\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Hiba Ahmad and Lynn Kim, and adapted for the Web by Petra Mayer.\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=%27Gentleman+Jack%27+Swaggers+Off+The+Page+And+Onto+The+Screen&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"A show takes on the life of Anne Lister, a real-life British landowner and trailblazing lesbian of the 1830s.","status":"publish","parent":0,"modified":1555926333,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":813},"headData":{"title":"HBO's 'Gentleman Jack' Brings Britain's \"First Modern Lesbian\" To Swaggering Life | KQED","description":"A show takes on the life of Anne Lister, a real-life British landowner and trailblazing lesbian of the 1830s.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"111202 https://ww2.kqed.org/pop/?p=111202","disqusUrl":"https://ww2.kqed.org/pop/2019/04/22/hbos-gentleman-jack-brings-britains-first-modern-lesbian-to-swaggering-life/","disqusTitle":"HBO's 'Gentleman Jack' Brings Britain's \"First Modern Lesbian\" To Swaggering Life","nprImageCredit":"Aimee Spinks","nprByline":"Lulu Garcia-Navarro","nprImageAgency":"HBO","nprStoryId":"715223887","nprApiLink":"http://api.npr.org/query?id=715223887&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/04/21/715223887/gentleman-jack-swaggers-off-the-page-and-onto-the-screen?ft=nprml&f=715223887","nprRetrievedStory":"1","nprPubDate":"Sun, 21 Apr 2019 14:33:00 -0400","nprStoryDate":"Sun, 21 Apr 2019 07:46:00 -0400","nprLastModifiedDate":"Sun, 21 Apr 2019 09:42:01 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/wesun/2019/04/20190421_wesun_gentleman_jack_swaggers_off_the_page_and_onto_the_screen.mp3?orgId=1&topicId=1138&d=376&p=10&story=715223887&ft=nprml&f=715223887","nprAudioM3u":"http://api.npr.org/m3u/1715616312-53ddcc.m3u?orgId=1&topicId=1138&d=376&p=10&story=715223887&ft=nprml&f=715223887","audioTrackLength":377,"path":"/pop/111202/hbos-gentleman-jack-brings-britains-first-modern-lesbian-to-swaggering-life","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/wesun/2019/04/20190421_wesun_gentleman_jack_swaggers_off_the_page_and_onto_the_screen.mp3?orgId=1&topicId=1138&d=376&p=10&story=715223887&ft=nprml&f=715223887","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>HBO's new period drama, \u003cem>Gentleman Jack\u003c/em>, is set in the 1830s and tells the extraordinary story of Anne Lister: landowner, businesswoman, mountaineer, and sometimes called \"the first modern lesbian.\" Lister came from a wealthy family in Halifax, England, and began recording her love affairs with women in coded entries in her diary. Eventually she would live openly with her neighbor Ann Walker as a couple. Those explicit diaries remained a secret until the 1980s—and in 2011 they were named by UNESCO as a pivotal document in British history. The HBO adaptation looks at Lister's relationship Ann Walker and her defiant embrace of her sexual orientation. Suranne Jones stars as Anne Lister—she says it's become possible to tell Lister's story now, because we finally have the language to discuss gender and sexuality more openly. \"So I just feel like this is the right time to tell her story in the full-bodied way that it needs to be told.\"\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/Gce44fIgV3g'\n title='//www.youtube.com/embed/Gce44fIgV3g'\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 preparing to play Anne's complexities\u003c/strong>\u003c/p>\n\u003cp>Sometimes when you get a part, you're almost cooked, you're ready to go ... but with this, both me and [writer and director Sally Wainwright] felt like I was a work in progress, and I was going to have to put a lot of work in ... I was able to visit Halifax library and actually take out one of Anne Lister's original diaries and read that for myself, which was a real emotional experience, because I'm touching the paper which she had her hands all over, and Sally was able to read the code to me, over my shoulder, which was again extraordinary ... the code itself, parts of the diary still hadn't been decoded, so it was being decoded especially for us as we filmed, which was really exciting. We'd get an email, and it was kind of like live, as we were filming scenes in the end, where we were getting pieces of information that had never been seen before ... we got to film in Shibden Hall, which was her actual house, so the whole experience was magical; I felt like she was with us every step of the way. But the experience of that really allowed her to get into my bones every single day on set.