A Kinder, Gentler Wave of Reality TV Tries a Little Tenderness, For a Change
Mindy Kaling And Emma Thompson Shatter The 'Late Night' Glass Ceiling
Life In 'Songland': The Reality Behind NBC's New Reality Show
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Huge Bets, Fast Buzzer: Sports Bettor Smashes 'Jeopardy!' Records
NPR's Favorite TV Shows Of 2018
Melissa Villaseñor is Finding Her Own Voice on 'SNL'
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What 'The Good Place' Has Taught Us About Philosophy and Life So Far
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Born and raised in Wales, she started her career in London, as a music journalist for uproarious rock ’n’ roll magazine, \u003cem>\u003ca href=\"https://www.kerrang.com/features/an-oral-history-of-alternative-tentacles-40-years-of-keeping-punk-alive/\">Kerrang!\u003c/a>\u003c/em>. In America, she got her start at alt-weeklies including \u003ca href=\"https://archives.sfweekly.com/sanfrancisco/ArticleArchives?author=2127078&excludeCategoryType=Blog\">\u003cem>SF Weekly\u003c/em>\u003c/a> and the \u003ca href=\"https://www.villagevoice.com/author/raealexandra/\">\u003cem>Village Voice\u003c/em>\u003c/a>, and freelanced for a great many other publications. Her undying love for San Francisco has, more recently, turned her into \u003ca href=\"https://www.kqed.org/arts/tag/bayareahistory/\">a history nerd\u003c/a>. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture.","avatar":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twitter":"raemondjjjj","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"science","roles":["editor"]}],"headData":{"title":"Rae Alexandra | KQED","description":"Staff Writer","ogImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ralexandra"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"pop_113026":{"type":"posts","id":"pop_113026","meta":{"index":"posts_1591205157","site":"pop","id":"113026","score":null,"sort":[1564297324000]},"guestAuthors":[],"slug":"a-kinder-gentler-wave-of-reality-tv-tries-a-little-tenderness-for-a-change","title":"A Kinder, Gentler Wave of Reality TV Tries a Little Tenderness, For a Change","publishDate":1564297324,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>It's a genre known for screaming matches, hot-tub hookups and contestants who are there \u003cem>to win,\u003c/em> \u003cem>not\u003c/em> \u003cem>to make friends\u003c/em>. But as of late, reality television has taken a kinder, gentler turn.\u003c/p>\n\u003cp>Fire up Netflix and you'll see sweet-natured shows such as \u003cem>Queer Eye\u003c/em>, which kicked off its fourth season with a public school teacher getting an enthusiastic makeover, and a slew of food programs where people are lovely to each other. Think \u003cem>The Great British Baking Show\u003c/em>, \u003cem>Sugar Rush\u003c/em>, \u003cem>Street Food\u003c/em> and \u003cem>Nailed It!\u003c/em>, where contestants giggle with the hosts about their haplessness in decorating cakes.\u003c/p>\n\u003cp>Netflix's dating show, \u003cem>Dating Around\u003c/em>, is practically humiliation-free. And in the hit series \u003cem>Tidying Up with Marie Kondo\u003c/em>, \u003ca href=\"https://www.npr.org/2016/01/07/462230434/japanese-organizing-consultant-marie-kondo-takes-america-by-storm\">the Japanese organizing guru\u003c/a> gently guides Americans into discarding stuff that doesn't \"spark joy.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WvyeapVBLWY\u003c/p>\n\u003cp>\"We say 'spark joy' now for everything,\" says Brandon Riegg, the Netflix vice president in charge of unscripted series.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Riegg says Netflix has made heartwarming reality shows central to its brand, though that wasn't always the plan. The success of \u003cem>Queer Eye\u003c/em> and \u003cem>Nailed It! \u003c/em>convinced Netflix to double down on reality shows featuring people being kind to each other, he says. (Of course, because Netflix does not release audience numbers, we don't precisely know how successful those shows are.)\u003c/p>\n\u003cp>\"In the beginning, it wasn't an intentional strategy,\" Riegg says. \"When we decided to get into original unscripted programming, it was really a blank slate.\"\u003c/p>\n\u003cp>It should be noted that not all of Netflix's reality programming can be described as sweet. Its game show \u003cem>Flinch\u003c/em> doesn't disguise its nasty streak, and Netflix recently took heat over its upcoming \u003cem>Prank\u003c/em> \u003cem>Encounters\u003c/em>, where people working in short-term jobs are subject to hidden-camera pranks. (Netflix says the show, hosted by a teenage star of the sci-fi hit series \u003cem>Stranger Things\u003c/em>, is \"spooky, supernatural and over-the-top, and everyone had a great time.\")\u003c/p>\n\u003cp>Still, the burgeoning trend of positive reality programming has spread across the industry, according to Riegg.\u003c/p>\n\u003cp>\"Everyone's noticing that viewers are more drawn to that, that there's an appetite for that,\" he says, pointing to Fox's \u003cem>The Masked Singer\u003c/em> and NBC's \u003cem>Songland\u003c/em>. NBC is also the home of the notoriously nice crafting show \u003cem>Making It\u003c/em>, and the network may have helped to start this trend years ago, with weight-loss program \u003cem>The Biggest Loser\u003c/em>, along with ABC's \u003cem>Extreme Makeover: Home Edition \u003c/em>(which Riegg helped to develop).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pOi9OmdoxQs\u003c/p>\n\u003cp>\"As a critic and fan of reality TV, I love it,\" says Andy Dehnart, creator of the website \u003ca href=\"https://www.realityblurred.com/realitytv/\">Reality Blurred\u003c/a>. \"It makes it a lot easier to watch, to write about and just enjoy.\"\u003c/p>\n\u003cp>Dehnart points out these shows appeal to advertisers and to families looking for shows to watch together. Sunny reality shows may provide something of a counterbalance to the deeply dark scripted shows dominating TV of late: \u003cem>The Walking Dead\u003c/em>, \u003cem>Game of Thrones\u003c/em>, \u003cem>Chernobyl\u003c/em>, \u003cem>The Handmaid's Tale\u003c/em>, \u003cem>Killing Eve\u003c/em>, \u003cem>Ozark\u003c/em>, \u003cem>Better Call Saul\u003c/em>, \u003cem>Succession\u003c/em> and so on.\u003c/p>\n\u003cp>Of late, reality shows are providing a much-needed break from people being rotten to each other, says Tara Long, president of unscripted TV for Entertainment One, which produces such reality shows as \u003cem>Growing Up Hip Hop\u003c/em>, \u003cem>LadyGang\u003c/em> and \u003cem>Siesta Key\u003c/em>.\u003c/p>\n\u003cp>\"We actually have production meetings where we say we don't want fighting,\" she says. It's a profound shift from the days when the genre relied on people flipping tables for drama. \"Ten years ago, you'd need that in every episode to build up to your final act.\"\u003c/p>\n\u003cp>I asked Long if people who make reality television might be trying to change the cultural conversation after 20 years of toxic reality shows that helped—in part—elect \u003ca href=\"https://www.npr.org/2017/02/03/513194862/with-conflict-and-drama-trump-hooks-you-like-a-reality-tv-show\">a former reality show star\u003c/a> to the U.S. presidency.\u003c/p>\n\u003cp>\"A hundred percent,\" she says, without hesitation. \"I think we want to create this content and tell these stories to kind of course-correct for some of the type of shows that have been done in the past.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a moment when the tone of public discourse feels so lowered, Long says, maybe now is the time for reality television—yes, reality television—to push for civility and respect.\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=A+Kinder%2C+Gentler+Wave+Of+Reality+TV+Tries+A+Little+Tenderness%2C+For+A+Change&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"It's a genre historically known for screaming matches and backstabbing competition. But lately, the shows at its forefront—say, 'Queer Eye' or 'Marie Kondo'—feature a lot more generosity of spirit.","status":"publish","parent":0,"modified":1564203184,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":733},"headData":{"title":"A Kinder, Gentler Wave of Reality TV Tries a Little Tenderness, For a Change | KQED","description":"It's a genre historically known for screaming matches and backstabbing competition. But lately, the shows at its forefront—say, 'Queer Eye' or 'Marie Kondo'—feature a lot more generosity of spirit.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Kinder, Gentler Wave of Reality TV Tries a Little Tenderness, For a Change","datePublished":"2019-07-28T07:02:04.000Z","dateModified":"2019-07-27T04:53:04.