\u003c/p>\n\u003cp>\u003cstrong>On Anne's physicality\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>A lot of the work that Sally's done over the eight episodes are direct from the diaries. A lot of the words that I speak, Sally has used, not verbatim but she's really worked them into the way she writes her dialogue. And there's pieces of information that we have—she walked fast, and she walked upright. She was mistaken for her masculinity. She had a low voice, she looked like an oddity. She was very striking. She always wore black, in mourning for an ex-girlfriend that she lost to a man, to a marriage. So by the time we meet her, she's been wearing black for 16 years. And she was fiercely intelligent, so we wanted to tell the story of her intelligence through her physicality as well, which is kind of the big hand gestures and the tapping; she checks out of scenes before other people do, because she's already on to the next thing ... and she hard to be larger than life, she had to be a presence that anyone who knows the diaries can feel it when they read it off the page, and I really wanted to encapsulate that on screen.\u003c/p>\n\u003cp>\u003cstrong>On Anne's self-certainty\u003c/strong>\u003c/p>\n\u003cp>Sally described her to me as having a very healthy opinion of herself, a very healthy opinion of life, excited by life, wanted to live life to the full. And she was true to her nature. She never wavered from wanting to, in her words again, \"love, and only love the fairer sex.\" She felt like it was her god-given nature to do that. She was authentic in that way, and she had no blueprint, there were no communities. Lesbian wasn't a word then. But she just was striking in the way that she knew exactly who she wanted to be, and pushed on and lived in that way.\u003c/p>\n\u003cp>\u003cstrong>On what we should take from her story today\u003c/strong>\u003c/p>\n\u003cp>I think whether you're part of the LGBTQIA community or not, Anne Lister is trail-blazing, she's life-affirming, she's uplifting, she's courageous. And she believes that everyone has a voice and deserves to be themselves and to speak. And I think in this climate, we need more stories like that.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/715223887/715616312\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Hiba Ahmad and Lynn Kim, and adapted for the Web by Petra Mayer.\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=%27Gentleman+Jack%27+Swaggers+Off+The+Page+And+Onto+The+Screen&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/111202/hbos-gentleman-jack-brings-britains-first-modern-lesbian-to-swaggering-life","authors":["byline_pop_111202"],"categories":["pop_3"],"tags":["pop_3578","pop_271","pop_3174"],"featImg":"pop_111203","label":"pop"},"pop_110897":{"type":"posts","id":"pop_110897","meta":{"index":"posts_1591205157","site":"pop","id":"110897","score":null,"sort":[1554927160000]},"guestAuthors":[],"slug":"which-characters-will-lose-the-game-of-thrones-a-chronicle-of-many-deaths-foretold","title":"Which Characters Will Lose The 'Game Of Thrones?': A Chronicle Of Many Deaths Foretold","publishDate":1554927160,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>\"When you play the game of thrones,\" Cersei Lannister (Lena Headey) told Ned Stark (Sean Bean) icily—but of course she says \u003cem>everything \u003c/em>icily—\"you win ... or you die.\"\u003c/p>\n\u003cp>Foreshadowing? To say the least. More like fiveshadowing.\u003c/p>\n\u003cp>Because she said that to him way back in the seventh episode of \u003cem>Game of Thrones\u003c/em>' very first season. It was May 2011, years before the show would become the inescapable international phenomenon it has, and two episodes before it would set itself firmly down the path to becoming just that, by killing off its nominal main hero, Ned Stark.\u003c/p>\n\u003cp>Since that time, over the course of seven seasons, Cersei has been proven exactly right, again and again. There's been some small amount of winning, here and there, but just really a \u003cem>tremendous lot\u003c/em> of dying—characters big and small, both the beloved and the benighted, have been poisoned, beheaded, slashed, gashed, stabbed, devoured by hounds, hurled from parapets, immolated, head-squished, pincushioned by arrows and—in one case—even died of old age, if you can imagine anything so grotesque.\u003c/p>\n\u003cp>Now that we're entering the home stretch—just six episodes left, which will clock in at an estimated seven hours and twenty minutes, total—all the series' disparate storylines are crashing together, which can be depended upon to send its body count soaring.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So let's make some predictions.\u003c/p>\n\u003cp>Read: Wild guesses.\u003c/p>\n\u003cp>These predictions are \u003cstrong>not \u003c/strong>based on anything but gut instinct. Nothing remotely spoilery lurks beneath them. Not knowledge gleaned from a close reading of the books, or from leaked on-set scuttlebutt, or anything, really, but a recent re-watch—and a reasonable understanding of how narrative arcs generally play out.\u003c/p>\n\u003cp>Let's take the likely deaths in piecemeal fashion, because they tend to slot into discrete categories.\u003c/p>\n\u003cp>\u003cstrong>The Noble Sacrificers:\u003c/strong>\u003c/p>\n\u003cp>These are the characters whose storylines seem most likely to end with a big, bold act of selflessness.