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"113026 https://ww2.kqed.org/pop/?p=113026","disqusUrl":"https://ww2.kqed.org/pop/2019/07/28/a-kinder-gentler-wave-of-reality-tv-tries-a-little-tenderness-for-a-change/","disqusTitle":"A Kinder, Gentler Wave of Reality TV Tries a Little Tenderness, For a Change","nprByline":"Neda Ulaby","nprImageAgency":"Netflix","nprStoryId":"744881124","nprApiLink":"http://api.npr.org/query?id=744881124&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/07/26/744881124/a-kinder-gentler-wave-of-reality-tv-tries-a-little-tenderness-for-a-change?ft=nprml&f=744881124","nprRetrievedStory":"1","nprPubDate":"Fri, 26 Jul 2019 19:52:00 -0400","nprStoryDate":"Fri, 26 Jul 2019 12:00:00 -0400","nprLastModifiedDate":"Fri, 26 Jul 2019 17:13:23 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/07/20190726_atc_a_kinder_gentler_wave_of_reality_tv_tries_a_little_tenderness_for_a_change.mp3?orgId=1&topicId=1138&d=208&p=2&story=744881124&ft=nprml&f=744881124","nprAudioM3u":"http://api.npr.org/m3u/1745731923-fa9c87.m3u?orgId=1&topicId=1138&d=208&p=2&story=744881124&ft=nprml&f=744881124","audioTrackLength":208,"path":"/pop/113026/a-kinder-gentler-wave-of-reality-tv-tries-a-little-tenderness-for-a-change","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/07/20190726_atc_a_kinder_gentler_wave_of_reality_tv_tries_a_little_tenderness_for_a_change.mp3?orgId=1&topicId=1138&d=208&p=2&story=744881124&ft=nprml&f=744881124","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It's a genre known for screaming matches, hot-tub hookups and contestants who are there \u003cem>to win,\u003c/em> \u003cem>not\u003c/em> \u003cem>to make friends\u003c/em>. But as of late, reality television has taken a kinder, gentler turn.\u003c/p>\n\u003cp>Fire up Netflix and you'll see sweet-natured shows such as \u003cem>Queer Eye\u003c/em>, which kicked off its fourth season with a public school teacher getting an enthusiastic makeover, and a slew of food programs where people are lovely to each other. Think \u003cem>The Great British Baking Show\u003c/em>, \u003cem>Sugar Rush\u003c/em>, \u003cem>Street Food\u003c/em> and \u003cem>Nailed It!\u003c/em>, where contestants giggle with the hosts about their haplessness in decorating cakes.\u003c/p>\n\u003cp>Netflix's dating show, \u003cem>Dating Around\u003c/em>, is practically humiliation-free. And in the hit series \u003cem>Tidying Up with Marie Kondo\u003c/em>, \u003ca href=\"https://www.npr.org/2016/01/07/462230434/japanese-organizing-consultant-marie-kondo-takes-america-by-storm\">the Japanese organizing guru\u003c/a> gently guides Americans into discarding stuff that doesn't \"spark joy.\"\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/WvyeapVBLWY'\n title='//www.youtube.com/embed/WvyeapVBLWY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"We say 'spark joy' now for everything,\" says Brandon Riegg, the Netflix vice president in charge of unscripted series.\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>Riegg says Netflix has made heartwarming reality shows central to its brand, though that wasn't always the plan. The success of \u003cem>Queer Eye\u003c/em> and \u003cem>Nailed It! \u003c/em>convinced Netflix to double down on reality shows featuring people being kind to each other, he says. (Of course, because Netflix does not release audience numbers, we don't precisely know how successful those shows are.)\u003c/p>\n\u003cp>\"In the beginning, it wasn't an intentional strategy,\" Riegg says. \"When we decided to get into original unscripted programming, it was really a blank slate.\"\u003c/p>\n\u003cp>It should be noted that not all of Netflix's reality programming can be described as sweet. Its game show \u003cem>Flinch\u003c/em> doesn't disguise its nasty streak, and Netflix recently took heat over its upcoming \u003cem>Prank\u003c/em> \u003cem>Encounters\u003c/em>, where people working in short-term jobs are subject to hidden-camera pranks. (Netflix says the show, hosted by a teenage star of the sci-fi hit series \u003cem>Stranger Things\u003c/em>, is \"spooky, supernatural and over-the-top, and everyone had a great time.\")\u003c/p>\n\u003cp>Still, the burgeoning trend of positive reality programming has spread across the industry, according to Riegg.\u003c/p>\n\u003cp>\"Everyone's noticing that viewers are more drawn to that, that there's an appetite for that,\" he says, pointing to Fox's \u003cem>The Masked Singer\u003c/em> and NBC's \u003cem>Songland\u003c/em>. NBC is also the home of the notoriously nice crafting show \u003cem>Making It\u003c/em>, and the network may have helped to start this trend years ago, with weight-loss program \u003cem>The Biggest Loser\u003c/em>, along with ABC's \u003cem>Extreme Makeover: Home Edition \u003c/em>(which Riegg helped to develop).\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/pOi9OmdoxQs'\n title='//www.youtube.com/embed/pOi9OmdoxQs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"As a critic and fan of reality TV, I love it,\" says Andy Dehnart, creator of the website \u003ca href=\"https://www.realityblurred.com/realitytv/\">Reality Blurred\u003c/a>. \"It makes it a lot easier to watch, to write about and just enjoy.\"\u003c/p>\n\u003cp>Dehnart points out these shows appeal to advertisers and to families looking for shows to watch together. Sunny reality shows may provide something of a counterbalance to the deeply dark scripted shows dominating TV of late: \u003cem>The Walking Dead\u003c/em>, \u003cem>Game of Thrones\u003c/em>, \u003cem>Chernobyl\u003c/em>, \u003cem>The Handmaid's Tale\u003c/em>, \u003cem>Killing Eve\u003c/em>, \u003cem>Ozark\u003c/em>, \u003cem>Better Call Saul\u003c/em>, \u003cem>Succession\u003c/em> and so on.\u003c/p>\n\u003cp>Of late, reality shows are providing a much-needed break from people being rotten to each other, says Tara Long, president of unscripted TV for Entertainment One, which produces such reality shows as \u003cem>Growing Up Hip Hop\u003c/em>, \u003cem>LadyGang\u003c/em> and \u003cem>Siesta Key\u003c/em>.\u003c/p>\n\u003cp>\"We actually have production meetings where we say we don't want fighting,\" she says. It's a profound shift from the days when the genre relied on people flipping tables for drama. \"Ten years ago, you'd need that in every episode to build up to your final act.\"\u003c/p>\n\u003cp>I asked Long if people who make reality television might be trying to change the cultural conversation after 20 years of toxic reality shows that helped—in part—elect \u003ca href=\"https://www.npr.org/2017/02/03/513194862/with-conflict-and-drama-trump-hooks-you-like-a-reality-tv-show\">a former reality show star\u003c/a> to the U.S. presidency.\u003c/p>\n\u003cp>\"A hundred percent,\" she says, without hesitation. \"I think we want to create this content and tell these stories to kind of course-correct for some of the type of shows that have been done in the past.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a moment when the tone of public discourse feels so lowered, Long says, maybe now is the time for reality television—yes, reality television—to push for civility and respect.\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=A+Kinder%2C+Gentler+Wave+Of+Reality+TV+Tries+A+Little+Tenderness%2C+For+A+Change&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/113026/a-kinder-gentler-wave-of-reality-tv-tries-a-little-tenderness-for-a-change","authors":["byline_pop_113026"],"categories":["pop_3"],"tags":["pop_3795","pop_3796","pop_88","pop_438","pop_3147","pop_54","pop_280"],"featImg":"pop_113027","label":"pop"},"pop_112397":{"type":"posts","id":"pop_112397","meta":{"index":"posts_1591205157","site":"pop","id":"112397","score":null,"sort":[1560797688000]},"guestAuthors":[],"slug":"mindy-kaling-and-emma-thompson-shatter-the-late-night-glass-ceiling","title":"Mindy Kaling And Emma Thompson Shatter The 'Late Night' Glass Ceiling","publishDate":1560797688,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>There's a funny thing about late night TV, says Mindy Kaling. Watching these shows, \"there's such a \u003cem>joie de vivre\u003c/em>\"—but it's at odds with the \"ruthlessness and mercilessness\" that goes into making the show behind the scenes. \"I was obsessed with how all these people could be working so hard and be so competitive to make a product that is so entertaining and light,\" Kaling says.\u003c/p>\n\u003cp>Kaling explores that dichotomy—and the racism, ageism and sexism of television—in her new film \u003cem>Late Night.\u003c/em> Emma Thompson stars as talk show host Katherine Newbury, a once-popular comic who broke through the glass ceiling of late-night comedy, only to pull up the ladder behind her and settle into a stale, predictable show fed by a crew of all-white, male writers.\u003c/p>\n\u003cp>Then Molly Patel, played by Kaling, is hired—on a whim, as a diversity hire—and starts to shake things up.\u003c/p>\n\u003cp>Kaling wrote the role with Thompson in mind. \"Emma is my favorite living actor,\" Kaling says. \"I've loved her since I was an 11-year old girl and I saw her in \u003cem>Much Ado About Nothing\u003c/em>.\"\u003c/p>\n\u003cp>Thompson—a self-described \"Luddite\"—doesn't watch much television and wasn't terribly familiar with Kaling's work. Feeling a little \"irrelevant,\" she worried that Kaling had perhaps imagined a role for her as \"an elderly archaeologist in Dorset.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She had not.\u003c/p>\n\u003cp>Thompson read the script and: \"Forty-eight hours later rang my agent and said, 'Please tell her that I couldn't be more thrilled and that I will start tomorrow.'