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Jorah Mormont\u003c/strong> — Here's a guy whose whole grizzled, whispery, mustard-shirted schtick revolves around sacrificing himself for Daenerys. It's just who he is. He may have started off the series as a mole in her camp, but the show's dragged him through a lengthy redemption arc that's involved saving her life repeatedly, suffering ignoble exile and one particularly nasty case of fantasy eczema. He'll go down fighting, but he'll go down.\u003c/li>\n\u003cli>\u003cstrong>Jaime Lannister\u003c/strong> — He's come a long way, baby, and though from a story perspective it feels like he needs to see Cersei one last time before he dies, I suspect his end will come sooner. Maybe he ends up saving the life of Bran, the kid he sent plummeting from a tower? Nah, that's too tidy, but I don't see the Kingslayer making it out of season eight alive.\u003c/li>\n\u003cli>\u003cstrong>Brienne of Tarth\u003c/strong> — A beloved character, whose entire being is dedicated to honor, nobility and goodness. On \u003cem>Game of Thrones\u003c/em>. No, yeah, she's doomed.\u003c/li>\n\u003cli>\u003cstrong>Theon Greyjoy\u003c/strong> — Another character whose long, grisly redemption storyline is finally over, which is great. Not so great: That means there's nothing left for him to do, dramatically, but to die saving his sister Yara.\u003c/li>\n\u003cli>\u003cstrong>Davos Seaworth \u003c/strong>— Look, I hope he makes it. And there's a good chance he might, better than anyone else in this category. After all, he's not a fighter, he's the kind of character the show seems to favor—the loyal, canny, good-hearted advisor. But there are big battles coming.\u003c/li>\n\u003cli>\u003cstrong>Grey Worm \u003c/strong>— He's a soldier. In war, soldiers die. And for the producers to really sell the tremendous human cost of the battles to come, they'll need to show us more than hordes of faceless Unsullied and Dothraki getting mowed down. They'll need to put a face on it—and show us Missandei, grieving his loss.\u003c/li>\n\u003cli>\u003cstrong>Bran Stark \u003c/strong>— Not sure about this one. But Bran's spent the last couple seasons as a living, breathing Encylopedia Westerosi, imparting crucial information for the other characters to act on. There doesn't seem to be a lot left for him to reveal. And the fact that he was marked by the Night King bodes, you know, just all \u003cem>kinds \u003c/em>of ill.\u003c/li>\n\u003cli>\u003cstrong>Gendry \u003c/strong>— Admit it, it would be \u003cem>just \u003c/em>like this show to bring Gendry back after so long away, throw him into battle and have him like trip on a rock and die. He's Robert Baratheon's son, after all.\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>The Deaths Foretold:\u003c/strong>\u003c/p>\n\u003cp>These are the characters who've been set up—either by in-show prophecy, or just the simple, implacable demands of storytelling—to \u003cem>totally \u003c/em>eat it, at some point in season eight.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Melisandre\u003c/strong> — She said it herself. She's coming back to Westeros to die. Take the woman at her word.\u003c/li>\n\u003cli>\u003cstrong>Varys \u003c/strong>— You too, Big V, I'm afraid. Melisandre said your number would come up, too, and this show wants us to place a great deal of stock in its mystic pronouncements. I just hope we find out what that mysterious voice was that Varys said he heard from the flames on the day he was made a eunuch. It's come up twice, over the course of the series, and actor Conleth Hill made a meal of it, both times, so let's hope it pays off. (I do not think it will pay off.)\u003c/li>\n\u003cli>\u003cstrong>Arya Stark\u003c/strong> — This one's controversial, because there's no in-continuity prophecy about Arya dying—there's just, you know, the show. The producers want us to thrill at Arya's badassery, but also wring our hands over her lethal, ruthless nature. I'm calling it: At some crucial moment she'll be forced to choose between crossing a name off her list—a big one (Cersei?), or choosing mercy. She'll choose the list, dooming herself. But she'll look great while she does so.\u003c/li>\n\u003cli>\u003cstrong>Beric Dondarrion\u003c/strong> — He's been brought back for a purpose, we are assured. That purpose has got to be destroying the Night King. Once that mission is over, so is he.\u003c/li>\n\u003cli>\u003cstrong>Jon Snow\u003c/strong> — I know, I know, one true heir to the Iron Throne, etc. etc. Doesn't matter. It's the Dondarrion rule: He's been brought back for a purpose and he'll accomplish that purpose. It'd be great if he could then retire to the Summer Islands with whatever the Lotus Port equivalent of a mai-tai might be, but that's not how this works, that's not how any of this works.\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>The Just Deserts:\u003c/strong>\u003c/p>\n\u003cp>These are the series' most hissable remaining villains; rest assured, not a one of them is gonna make it. Sure, the show's allowed their cruelty to thrive for multiple seasons, in most cases—but here at the end, justice has to find them.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>The Night King\u003c/strong> — He's a force of nature, he's blue-eyed soullessness, he's Death itself, sporting a bunch of teensy ice-cowlicks. More importantly, as we learned last season, killing him means killing every White Walker, and by extension, every wight, instantly. That's ... tidy. The show wouldn't have built that failsafe mechanism unless it intended to use it.\u003c/li>\n\u003cli>\u003cstrong>Queen Cersei*\u003c/strong> — She doesn't seem the sort to surrender amicably, and the show's not about to let her. She's done too much, she's gone too far. Winter (maybe Arya!) is coming for her. (That asterisk by her name refers to the fact that Cersei is also a proud member of Deaths Foretold category, as she was also the subject of a death-prophecy. So she's gonna get \u003cem>twice \u003c/em>as killed as everyone else.)\u003c/li>\n\u003cli>\u003cstrong>The Mountain \u003c/strong>— Cleganebowl will see everyone's favorite reanimated corpse (non-wight variety) going down.\u003c/li>\n\u003cli>\u003cstrong>Qyburn\u003c/strong> — This guy's exactly the sort of creepy toady the series will delight in preparing a particularly nasty demise for.\u003c/li>\n\u003cli>\u003cstrong>Euron Greyjoy\u003c/strong> — This cartoonishly cruel, one-note, bargain-basement pirate—Captain Jackass Sparrow—will go \u003cem>down\u003c/em>, and go down \u003cem>hard\u003c/em>. Probably at the hands of Yara. And it won't be nearly as surprising as the show wants it to be, because he's not so much a nuanced, believable villain as a plot device in guy-liner and leather pants.\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>The Stakes-Raisers:\u003c/strong>\u003c/p>\n\u003cp>I dearly hope everyone in this category makes it through. I'd like to think the series will rise above the pernicious tendency to kill or abuse secondary characters (usually women) in order to inspire hero characters (usually men) into taking action. I'd like to think it won't happen. But then, I've seen the show.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Gilly \u003c/strong>— Part of me thinks they wouldn't dare, because it's such a hack, obvious, tired cliche. But if they (wrongly) think they need to justify Sam leaping into heroic action, Gilly's a goner.\u003c/li>\n\u003cli>\u003cstrong>Missandei \u003c/strong>— Similarly, Missandei's the kind of character—smart, kind, gentle, warm—that could all too easily get fed into the sausage grinder of the show's producers, if they want to give us a sequence of an outraged Grey Worm rallying the troops. (Note: Either Grey Worm or Missandei will die—not both. One must remain alive to have us register the loss.)\u003c/li>\n\u003cli>\u003cstrong>Podrick \u003c/strong>— If they want Tyrion or Brienne to get their vengeance on, they'll kill off Pod.\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>The Safe As (Westeros) Houses:\u003c/strong>\u003c/p>\n\u003cp>These are the characters who will make it through, bloodied, beaten but unbowed.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Tyrion Lannister\u003c/strong> — Don't get me wrong, it would be \u003cem>just \u003c/em>like GRRM to off his most identifiable character (and most identifiable-\u003cem>with \u003c/em>character, if you're one of his legions of \"bookish-nerd-who-can't-fight\" readers) at the last possible second, just when victory is at hand. But I see Tyrion making it through, barely. He's coming off two seasons as a pretty lousy strategic adviser, so let's close off \u003cem>that \u003c/em>career path. Maybe he'll get that vineyard he always wanted.\u003c/li>\n\u003cli>\u003cstrong>Samwell Tarly \u003c/strong>— Well \u003cem>someone\u003c/em>'s got to stick around to write \u003cem>A Song of Ice and Fire\u003c/em> (see above, re: characters with whom the author and his readers most closely identify). He dropped out of maester school, and, what, he's gonna go back to Castle Black to be a Watcher On The Rubble? I don't think so. After last season's Friar's Club Roast of his father and older brother (more like \"Fryer's Club Roast\" good night Cleveland) the family seat at Horn Hill is ... kind of super super open.