\"\u003c/p>\n\u003cp>Kaling and Thompson talked with NPR about the \"macho\" world of late night, the perception of powerful women, and the connotations of the term \"diversity hire.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DxefiCjQirw\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On writing the role of a female late night host\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kaling: \u003c/strong>I've wanted to write about late night so much because I'm one of those comedy nerds that was obsessed with it growing up. I read every book about it. I was an intern at \u003cem>Late Night with Conan O'Brien\u003c/em> before I moved over into the half-hour world to work on \u003cem>The Office\u003c/em>. But that environment is very famous—even among comedy writers—because it is hyper-masculine, hyper-competitive, very ruthless. And I was not interested really, in writing a movie with an older white male lead, which is what we see in a lot of these shows.\u003c/p>\n\u003cp>I had always wanted to write something for Emma Thompson. ... For me, you know, so many actors can do dramatic roles and we give them awards to do it, but so few can be funny and do drama. ... Emma can do both, and she became very famous doing drama, but she comes from comedy, she comes from sketch. ...\u003c/p>\n\u003cp>I said I know it's science fiction for there to be a female late-night talk show host—and even more so for her to have had the job for 30 years—but it was the only thing that made sense for me to write.\u003c/p>\n\u003cp>\u003cstrong>On playing a female boss who evolves\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Thompson:\u003c/strong> I think there is something a little bit macho about the late-night slot—a little bit 1970s, \u003cem>Saturday Night Live,\u003c/em> everybody's up all night taking coke, John Belushi is announcing that \u003ca href=\"https://www.nytimes.com/1992/02/16/arts/television-women-in-the-locker-room-at-saturday-night-live.html\">\"women aren't funny\"\u003c/a> and it's a tough old world for a woman. [My character] Katherine is the person who managed to survive it ... but she's also bright enough to recognize that she's got to change and she's got to listen. ...\u003c/p>\n\u003cp>What's so wonderful about this story is: So often when you've got a female boss in a movie, she doesn't change. She's just the evil stepmother, the evil boss, the cold, arrogant, archetype person. But what Mindy's done is create an actual person—a living, breathing person—who, at the beginning, does find it difficult to accept, actually, the fact that she's no longer as successful as she thought she was.\u003c/p>\n\u003cp>She suddenly realizes that she's been complacent and because she is genuinely committed to being excellent, she decides she's got to change. And it takes a while, but finally Mindy's character does break through to her. They create a working relationship that's so fun to watch developing and doesn't turn all soft and fluffy at the end. It just becomes something very real, very believable and very uplifting.\u003c/p>\n\u003cfigure id=\"attachment_112398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-112398\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-800x533.jpg\" alt='Mindy Kaling, right, wrote the lead role in Late Night with Emma Thompson in mind. They filmed the movie in a \"white heat of passion\" in 25 days, Thompson says. They are pictured above in London in May 2019.' width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-1200x799.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-1920x1279.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mindy Kaling, right, wrote the lead role in Late Night with Emma Thompson in mind. They filmed the movie in a \"white heat of passion\" in 25 days, Thompson says. They are pictured above in London in May 2019. \u003ccite>(Matt Dunham/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On female authority being perceived as \"cold\"\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kaling:\u003c/strong> Katherine's character does not care what people's reactions are to her honest answers and honest desires. If she sees any kind of inefficiency she calls it out, without anger. And it's interesting—we've been doing press for the movie and everyone has been using words like \"bitchy\" and \"cold,\" and it's not that she's bitchy and cold, she's just dispassionately expressing what she needs. ...\u003c/p>\n\u003cp>\u003cstrong>Thompson:\u003c/strong> Especially if you're pathologically nice, or you want to be kind to everybody—like me—playing Katherine was a kind of a five-week holiday from having to look after everybody. It was so blissful just turning around to someone who was boring me and say, \"I'm not interested, shut up.\" And then not apologizing for the rest of the week about it. ....\u003c/p>\n\u003cp>\u003cstrong>Kaling:\u003c/strong> A man is entitled to have a private life. ... When I was writing it I didn't particularly think that Emma was cold. I thought that the character was crisp and to-the-point and direct. And those are qualities that are so positive in male leaders. But in a woman, they turned certain people off. People are so uncomfortable with the possibility that a woman would be direct in her communication.\u003c/p>\n\u003cp>\u003cstrong>On what the movie says about diversity and hiring\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kaling:\u003c/strong> We talk a lot in the movie about the fact that Molly is a diversity hire and I can't think of another movie or TV show that really talks about this head-on with that term. The truth of the matter is the term has really pejorative connotations. I was a diversity hire at \u003cem>The Office\u003c/em> when I started writing, and it's the reason I had the job—because NBC was paying my salary so that \u003cem>The Office \u003c/em>could hire me without having to take a hit on their budget. ...\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For years I was so embarrassed by that and I never wanted anyone to know—although of course it was plain as day. It wasn't until years later that I realized that that program and diversity hire is something that I should be wearing proudly, because what it did was it gave me access to work on a show that I would not have had otherwise.\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=Mindy+Kaling+And+Emma+Thompson+Shatter+The+%27Late+Night%27+Glass+Ceiling&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Thompson plays a successful TV host who pulled the ladder up behind her in the movie 'Late Night.' Kaling says a female late night host is \"science fiction,\" but this was the role she wanted to write.","status":"publish","parent":0,"modified":1560797688,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1214},"headData":{"title":"Mindy Kaling And Emma Thompson Shatter The 'Late Night' Glass Ceiling | KQED","description":"Thompson plays a successful TV host who pulled the ladder up behind her in the movie 'Late Night.' Kaling says a female late night host is "science fiction," but this was the role she wanted to write.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Mindy Kaling And Emma Thompson Shatter The 'Late Night' Glass Ceiling","datePublished":"2019-06-17T18:54:48.000Z","dateModified":"2019-06-17T18:54:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"112397 https://ww2.kqed.org/pop/?p=112397","disqusUrl":"https://ww2.kqed.org/pop/2019/06/17/mindy-kaling-and-emma-thompson-shatter-the-late-night-glass-ceiling/","disqusTitle":"Mindy Kaling And Emma Thompson Shatter The 'Late Night' Glass Ceiling","nprImageCredit":"Matt Dunham","nprByline":"Michel Martin","nprImageAgency":"AP","nprStoryId":"732433046","nprApiLink":"http://api.npr.org/query?id=732433046&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/06/15/732433046/mindy-kaling-and-emma-thompson-shatter-the-late-night-glass-ceiling?ft=nprml&f=732433046","nprRetrievedStory":"1","nprPubDate":"Sat, 15 Jun 2019 17:44:00 -0400","nprStoryDate":"Sat, 15 Jun 2019 17:07:00 -0400","nprLastModifiedDate":"Sat, 15 Jun 2019 17:14:51 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/06/20190615_atc_mindy_kaling_and_emma_thompson_shatter_the_late_night_glass_ceiling.mp3?orgId=1&topicId=1137&d=662&p=2&story=732433046&ft=nprml&f=732433046","nprAudioM3u":"http://api.npr.org/m3u/1733081733-8f30da.m3u?orgId=1&topicId=1137&d=662&p=2&story=732433046&ft=nprml&f=732433046","audioTrackLength":663,"path":"/pop/112397/mindy-kaling-and-emma-thompson-shatter-the-late-night-glass-ceiling","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/06/20190615_atc_mindy_kaling_and_emma_thompson_shatter_the_late_night_glass_ceiling.mp3?orgId=1&topicId=1137&d=662&p=2&story=732433046&ft=nprml&f=732433046","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There's a funny thing about late night TV, says Mindy Kaling. Watching these shows, \"there's such a \u003cem>joie de vivre\u003c/em>\"—but it's at odds with the \"ruthlessness and mercilessness\" that goes into making the show behind the scenes. \"I was obsessed with how all these people could be working so hard and be so competitive to make a product that is so entertaining and light,\" Kaling says.\u003c/p>\n\u003cp>Kaling explores that dichotomy—and the racism, ageism and sexism of television—in her new film \u003cem>Late Night.\u003c/em> Emma Thompson stars as talk show host Katherine Newbury, a once-popular comic who broke through the glass ceiling of late-night comedy, only to pull up the ladder behind her and settle into a stale, predictable show fed by a crew of all-white, male writers.\u003c/p>\n\u003cp>Then Molly Patel, played by Kaling, is hired—on a whim, as a diversity hire—and starts to shake things up.\u003c/p>\n\u003cp>Kaling wrote the role with Thompson in mind. \"Emma is my favorite living actor,\" Kaling says. \"I've loved her since I was an 11-year old girl and I saw her in \u003cem>Much Ado About Nothing\u003c/em>.\"\u003c/p>\n\u003cp>Thompson—a self-described \"Luddite\"—doesn't watch much television and wasn't terribly familiar with Kaling's work. Feeling a little \"irrelevant,\" she worried that Kaling had perhaps imagined a role for her as \"an elderly archaeologist in Dorset.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She had not.\u003c/p>\n\u003cp>Thompson read the script and: \"Forty-eight hours later rang my agent and said, 'Please tell her that I couldn't be more thrilled and that I will start tomorrow.'\"\u003c/p>\n\u003cp>Kaling and Thompson talked with NPR about the \"macho\" world of late night, the perception of powerful women, and the connotations of the term \"diversity hire.\"\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/DxefiCjQirw'\n title='//www.youtube.com/embed/DxefiCjQirw'\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 writing the role of a female late night host\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kaling: \u003c/strong>I've wanted to write about late night so much because I'm one of those comedy nerds that was obsessed with it growing up. I read every book about it. I was an intern at \u003cem>Late Night with Conan O'Brien\u003c/em> before I moved over into the half-hour world to work on \u003cem>The Office\u003c/em>. But that environment is very famous—even among comedy writers—because it is hyper-masculine, hyper-competitive, very ruthless. And I was not interested really, in writing a movie with an older white male lead, which is what we see in a lot of these shows.\u003c/p>\n\u003cp>I had always wanted to write something for Emma Thompson. ... For me, you know, so many actors can do dramatic roles and we give them awards to do it, but so few can be funny and do drama. ... Emma can do both, and she became very famous doing drama, but she comes from comedy, she comes from sketch. ...\u003c/p>\n\u003cp>I said I know it's science fiction for there to be a female late-night talk show host—and even more so for her to have had the job for 30 years—but it was the only thing that made sense for me to write.\u003c/p>\n\u003cp>\u003cstrong>On playing a female boss who evolves\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Thompson:\u003c/strong> I think there is something a little bit macho about the late-night slot—a little bit 1970s, \u003cem>Saturday Night Live,\u003c/em> everybody's up all night taking coke, John Belushi is announcing that \u003ca href=\"https://www.nytimes.com/1992/02/16/arts/television-women-in-the-locker-room-at-saturday-night-live.html\">\"women aren't funny\"\u003c/a> and it's a tough old world for a woman. [My character] Katherine is the person who managed to survive it ... but she's also bright enough to recognize that she's got to change and she's got to listen. ...\u003c/p>\n\u003cp>What's so wonderful about this story is: So often when you've got a female boss in a movie, she doesn't change. She's just the evil stepmother, the evil boss, the cold, arrogant, archetype person. But what Mindy's done is create an actual person—a living, breathing person—who, at the beginning, does find it difficult to accept, actually, the fact that she's no longer as successful as she thought she was.\u003c/p>\n\u003cp>She suddenly realizes that she's been complacent and because she is genuinely committed to being excellent, she decides she's got to change. And it takes a while, but finally Mindy's character does break through to her. They create a working relationship that's so fun to watch developing and doesn't turn all soft and fluffy at the end. It just becomes something very real, very believable and very uplifting.\u003c/p>\n\u003cfigure id=\"attachment_112398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-112398\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-800x533.jpg\" alt='Mindy Kaling, right, wrote the lead role in Late Night with Emma Thompson in mind. They filmed the movie in a \"white heat of passion\" in 25 days, Thompson says. They are pictured above in London in May 2019.' width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-1200x799.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4-1920x1279.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/ap_19137575169745_custom-74dd34ccbaa0cceef73dda8d5b6bbf4a68c114a4.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mindy Kaling, right, wrote the lead role in Late Night with Emma Thompson in mind. They filmed the movie in a \"white heat of passion\" in 25 days, Thompson says. They are pictured above in London in May 2019. \u003ccite>(Matt Dunham/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On female authority being perceived as \"cold\"\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kaling:\u003c/strong> Katherine's character does not care what people's reactions are to her honest answers and honest desires. If she sees any kind of inefficiency she calls it out, without anger. And it's interesting—we've been doing press for the movie and everyone has been using words like \"bitchy\" and \"cold,\" and it's not that she's bitchy and cold, she's just dispassionately expressing what she needs. ...\u003c/p>\n\u003cp>\u003cstrong>Thompson:\u003c/strong> Especially if you're pathologically nice, or you want to be kind to everybody—like me—playing Katherine was a kind of a five-week holiday from having to look after everybody. It was so blissful just turning around to someone who was boring me and say, \"I'm not interested, shut up.\" And then not apologizing for the rest of the week about it. ....\u003c/p>\n\u003cp>\u003cstrong>Kaling:\u003c/strong> A man is entitled to have a private life. ... When I was writing it I didn't particularly think that Emma was cold. I thought that the character was crisp and to-the-point and direct. And those are qualities that are so positive in male leaders. But in a woman, they turned certain people off. People are so uncomfortable with the possibility that a woman would be direct in her communication.\u003c/p>\n\u003cp>\u003cstrong>On what the movie says about diversity and hiring\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kaling:\u003c/strong> We talk a lot in the movie about the fact that Molly is a diversity hire and I can't think of another movie or TV show that really talks about this head-on with that term. The truth of the matter is the term has really pejorative connotations. I was a diversity hire at \u003cem>The Office\u003c/em> when I started writing, and it's the reason I had the job—because NBC was paying my salary so that \u003cem>The Office \u003c/em>could hire me without having to take a hit on their budget. ...\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>For years I was so embarrassed by that and I never wanted anyone to know—although of course it was plain as day. It wasn't until years later that I realized that that program and diversity hire is something that I should be wearing proudly, because what it did was it gave me access to work on a show that I would not have had otherwise.\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=Mindy+Kaling+And+Emma+Thompson+Shatter+The+%27Late+Night%27+Glass+Ceiling&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/112397/mindy-kaling-and-emma-thompson-shatter-the-late-night-glass-ceiling","authors":["byline_pop_112397"],"categories":["pop_2696","pop_51","pop_3"],"tags":["pop_3715","pop_3716","pop_3714","pop_88","pop_770"],"featImg":"pop_112400","label":"pop"},"pop_112088":{"type":"posts","id":"pop_112088","meta":{"index":"posts_1591205157","site":"pop","id":"112088","score":null,"sort":[1559067570000]},"guestAuthors":[],"slug":"life-in-songland-the-reality-behind-nbcs-new-reality-show","title":"Life In 'Songland': The Reality Behind NBC's New Reality Show","publishDate":1559067570,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>\"My parents have no idea what I do,\" says Shane McAnally, calling from the airport in Los Angeles as he shuffles between his many duties: as a Grammy-winning songwriter, producer and now co-host of NBC's \u003cem>Songland\u003c/em>, a new musical competition show from the producers of \u003cem>The Voice\u003c/em> that judges songs, not those who sing them. McAnally's mom and dad aren't alone in being a bit confused. The job of a songwriter is likely one of the most important and the least understood in the entire craft of music—and, these days, one of the most proportionately underpaid. All that said, probably not an immediate homerun for compelling TV.