\u003c/li>\n\u003cli>\u003cstrong>Daenerys Targaryen\u003c/strong> — It's what the series has been setting us up for, all along: Young woman comes into her power, learns how to wield it with wisdom, compassion and restraint (or else what the hell was that interminable Meereen business for?), experiences huge losses, and ultimately assumes her rightful place. (Forget Jon Snow—his status as the \"true heir\" means he would simply continue the cycle, and that's not how the show will send us out.) And yes, on one level, Daenerys assuming the Iron Throne would also represent a return to the status quo. Except it won't—all those references to how she wants to \"break the wheel,\" to say nothing of the fact that the Wall is down, means that there won't be any status quo to return to. There also likely won't be an Iron Throne on which to sit. (Dragon fire forged the Iron Throne in the first place—fitting if it also destroyed it, once and for all.) I'd love for the show to legitimately surprise us, and having Dany assume power in some new, unlooked-for way would do that.\u003c/li>\n\u003cli>\u003cstrong>Bronn\u003c/strong> — There are survivors, and then there are cockroaches. Bronn would find some way to survive, even if the Night King won—he'd wrap himself in rotting entrails and stagger around going \"Argh, argh, got any mead argh, argh, argh.\" This guy rolls with any punch; he'll be fine.\u003c/li>\n\u003cli>\u003cstrong>Sansa Stark \u003c/strong>— In the books, she's an ancillary character, but the show's made her central, and put her through hell. She'll make it. She \u003cem>better\u003c/em>.\u003c/li>\n\u003cli>\u003cstrong>Lyanna Mormont\u003c/strong> — After forcing us to watch Shireen Baratheon go up in flames, I suspect the show's appetite for killing young women—especially fan favorites like the bluntly badass Lady of Bear Island—has been sated.\u003c/li>\n\u003cli>\u003cstrong>Yara Greyjoy \u003c/strong>— She'll assume her rightful place as the Queen of the Iron Islands, having kicked her worthless Uncle Euron to the briny curb.\u003c/li>\n\u003cli>\u003cstrong>The Hound\u003c/strong> — Tough call. He could very likely die in Cleganebowl, because he's already been through a whole \"almost dies, turns away from violence, whoops, nope, just kidding HACK SLASH KILL\" arc. Doubtful they'd do that again. They've put in so much work supplying him with added layers over and above his need for revenge, I hope they'll let him live to explore them.\u003c/li>\n\u003c/ul>\n\u003cp>There you have it. Again, wild guesses, all. I'll be recapping this final season of \u003cem>Game of Thrones\u003c/em> here at \u003ca href=\"https://www.npr.org/sections/arts/\">\u003cem>NPR.org\u003c/em>\u003c/a>, so we'll have six opportunities to bask in my wrongness. I'll write them overnight, so check for them on Monday mornings, first thing.\u003c/p>\n\u003cp>...\u003c/p>\n\u003cp>...\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>No okay yeah now that I think about it let's move Davos to the Safe category.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit\u003ca href=\"https://www.npr.org\"> NPR.org\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Which+Characters+Will+Lose+The+%27Game+Of+Thrones%3F%27%3A+A+Chronicle+Of+Many+Deaths+Foretold&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Just 6 episodes—an estimated 7 hours and 20 minutes—remain. Here are our predictions for which characters will (and especially won't) make it through to the end of the final season—and why. ","status":"publish","parent":0,"modified":1554927219,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":2289},"headData":{"title":"Which Characters Will Lose The 'Game Of Thrones?': A Chronicle Of Many Deaths Foretold | KQED","description":"Just 6 episodes—an estimated 7 hours and 20 minutes—remain. Here are our predictions for which characters will (and especially won't) make it through to the end of the final season—and why. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"110897 https://ww2.kqed.org/pop/?p=110897","disqusUrl":"https://ww2.kqed.org/pop/2019/04/10/which-characters-will-lose-the-game-of-thrones-a-chronicle-of-many-deaths-foretold/","disqusTitle":"Which Characters Will Lose The 'Game Of Thrones?': A Chronicle Of Many Deaths Foretold","nprByline":"Glen Weldon","nprImageAgency":"HBO","nprStoryId":"711063904","nprApiLink":"http://api.npr.org/query?id=711063904&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/04/10/711063904/which-characters-will-lose-the-game-of-thrones-a-chronicle-of-many-deaths-foreto?ft=nprml&f=711063904","nprRetrievedStory":"1","nprPubDate":"Wed, 10 Apr 2019 15:11:00 -0400","nprStoryDate":"Wed, 10 Apr 2019 12:00:52 -0400","nprLastModifiedDate":"Wed, 10 Apr 2019 15:11:27 -0400","path":"/pop/110897/which-characters-will-lose-the-game-of-thrones-a-chronicle-of-many-deaths-foretold","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\"When you play the game of thrones,\" Cersei Lannister (Lena Headey) told Ned Stark (Sean Bean) icily—but of course she says \u003cem>everything \u003c/em>icily—\"you win ... or you die.\"\u003c/p>\n\u003cp>Foreshadowing? To say the least. More like fiveshadowing.\u003c/p>\n\u003cp>Because she said that to him way back in the seventh episode of \u003cem>Game of Thrones\u003c/em>' very first season. It was May 2011, years before the show would become the inescapable international phenomenon it has, and two episodes before it would set itself firmly down the path to becoming just that, by killing off its nominal main hero, Ned Stark.