\u003c/p>\n\u003cp>But that's exactly why McAnally, who has written with the likes of Kacey Musgraves and Sam Hunt, signed on to \u003cem>Songland\u003c/em> four years ago, without seeing much more than a preliminary concept. Though he's based in Nashville, a town that recognizes the songwriter more than perhaps anywhere on earth, McAnally still was mystified by how low on the totem pole of appreciation they actually are. And in today's climate, where songwriters are now positioned as anonymous faces in the fight for fair compensation against some of the world's most powerful media corporations—Spotify, Google and Amazon, to name a few—McAnally thought that could simply no longer stand.\u003c/p>\n\u003cp>McAnally, Ryan Tedder (lead singer of OneRepublic and Grammy-winning producer for Beyoncé, Adele and Taylor Swift) and Ester Dean (a Grammy-nominated songwriter and producer for Rihanna and Nicki Minaj) comprise the judging panel on \u003cem>Songland\u003c/em>, premiering tonight at 10 p.m. ET. The concept is pretty simple: a songwriter pitches a piece of work they've created to the panel along with a guest artist, from the Jonas Brothers to Meghan Trainor to Kelsea Ballerini, who will then cut and release that song after it's massaged in a workshop setting. On this evening's premiere, piano man John Legend is on deck.\u003c/p>\n\u003cp>Not long into tonight's premiere, Tedder will pose a question to Tebby Burrows, one of the contestants. She's a Bahamian-born songwriter who lives in Miami, and is offering up a message-driven tune called \"We Need Love\" that she hopes Legend will choose. It's a big step up from the usual process of just shuffling a demo tape around—but, again, that's not exactly thrilling television.\u003c/p>\n\u003cp>\"Do you make money as a songwriter?\" Tedder asks her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The answer, like many in her position, is no. Burrows describes herself as \"a little bit like Clark Kent,\" working a marketing job during the day and gigging at night more for passion than profit. She's likely not alone. It's not easy to make a comfortable, or even passable, living as a songwriter. A first deal at an independent publisher, if a writer is lucky enough to snag one, barely equates to minimum wage, leaving \"successful\" songwriters to find a second revenue stream. Therein lies the rub. \"To be successful, it pretty much has to take 100% of your attention,\" says Abe Stoklasa, a songwriter (Chris Lane's \"Fix,\" Charles Kelly's \"The Driver\") who says his first publishing deal was worth $15,000 a year. And that's with no health insurance, either, which isn't customarily offered to songwriters through their publisher or performance rights organization (\"PRO\") such as ASCAP or BMI.\u003c/p>\n\u003cp>Tedder agrees. Though his finances are no longer a worry, he admits on the premiere of \u003cem>Songland\u003c/em> that he used to work at Pottery Barn, back when he couldn't afford furniture himself. He hopes that \u003cem>Songland\u003c/em> helps songwriters in both direct and indirect ways: that the contestants, even if they don't win their respective episode, can use the visibility to score publishing deals or syncs (where a song is used for film or television), and that the public at large—and even some in the industry—might start to value songwriters as more than just a name on the back of a CD. But even if they do snag a publishing deal, is the path lucrative if their songs don't hit \"Old Town Road\" or \"High Hopes\" proportions?\u003c/p>\n\u003cp>\"If a guy working in the mailroom of Sony comes across the next Beyoncé, he gets more notoriety for discovering that artist than the songwriter that writes the song that becomes that artist's hit,\" says Tedder. \"Not only are we on the bottom of the food chain, the way the payment structure is set up, we get paid the least. And with streaming, that income has dropped drastically.\"\u003c/p>\n\u003cp>Indeed, things have gotten a lot more difficult for songwriters of late. It takes a massive hit for a songwriter to substantially profit from streaming services. And in the past two years, songwriters have been engaging in a score of battles, from lobbying to see the songwriter-focused Music Modernization Act signed into law—which it was, \u003ca href=\"https://www.npr.org/2018/09/19/649611777/a-music-industry-peace-treaty-passes-unanimously-through-congress\">unanimously\u003c/a>, last year—to fighting Spotify, Google, Amazon and SiriusXM/Pandora as they attempt to appeal a 2018 ruling that would \u003ca href=\"https://www.npr.org/2019/04/12/712777873/nile-rodgers-streaming-payments-songwriters-letter-spotify\">substantially increase\u003c/a> songwriter and publisher revenue. Both have been a struggle, in part because songwriters aren't generally celebrities, and it's a lot easier to garner support for a cause when there's a recognizable face at the helm.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kH9b-tBvbNg\u003c/p>\n\u003cp>Songwriting used to be a much more lucrative profession before the streaming era, and not just because of royalties. In a singles-centric landscape that is responding to \u003ca href=\"https://www.musicbusinessworldwide.com/us-recorded-music-industry-growth-slowed-in-h1-2018-with-a-dramatic-fall-in-cd-sales/\">rapidly declining\u003c/a> album sales, that means fewer chances for a songwriter to even land a cut to begin with, let alone a radio hit. And with more and more writers collaborating on a track—a Kanye West song can \u003ca href=\"https://www.youtube.com/watch?v=YdA7swZoxks\">have fifteen\u003c/a>—that means a proportionally smaller share of any royalties. \"Back in the day, you could make millions from album cuts, and then just retire to the Bahamas,\" says Tedder. \"You could have the fourth or fifth single on a Maroon 5 record. These days, if you don't have the next single, with a release date in writing, you have nothing. All that to say, it's not an easy time to be a songwriter.\"\u003c/p>\n\u003cp>Dave Stewart of the Eurythmics is one such writer happily (and literally) living in the Bahamas—though retired he is not. Stewart conceived \u003cem>Songland\u003c/em> with Emmy Award-winning producer Audrey Morrissey (\u003cem>The Voice\u003c/em>) and director Ivan Dudynsky, with Maroon 5's Adam Levine as an executive producer. Stewart came up with the seeds of the idea on a trip to Nashville. \"Nashville always stuck to this songwriting thing, and I just thought there should be a show to explore that,\" he says. \"It's not looking behind the curtains. It's like looking behind many curtains.\"\u003c/p>\n\u003cp>Stewart's right—the songwriting world is indeed shrouded in mystery. Truth is, the life of a songwriter is much more regimented than one might imagine, publishing deal or no. \"Most write every day at 11 a.m.,\" says Stoklasa. \"Some do two times a day. When I am super motivated, I am writing five days a week.\" All the while, for many, running a second shift to help pay the bills. \"I worked at night at a nursing home, and then I would go to the studio,\" says Dean.\u003c/p>\n\u003cp>The technicalities of a songwriter's life don't quite make their way onto \u003cem>Songland\u003c/em>, but there is some jargon: Tedder, working with a contestant, talks about the number of beats, and terms like tempo and pre-chorus work their way into the criticism. Tedder wasn't worried that this type of language might scare people off—after all, plenty have learned what a sous-vide is from watching \u003cem>Iron Chef\u003c/em>. \"We know what kind of knife Jiro [Ono] uses to make his sushi, but we don't know Bernie Taupin wrote the lyrics for Elton John,\" says Tedder.\u003c/p>\n\u003cp>On \u003cem>Iron Chef\u003c/em> and the like, however, the goal is to be as creative as possible, to wow the panel with an inspired use of mushroom here, a savvy twist on ice cream there. On most musical competition shows... perhaps not so much. Original material has long been taboo on programs like \u003cem>American Idol—\u003c/em>it occasionally pops in during the audition phase, but it's generally frowned upon in favor of sport-singing successful hits.\u003c/p>\n\u003cp>Catie Offerman, a Nashville-based singer-songwriter, remembers trying out for \u003cem>American Idol\u003c/em> when she was just 15. For the audition, she performed a song she wrote herself.\u003c/p>\n\u003cp>\"When I finished, the judge looked at me said, 'don't ever come back and f****** sing an original song again,'\" she says. \"Honestly, that put everything into perspective for me.\" Offerman is not on \u003cem>Songland\u003c/em>, but she has run the gamut when it comes to reality programming, making it to Hollywood on \u003cem>Idol\u003c/em> years from that first audition but dropping out before she could get any further.\u003c/p>\n\u003cp>\"Talent goes way beyond how many notes someone can sing,\" she says. \"When I watch \u003cem>Idol\u003c/em>, it doesn't speak to me. I would rather turn on a show and see someone who can't sing but has something to say. And having something to say is way more important than hitting a bunch of octaves.\"\u003c/p>\n\u003cp>Without that vocal showboating, does \u003cem>Songland\u003c/em> actually have anything to stand on? Turns out, the process itself is pretty entertaining—but that owes a lot to the panel themselves, and not just the songwriters. It's impressive to see Legend take a song and instantly shift the mood with a slower melody, or to see McAnally, Dean and Tedder make small but insightful snap suggestions that transform a nice tune into a possible hit. Like with most musical competition shows, the judges are the real stars, which falls pretty closely in line with how being a songwriter usually goes: hand the material over, watch it shine in the hands of another and then sit back and wait for your (inconsequential, in the case of streaming) royalties.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\"You can be fifth place on the \u003cem>Voice\u003c/em> and still be more famous than the most famous songwriter,\" says Tedder. \"It's time for songwriters to have a voice. We will be a lot harder to ignore once we do.\"\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=Life+In+%27Songland%27%3A+The+Reality+Behind+NBC%27s+New+Reality+Show&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"A new competition show from the producers of 'The Voice' will search for a hitmaker and put the focus back on songwriters—one of the most underpaid professions in music.","status":"publish","parent":0,"modified":1559067665,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1744},"headData":{"title":"Life In 'Songland': The Reality Behind NBC's New Reality Show | KQED","description":"A new competition show from the producers of 'The Voice' will search for a hitmaker and put the focus back on songwriters—one of the most underpaid professions in music.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Life In 'Songland': The Reality Behind NBC's New Reality Show","datePublished":"2019-05-28T18:19:30.000Z","dateModified":"2019-05-28T18:21:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"112088 https://ww2.kqed.org/pop/?p=112088","disqusUrl":"https://ww2.kqed.org/pop/2019/05/28/life-in-songland-the-reality-behind-nbcs-new-reality-show/","disqusTitle":"Life In 'Songland': The Reality Behind NBC's New Reality Show","nprImageCredit":"NBC","nprByline":"Marissa R. Moss","nprImageAgency":"NBC","nprStoryId":"726538847","nprApiLink":"http://api.npr.org/query?id=726538847&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/05/28/726538847/life-in-songland-the-reality-behind-nbcs-new-reality-show?ft=nprml&f=726538847","nprRetrievedStory":"1","nprPubDate":"Tue, 28 May 2019 05:52:00 -0400","nprStoryDate":"Tue, 28 May 2019 05:00:00 -0400","nprLastModifiedDate":"Tue, 28 May 2019 05:52:40 -0400","path":"/pop/112088/life-in-songland-the-reality-behind-nbcs-new-reality-show","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\"My parents have no idea what I do,\" says Shane McAnally, calling from the airport in Los Angeles as he shuffles between his many duties: as a Grammy-winning songwriter, producer and now co-host of NBC's \u003cem>Songland\u003c/em>, a new musical competition show from the producers of \u003cem>The Voice\u003c/em> that judges songs, not those who sing them. McAnally's mom and dad aren't alone in being a bit confused. The job of a songwriter is likely one of the most important and the least understood in the entire craft of music—and, these days, one of the most proportionately underpaid. All that said, probably not an immediate homerun for compelling TV.\u003c/p>\n\u003cp>But that's exactly why McAnally, who has written with the likes of Kacey Musgraves and Sam Hunt, signed on to \u003cem>Songland\u003c/em> four years ago, without seeing much more than a preliminary concept. Though he's based in Nashville, a town that recognizes the songwriter more than perhaps anywhere on earth, McAnally still was mystified by how low on the totem pole of appreciation they actually are. And in today's climate, where songwriters are now positioned as anonymous faces in the fight for fair compensation against some of the world's most powerful media corporations—Spotify, Google and Amazon, to name a few—McAnally thought that could simply no longer stand.\u003c/p>\n\u003cp>McAnally, Ryan Tedder (lead singer of OneRepublic and Grammy-winning producer for Beyoncé, Adele and Taylor Swift) and Ester Dean (a Grammy-nominated songwriter and producer for Rihanna and Nicki Minaj) comprise the judging panel on \u003cem>Songland\u003c/em>, premiering tonight at 10 p.m. ET. The concept is pretty simple: a songwriter pitches a piece of work they've created to the panel along with a guest artist, from the Jonas Brothers to Meghan Trainor to Kelsea Ballerini, who will then cut and release that song after it's massaged in a workshop setting. On this evening's premiere, piano man John Legend is on deck.\u003c/p>\n\u003cp>Not long into tonight's premiere, Tedder will pose a question to Tebby Burrows, one of the contestants. She's a Bahamian-born songwriter who lives in Miami, and is offering up a message-driven tune called \"We Need Love\" that she hopes Legend will choose. It's a big step up from the usual process of just shuffling a demo tape around—but, again, that's not exactly thrilling television.\u003c/p>\n\u003cp>\"Do you make money as a songwriter?\" Tedder asks 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 answer, like many in her position, is no. Burrows describes herself as \"a little bit like Clark Kent,\" working a marketing job during the day and gigging at night more for passion than profit. She's likely not alone. It's not easy to make a comfortable, or even passable, living as a songwriter. A first deal at an independent publisher, if a writer is lucky enough to snag one, barely equates to minimum wage, leaving \"successful\" songwriters to find a second revenue stream. Therein lies the rub. \"To be successful, it pretty much has to take 100% of your attention,\" says Abe Stoklasa, a songwriter (Chris Lane's \"Fix,\" Charles Kelly's \"The Driver\") who says his first publishing deal was worth $15,000 a year. And that's with no health insurance, either, which isn't customarily offered to songwriters through their publisher or performance rights organization (\"PRO\") such as ASCAP or BMI.\u003c/p>\n\u003cp>Tedder agrees. Though his finances are no longer a worry, he admits on the premiere of \u003cem>Songland\u003c/em> that he used to work at Pottery Barn, back when he couldn't afford furniture himself. He hopes that \u003cem>Songland\u003c/em> helps songwriters in both direct and indirect ways: that the contestants, even if they don't win their respective episode, can use the visibility to score publishing deals or syncs (where a song is used for film or television), and that the public at large—and even some in the industry—might start to value songwriters as more than just a name on the back of a CD. But even if they do snag a publishing deal, is the path lucrative if their songs don't hit \"Old Town Road\" or \"High Hopes\" proportions?\u003c/p>\n\u003cp>\"If a guy working in the mailroom of Sony comes across the next Beyoncé, he gets more notoriety for discovering that artist than the songwriter that writes the song that becomes that artist's hit,\" says Tedder. \"Not only are we on the bottom of the food chain, the way the payment structure is set up, we get paid the least. And with streaming, that income has dropped drastically.\"\u003c/p>\n\u003cp>Indeed, things have gotten a lot more difficult for songwriters of late. It takes a massive hit for a songwriter to substantially profit from streaming services. And in the past two years, songwriters have been engaging in a score of battles, from lobbying to see the songwriter-focused Music Modernization Act signed into law—which it was, \u003ca href=\"https://www.npr.org/2018/09/19/649611777/a-music-industry-peace-treaty-passes-unanimously-through-congress\">unanimously\u003c/a>, last year—to fighting Spotify, Google, Amazon and SiriusXM/Pandora as they attempt to appeal a 2018 ruling that would \u003ca href=\"https://www.npr.org/2019/04/12/712777873/nile-rodgers-streaming-payments-songwriters-letter-spotify\">substantially increase\u003c/a> songwriter and publisher revenue. Both have been a struggle, in part because songwriters aren't generally celebrities, and it's a lot easier to garner support for a cause when there's a recognizable face at the helm.\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/kH9b-tBvbNg'\n title='//www.youtube.com/embed/kH9b-tBvbNg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Songwriting used to be a much more lucrative profession before the streaming era, and not just because of royalties. In a singles-centric landscape that is responding to \u003ca href=\"https://www.musicbusinessworldwide.com/us-recorded-music-industry-growth-slowed-in-h1-2018-with-a-dramatic-fall-in-cd-sales/\">rapidly declining\u003c/a> album sales, that means fewer chances for a songwriter to even land a cut to begin with, let alone a radio hit. And with more and more writers collaborating on a track—a Kanye West song can \u003ca href=\"https://www.youtube.com/watch?v=YdA7swZoxks\">have fifteen\u003c/a>—that means a proportionally smaller share of any royalties. \"Back in the day, you could make millions from album cuts, and then just retire to the Bahamas,\" says Tedder. \"You could have the fourth or fifth single on a Maroon 5 record. These days, if you don't have the next single, with a release date in writing, you have nothing. All that to say, it's not an easy time to be a songwriter.