\u003c/p>\n\u003cp>Since that time, over the course of seven seasons, Cersei has been proven exactly right, again and again. There's been some small amount of winning, here and there, but just really a \u003cem>tremendous lot\u003c/em> of dying—characters big and small, both the beloved and the benighted, have been poisoned, beheaded, slashed, gashed, stabbed, devoured by hounds, hurled from parapets, immolated, head-squished, pincushioned by arrows and—in one case—even died of old age, if you can imagine anything so grotesque.\u003c/p>\n\u003cp>Now that we're entering the home stretch—just six episodes left, which will clock in at an estimated seven hours and twenty minutes, total—all the series' disparate storylines are crashing together, which can be depended upon to send its body count soaring.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So let's make some predictions.\u003c/p>\n\u003cp>Read: Wild guesses.\u003c/p>\n\u003cp>These predictions are \u003cstrong>not \u003c/strong>based on anything but gut instinct. Nothing remotely spoilery lurks beneath them. Not knowledge gleaned from a close reading of the books, or from leaked on-set scuttlebutt, or anything, really, but a recent re-watch—and a reasonable understanding of how narrative arcs generally play out.\u003c/p>\n\u003cp>Let's take the likely deaths in piecemeal fashion, because they tend to slot into discrete categories.\u003c/p>\n\u003cp>\u003cstrong>The Noble Sacrificers:\u003c/strong>\u003c/p>\n\u003cp>These are the characters whose storylines seem most likely to end with a big, bold act of selflessness.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Jorah Mormont\u003c/strong> — Here's a guy whose whole grizzled, whispery, mustard-shirted schtick revolves around sacrificing himself for Daenerys. It's just who he is. He may have started off the series as a mole in her camp, but the show's dragged him through a lengthy redemption arc that's involved saving her life repeatedly, suffering ignoble exile and one particularly nasty case of fantasy eczema. He'll go down fighting, but he'll go down.\u003c/li>\n\u003cli>\u003cstrong>Jaime Lannister\u003c/strong> — He's come a long way, baby, and though from a story perspective it feels like he needs to see Cersei one last time before he dies, I suspect his end will come sooner. Maybe he ends up saving the life of Bran, the kid he sent plummeting from a tower? Nah, that's too tidy, but I don't see the Kingslayer making it out of season eight alive.\u003c/li>\n\u003cli>\u003cstrong>Brienne of Tarth\u003c/strong> — A beloved character, whose entire being is dedicated to honor, nobility and goodness. On \u003cem>Game of Thrones\u003c/em>. No, yeah, she's doomed.\u003c/li>\n\u003cli>\u003cstrong>Theon Greyjoy\u003c/strong> — Another character whose long, grisly redemption storyline is finally over, which is great. Not so great: That means there's nothing left for him to do, dramatically, but to die saving his sister Yara.\u003c/li>\n\u003cli>\u003cstrong>Davos Seaworth \u003c/strong>— Look, I hope he makes it. And there's a good chance he might, better than anyone else in this category. After all, he's not a fighter, he's the kind of character the show seems to favor—the loyal, canny, good-hearted advisor. But there are big battles coming.\u003c/li>\n\u003cli>\u003cstrong>Grey Worm \u003c/strong>— He's a soldier. In war, soldiers die. And for the producers to really sell the tremendous human cost of the battles to come, they'll need to show us more than hordes of faceless Unsullied and Dothraki getting mowed down. They'll need to put a face on it—and show us Missandei, grieving his loss.\u003c/li>\n\u003cli>\u003cstrong>Bran Stark \u003c/strong>— Not sure about this one. But Bran's spent the last couple seasons as a living, breathing Encylopedia Westerosi, imparting crucial information for the other characters to act on. There doesn't seem to be a lot left for him to reveal. And the fact that he was marked by the Night King bodes, you know, just all \u003cem>kinds \u003c/em>of ill.\u003c/li>\n\u003cli>\u003cstrong>Gendry \u003c/strong>— Admit it, it would be \u003cem>just \u003c/em>like this show to bring Gendry back after so long away, throw him into battle and have him like trip on a rock and die. He's Robert Baratheon's son, after all.\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>The Deaths Foretold:\u003c/strong>\u003c/p>\n\u003cp>These are the characters who've been set up—either by in-show prophecy, or just the simple, implacable demands of storytelling—to \u003cem>totally \u003c/em>eat it, at some point in season eight.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Melisandre\u003c/strong> — She said it herself. She's coming back to Westeros to die. Take the woman at her word.\u003c/li>\n\u003cli>\u003cstrong>Varys \u003c/strong>— You too, Big V, I'm afraid. Melisandre said your number would come up, too, and this show wants us to place a great deal of stock in its mystic pronouncements. I just hope we find out what that mysterious voice was that Varys said he heard from the flames on the day he was made a eunuch. It's come up twice, over the course of the series, and actor Conleth Hill made a meal of it, both times, so let's hope it pays off. (I do not think it will pay off.)\u003c/li>\n\u003cli>\u003cstrong>Arya Stark\u003c/strong> — This one's controversial, because there's no in-continuity prophecy about Arya dying—there's just, you know, the show. The producers want us to thrill at Arya's badassery, but also wring our hands over her lethal, ruthless nature. I'm calling it: At some crucial moment she'll be forced to choose between crossing a name off her list—a big one (Cersei?), or choosing mercy. She'll choose the list, dooming herself. But she'll look great while she does so.\u003c/li>\n\u003cli>\u003cstrong>Beric Dondarrion\u003c/strong> — He's been brought back for a purpose, we are assured. That purpose has got to be destroying the Night King. Once that mission is over, so is he.\u003c/li>\n\u003cli>\u003cstrong>Jon Snow\u003c/strong> — I know, I know, one true heir to the Iron Throne, etc. etc. Doesn't matter. It's the Dondarrion rule: He's been brought back for a purpose and he'll accomplish that purpose. It'd be great if he could then retire to the Summer Islands with whatever the Lotus Port equivalent of a mai-tai might be, but that's not how this works, that's not how any of this works.\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>The Just Deserts:\u003c/strong>\u003c/p>\n\u003cp>These are the series' most hissable remaining villains; rest assured, not a one of them is gonna make it. Sure, the show's allowed their cruelty to thrive for multiple seasons, in most cases—but here at the end, justice has to find them.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>The Night King\u003c/strong> — He's a force of nature, he's blue-eyed soullessness, he's Death itself, sporting a bunch of teensy ice-cowlicks. More importantly, as we learned last season, killing him means killing every White Walker, and by extension, every wight, instantly. That's ... tidy. The show wouldn't have built that failsafe mechanism unless it intended to use it.\u003c/li>\n\u003cli>\u003cstrong>Queen Cersei*\u003c/strong> — She doesn't seem the sort to surrender amicably, and the show's not about to let her. She's done too much, she's gone too far. Winter (maybe Arya!) is coming for her. (That asterisk by her name refers to the fact that Cersei is also a proud member of Deaths Foretold category, as she was also the subject of a death-prophecy. So she's gonna get \u003cem>twice \u003c/em>as killed as everyone else.)\u003c/li>\n\u003cli>\u003cstrong>The Mountain \u003c/strong>— Cleganebowl will see everyone's favorite reanimated corpse (non-wight variety) going down.\u003c/li>\n\u003cli>\u003cstrong>Qyburn\u003c/strong> — This guy's exactly the sort of creepy toady the series will delight in preparing a particularly nasty demise for.\u003c/li>\n\u003cli>\u003cstrong>Euron Greyjoy\u003c/strong> — This cartoonishly cruel, one-note, bargain-basement pirate—Captain Jackass Sparrow—will go \u003cem>down\u003c/em>, and go down \u003cem>hard\u003c/em>. Probably at the hands of Yara. And it won't be nearly as surprising as the show wants it to be, because he's not so much a nuanced, believable villain as a plot device in guy-liner and leather pants.\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>The Stakes-Raisers:\u003c/strong>\u003c/p>\n\u003cp>I dearly hope everyone in this category makes it through. I'd like to think the series will rise above the pernicious tendency to kill or abuse secondary characters (usually women) in order to inspire hero characters (usually men) into taking action. I'd like to think it won't happen. But then, I've seen the show.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Gilly \u003c/strong>— Part of me thinks they wouldn't dare, because it's such a hack, obvious, tired cliche. But if they (wrongly) think they need to justify Sam leaping into heroic action, Gilly's a goner.\u003c/li>\n\u003cli>\u003cstrong>Missandei \u003c/strong>— Similarly, Missandei's the kind of character—smart, kind, gentle, warm—that could all too easily get fed into the sausage grinder of the show's producers, if they want to give us a sequence of an outraged Grey Worm rallying the troops. (Note: Either Grey Worm or Missandei will die—not both. One must remain alive to have us register the loss.)\u003c/li>\n\u003cli>\u003cstrong>Podrick \u003c/strong>— If they want Tyrion or Brienne to get their vengeance on, they'll kill off Pod.\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>The Safe As (Westeros) Houses:\u003c/strong>\u003c/p>\n\u003cp>These are the characters who will make it through, bloodied, beaten but unbowed.