\"\u003c/p>\n\u003cp>Dave Stewart of the Eurythmics is one such writer happily (and literally) living in the Bahamas—though retired he is not. Stewart conceived \u003cem>Songland\u003c/em> with Emmy Award-winning producer Audrey Morrissey (\u003cem>The Voice\u003c/em>) and director Ivan Dudynsky, with Maroon 5's Adam Levine as an executive producer. Stewart came up with the seeds of the idea on a trip to Nashville. \"Nashville always stuck to this songwriting thing, and I just thought there should be a show to explore that,\" he says. \"It's not looking behind the curtains. It's like looking behind many curtains.\"\u003c/p>\n\u003cp>Stewart's right—the songwriting world is indeed shrouded in mystery. Truth is, the life of a songwriter is much more regimented than one might imagine, publishing deal or no. \"Most write every day at 11 a.m.,\" says Stoklasa. \"Some do two times a day. When I am super motivated, I am writing five days a week.\" All the while, for many, running a second shift to help pay the bills. \"I worked at night at a nursing home, and then I would go to the studio,\" says Dean.\u003c/p>\n\u003cp>The technicalities of a songwriter's life don't quite make their way onto \u003cem>Songland\u003c/em>, but there is some jargon: Tedder, working with a contestant, talks about the number of beats, and terms like tempo and pre-chorus work their way into the criticism. Tedder wasn't worried that this type of language might scare people off—after all, plenty have learned what a sous-vide is from watching \u003cem>Iron Chef\u003c/em>. \"We know what kind of knife Jiro [Ono] uses to make his sushi, but we don't know Bernie Taupin wrote the lyrics for Elton John,\" says Tedder.\u003c/p>\n\u003cp>On \u003cem>Iron Chef\u003c/em> and the like, however, the goal is to be as creative as possible, to wow the panel with an inspired use of mushroom here, a savvy twist on ice cream there. On most musical competition shows... perhaps not so much. Original material has long been taboo on programs like \u003cem>American Idol—\u003c/em>it occasionally pops in during the audition phase, but it's generally frowned upon in favor of sport-singing successful hits.\u003c/p>\n\u003cp>Catie Offerman, a Nashville-based singer-songwriter, remembers trying out for \u003cem>American Idol\u003c/em> when she was just 15. For the audition, she performed a song she wrote herself.\u003c/p>\n\u003cp>\"When I finished, the judge looked at me said, 'don't ever come back and f****** sing an original song again,'\" she says. \"Honestly, that put everything into perspective for me.\" Offerman is not on \u003cem>Songland\u003c/em>, but she has run the gamut when it comes to reality programming, making it to Hollywood on \u003cem>Idol\u003c/em> years from that first audition but dropping out before she could get any further.\u003c/p>\n\u003cp>\"Talent goes way beyond how many notes someone can sing,\" she says. \"When I watch \u003cem>Idol\u003c/em>, it doesn't speak to me. I would rather turn on a show and see someone who can't sing but has something to say. And having something to say is way more important than hitting a bunch of octaves.\"\u003c/p>\n\u003cp>Without that vocal showboating, does \u003cem>Songland\u003c/em> actually have anything to stand on? Turns out, the process itself is pretty entertaining—but that owes a lot to the panel themselves, and not just the songwriters. It's impressive to see Legend take a song and instantly shift the mood with a slower melody, or to see McAnally, Dean and Tedder make small but insightful snap suggestions that transform a nice tune into a possible hit. Like with most musical competition shows, the judges are the real stars, which falls pretty closely in line with how being a songwriter usually goes: hand the material over, watch it shine in the hands of another and then sit back and wait for your (inconsequential, in the case of streaming) royalties.\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>\"You can be fifth place on the \u003cem>Voice\u003c/em> and still be more famous than the most famous songwriter,\" says Tedder. \"It's time for songwriters to have a voice. We will be a lot harder to ignore once we do.\"\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=Life+In+%27Songland%27%3A+The+Reality+Behind+NBC%27s+New+Reality+Show&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/112088/life-in-songland-the-reality-behind-nbcs-new-reality-show","authors":["byline_pop_112088"],"categories":["pop_4","pop_3"],"tags":["pop_3166","pop_3341","pop_3056","pop_88","pop_54","pop_280","pop_3666","pop_3667"],"featImg":"pop_112089","label":"pop"},"pop_111977":{"type":"posts","id":"pop_111977","meta":{"index":"posts_1591205157","site":"pop","id":"111977","score":null,"sort":[1558380941000]},"guestAuthors":[],"slug":"snl-musical-guests-ranked-from-no-1-to-greta-van-fleet","title":"'SNL' Musical Guests, Ranked From No. 1 To Greta Van Fleet","publishDate":1558380941,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>\u003cem>Saturday Night Live\u003c/em>'s 44th season ended over the weekend with the help of host Paul Rudd and musical guest DJ Khaled, who brought with him an all-star cast that included J Balvin, John Legend and SZA. As the season's 21st and final featured musical guest, Khaled joined a wildly mixed bag that included K-pop (BTS), blues-rock (Gary Clark Jr.), country (Thomas Rhett), R&B (Khalid, Ella Mai), hip-hop (Lil Wayne, Travis Scott, et al), neo-classic rock (Greta Van Fleet), old-school-classic folk-pop (Paul Simon) and, of course, a performance in which Kanye West rapped from inside an outfit shaped like a gigantic Perrier bottle.\u003c/p>\n\u003cp>\u003cem>SNL\u003c/em>'s Studio 8H stage is famously unforgiving: The sound can be iffy, the crowd came to see comedy and the energy can be hard to maintain. But, as with previous years, Season 44 unveiled a few gems, as well as a few true head-slappers. It's a fool's errand—a truly cruel and pointless exercise—to attempt a dispassionate rank of 21 vastly different musical performances, especially when they've been spread out over an eight-month-long season.\u003c/p>\n\u003cp>So, \u003ca href=\"https://www.npr.org/sections/allsongs/2018/05/21/612911877/this-season-s-snl-musical-guests-cruelly-ranked\">for the second year in a row\u003c/a>, here goes.\u003c/p>\n\u003cp>\u003cstrong>21. Greta Van Vleet\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?reload=9&v=DqjeLipYpsw\">\u003cstrong>Black Smoke Rising\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=9Wyn-s4Wc4s\">\u003cstrong>You're the One\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DqjeLipYpsw\u003c/p>\n\u003cp>Whichever side of the Greta Van Fleet divide you occupy—whether you herald the Michigan band as a welcome return to classic-rock grandiosity or dismiss it as an unbearably derivative Led Zeppelin clone—it's hard to defend the band's \u003cem>SNL\u003c/em> debut, which somehow sounded both over-the-top and thuddingly lifeless. Swallowed whole by the stage, singer Josh Kiszka shrieked with grating, maximalist pitchiness through \"Black Smoke Rising\" and \"You're the One,\" while clad in what appeared to be either a beaded curtain or a \u003ca href=\"https://www.mybluprint.com/article/yarn-bomb-a-tree-trunk-a-street-sign-a-park-bench-heres-how-to-try-the-knitfiti-trend\">yarn bomb\u003c/a>. The latter song was duller than the former, but each played out like the limpest gag of Adam Sandler's \u003cem>SNL\u003c/em> career.\u003c/p>\n\u003cp>\u003cstrong>20. DJ Khaled\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=TKfAR_owRjg\">\u003cstrong>Jealous\u003c/strong>\u003c/a>\u003cstrong>\"/\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=TKfAR_owRjg\">\u003cstrong>You Stay\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=P01sQITCRYE\">\u003cstrong>Just Us\u003c/strong>\u003c/a>\u003cstrong>\"/\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=P01sQITCRYE\">\u003cstrong>Weather the Storm\u003c/strong>\u003c/a>\u003cstrong>\"/\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=P01sQITCRYE\">\u003cstrong>Higher\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TKfAR_owRjg\u003c/p>\n\u003cp>Imagine a stage full of hip-hop, R&B and pop heavy hitters—the sort of people you might expect to headline \u003cem>SNL\u003c/em> on any given week. Some of them have done just that this season (Meek Mill, Lil Wayne) or last season (SZA) or the season before that (Big Sean), while others could sell out stadiums in their own right. John Legend! J Balvin! All paying tribute to the late lamented Nipsey Hussle! What more do you need?