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Tyrion Lannister\u003c/strong> — Don't get me wrong, it would be \u003cem>just \u003c/em>like GRRM to off his most identifiable character (and most identifiable-\u003cem>with \u003c/em>character, if you're one of his legions of \"bookish-nerd-who-can't-fight\" readers) at the last possible second, just when victory is at hand. But I see Tyrion making it through, barely. He's coming off two seasons as a pretty lousy strategic adviser, so let's close off \u003cem>that \u003c/em>career path. Maybe he'll get that vineyard he always wanted.\u003c/li>\n\u003cli>\u003cstrong>Samwell Tarly \u003c/strong>— Well \u003cem>someone\u003c/em>'s got to stick around to write \u003cem>A Song of Ice and Fire\u003c/em> (see above, re: characters with whom the author and his readers most closely identify). He dropped out of maester school, and, what, he's gonna go back to Castle Black to be a Watcher On The Rubble? I don't think so. After last season's Friar's Club Roast of his father and older brother (more like \"Fryer's Club Roast\" good night Cleveland) the family seat at Horn Hill is ... kind of super super open.\u003c/li>\n\u003cli>\u003cstrong>Daenerys Targaryen\u003c/strong> — It's what the series has been setting us up for, all along: Young woman comes into her power, learns how to wield it with wisdom, compassion and restraint (or else what the hell was that interminable Meereen business for?), experiences huge losses, and ultimately assumes her rightful place. (Forget Jon Snow—his status as the \"true heir\" means he would simply continue the cycle, and that's not how the show will send us out.) And yes, on one level, Daenerys assuming the Iron Throne would also represent a return to the status quo. Except it won't—all those references to how she wants to \"break the wheel,\" to say nothing of the fact that the Wall is down, means that there won't be any status quo to return to. There also likely won't be an Iron Throne on which to sit. (Dragon fire forged the Iron Throne in the first place—fitting if it also destroyed it, once and for all.) I'd love for the show to legitimately surprise us, and having Dany assume power in some new, unlooked-for way would do that.\u003c/li>\n\u003cli>\u003cstrong>Bronn\u003c/strong> — There are survivors, and then there are cockroaches. Bronn would find some way to survive, even if the Night King won—he'd wrap himself in rotting entrails and stagger around going \"Argh, argh, got any mead argh, argh, argh.\" This guy rolls with any punch; he'll be fine.\u003c/li>\n\u003cli>\u003cstrong>Sansa Stark \u003c/strong>— In the books, she's an ancillary character, but the show's made her central, and put her through hell. She'll make it. She \u003cem>better\u003c/em>.\u003c/li>\n\u003cli>\u003cstrong>Lyanna Mormont\u003c/strong> — After forcing us to watch Shireen Baratheon go up in flames, I suspect the show's appetite for killing young women—especially fan favorites like the bluntly badass Lady of Bear Island—has been sated.\u003c/li>\n\u003cli>\u003cstrong>Yara Greyjoy \u003c/strong>— She'll assume her rightful place as the Queen of the Iron Islands, having kicked her worthless Uncle Euron to the briny curb.\u003c/li>\n\u003cli>\u003cstrong>The Hound\u003c/strong> — Tough call. He could very likely die in Cleganebowl, because he's already been through a whole \"almost dies, turns away from violence, whoops, nope, just kidding HACK SLASH KILL\" arc. Doubtful they'd do that again. They've put in so much work supplying him with added layers over and above his need for revenge, I hope they'll let him live to explore them.\u003c/li>\n\u003c/ul>\n\u003cp>There you have it. Again, wild guesses, all. I'll be recapping this final season of \u003cem>Game of Thrones\u003c/em> here at \u003ca href=\"https://www.npr.org/sections/arts/\">\u003cem>NPR.org\u003c/em>\u003c/a>, so we'll have six opportunities to bask in my wrongness. I'll write them overnight, so check for them on Monday mornings, first thing.\u003c/p>\n\u003cp>...\u003c/p>\n\u003cp>...\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No okay yeah now that I think about it let's move Davos to the Safe category.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit\u003ca href=\"https://www.npr.org\"> NPR.org\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Which+Characters+Will+Lose+The+%27Game+Of+Thrones%3F%27%3A+A+Chronicle+Of+Many+Deaths+Foretold&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/110897/which-characters-will-lose-the-game-of-thrones-a-chronicle-of-many-deaths-foretold","authors":["byline_pop_110897"],"categories":["pop_3"],"tags":["pop_3341","pop_73","pop_271"],"featImg":"pop_110898","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. 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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/2021/12/CodeSwitchLifeKit_StationGraphics_300x300EmailGraphic.png","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. 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