\u003c/p>\n\u003cp>If you answered, \"A man shouting non sequiturs, drowning out every one of those talented artists as they tried to do their thing,\" then we've got some \u003cem>excellent\u003c/em> news for you. DJ Khaled is the most successful Guy Who Screams His Own Name While Other People Perform in the business, and he brought his screaming-his-own-name A game for \u003cem>SNL\u003c/em>'s season finale. Imagine a medley of performers and songs you're interested in hearing, except that medley is punctuated every few seconds by an airhorn, and that airhorn is a man, and that man is shouting, \"SING IT, GIRL!\" at SZA \u003cem>while she's already attempting to sing\u003c/em>. You know who's really great at singing? SZA. You know who does not need to be heard yelling, \"SING IT, GIRL!\" at SZA as she sings? Three guesses, and if you somehow guess wrong the first time, I will appear in the clouds overhead like Mufasa in \u003cem>The Lion King\u003c/em> and bellow \"ANOTHER ONE!\" at you, because that's how the universe works.\u003c/p>\n\u003cp>Finally, neither of these facts is DJ Khaled's fault, but let's just put them out there anyway. Carly Rae Jepsen released a new album precisely one day prior to this performance. Four weeks earlier, Lizzo released \u003cem>Cuz I Love You\u003c/em>. We could have had Carly Rae Jepsen or Lizzo—or even both at the same time. It was the season finale! Anything seemed possible! (This is as good a time as any for a side note: In 21 episodes, \u003cem>five\u003c/em> women got headlining slots as musical guests this season, and one of them was Miley Cyrus, who shared her billing with Mark Ronson. Come \u003cem>on\u003c/em>.)\u003c/p>\n\u003cp>\u003cstrong>19. Kanye West\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=IL_h9m_-HlE\">\u003cstrong>I Love It\u003c/strong>\u003c/a>\u003cstrong>,\" \"We Got Love,\" \"Ghost Town\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IL_h9m_-HlE\u003c/p>\n\u003cp>As the country's rage-spasms grow ever more frequent, it's hard to believe the controversies surrounding \u003ca href=\"https://www.npr.org/2018/09/30/653106815/the-new-kanye-reaffirms-his-love-for-president-trump-on-snl\">Kanye West's \u003cem>SNL\u003c/em> appearance\u003c/a> unfolded a mere eight months ago. But for the purposes of this ranking, let's set aside West's infamous \u003ca href=\"https://twitter.com/frankpallotta/status/1046384066403143680?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1046384066403143680&ref_url=https%3A%2F%2Fwww.cnn.com%2F2018%2F09%2F30%2Fentertainment%2Fkanye-west-trump-saturday-night-live%2Findex.html\">rambling post-credits speech\u003c/a>—in which the enigmatic superstar, clad in a \"Make America Great Again\" cap, defended his support of the president—and focus on the three songs he performed during the season-opening broadcast.\u003c/p>\n\u003cp>Though they vary wildly in tone and set dressing, each performance was a listless disaster. The first played out like cross between a fourth-grade school play and, well, an \u003cem>SNL\u003c/em> sketch: West and rapper Lil Pump performed \"I Love It\" while dressed as a Perrier bottle and a Fiji bottle, respectively, as they clomped around awkwardly and heavily redacted the original lyric.\u003c/p>\n\u003cp>West yielded much of his second song (\"We Got Love\") to protégé Teyana Taylor, whose presence and level of effort dwarfed his—at least, that is, until both had to hold still and wait for a lengthy, song-closing sample to play out. Finally, in lieu of the usual stand-around-and-wave-over-the-credits bit at the end of the telecast, West returned to the stage to play \"Ghost Town\" with Kid Cudi, 070 Shake, Ty Dolla $ign and the Saturday Night Live Band. Together, they gave the energy level a decent boost—thanks in part to the sheer number of participants—but the vocals were, to put it generously, uneven. Fortunately (or \"fortunately\") for West, audiences found other outrages to cling to by the time the next week rolled around, not that that stopped \u003cem>SNL\u003c/em> from skewering the rapper in \u003ca href=\"https://www.youtube.com/watch?v=4sO5-t3iEYY\">the sketch that opened the following episode\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>18. Tame Impala\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=iToe7b_VfWI\">\u003cstrong>Patience\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=hNJOI2dtDZ4\">\u003cstrong>Borderline\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iToe7b_VfWI\u003c/p>\n\u003cp>In recent years, Tame Impala's fame has grown to festival-headliner proportions, even as its sound has shrunk from Technicolor psych-rock to smooth, yacht-rock-inspired soul. Bandleader Kevin Parker is a relentless sonic tinkerer and studio explorer—a genuinely talented and inventive guy—but on the \u003cem>SNL\u003c/em> stage, the Australian's new songs felt washed-out and drained of their life force. Clad in what appeared to be Old Navy button-ups they'd found at the bottom of the hamper, the guys in Tame Impala leaned hard on a flashily dappled light show that couldn't compensate for a lack of verve.\u003c/p>\n\u003cp>\u003cstrong>17. Ella Mai\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Boo'd Up,\" \"Trip\"\u003c/strong>\u003c/p>\n\u003cp>Charming U.K. R&B singer Ella Mai had one of last year's big breakthroughs with the sleekly infectious \"Boo'd Up,\" but her \u003cem>SNL\u003c/em> debut felt uneventful. These straightforward readings of \"Boo'd Up\" and \"Trip\" could have just as easily passed by as afterthoughts on any given late-night network talk show, though \"Trip\" at least gave Ella Mai a chance to perform alongside a stray park bench and a chainlink fence. In case you're keeping score on such matters: As visual palettes go, that's considerably less impressive than Travis Scott's holographic-smoke fantasia (see below) and only a little more impressive than Kanye West pantsing around on a barren stage while dressed as a bottle of sparkling water.\u003c/p>\n\u003cp>\u003cstrong>16. Shawn Mendes\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=kD_sYBsMThs\">\u003cstrong>If I Can't Have You\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=43YP4Ty_yHY\">\u003cstrong>In My Blood\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kD_sYBsMThs\u003c/p>\n\u003cp>Shawn Mendes has superfans just like any pop star, but for those who aren't in their ranks, he has a way of eliciting a \"Wait, \u003cem>who\u003c/em> is this again?\" every time one of his songs pops up on the radio. (Which, friends, is \u003cem>often\u003c/em>.) The young Canadian hitmaker has looks to burn and top-notch collaborators, but his personality rarely transcends sweet-faced amiability onstage, and his \u003cem>SNL\u003c/em> appearance was no different. After chugging through his serviceable but standard-issue single \"If I Can't Have You,\" the former Vine star returned with his best and most noteworthy hit, \"In My Blood.\"\u003c/p>\n\u003cp>Setting aside the observation that Mendes ought to be setting aside some of his royalties for Glen Hansard—Sam Smith \u003ca href=\"https://www.npr.org/2015/02/09/385000766/one-of-sam-smiths-grammys-a-win-for-tom-petty-too\">had to give\u003c/a> Tom Petty a cut of \"Stay With Me,\" after all, and it's hard not to hear the big hook from \"\u003ca href=\"https://www.youtube.com/watch?v=k8mtXwtapX4\">Falling Slowly\u003c/a>\" within \"In My Blood\"—this take on Mendes' smash does move nicely from brooding piano ballad to set-closing, string-swept blowout. But it was also almost immediately upstaged by host Adam Sandler, who took the stage after the commercials to sing a sweet and obviously deeply felt \u003ca href=\"https://www.youtube.com/watch?v=25IOsvWPQGQ\">tribute to Chris Farley\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>15. Mark Ronson & Miley Cyrus\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=lH4oos43QUs\">\u003cstrong>Nothing Breaks Like a Heart\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=MPlA1Egabj0\">\u003cstrong>Happy Xmas (War Is Over)\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lH4oos43QUs\u003c/p>\n\u003cp>Mark Ronson and Miley Cyrus recently teamed up for \"Nothing Breaks Like a Heart,\" a hit from Ronson's most recent album. That one song wound up spawning its very own \u003cem>SNL\u003c/em> appearance, giving Cyrus a chance to belt out the single with fully committed intensity as Ronson stood silently nearby, strumming an acoustic guitar and otherwise unleashing roughly 0.3 percent of her charisma.\u003c/p>\n\u003cp>Later, in honor of the holidays and the fact that the two only really share the one song, they closed with a cover of John Lennon and Yoko Ono's \"Happy Xmas (War Is Over)\"—backed, appropriately enough, by Sean Ono Lennon. As a vehicle for dispensing holiday sentiment in difficult times, the song choice was a slam dunk, but as a performance it never quite cohered: Lennon was mixed too quietly to provide a counterweight for an unusually shouty Cyrus, who's usually got a better handle on when to modulate.\u003c/p>\n\u003cp>\u003cstrong>14. Maggie Rogers\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=NBNF4OwtSWQ\">\u003cstrong>Light On\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=MrO5GTVdc-Q\">\u003cstrong>Fallingwater\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NBNF4OwtSWQ\u003c/p>\n\u003cp>Maggie Rogers' folk/electro-pop hybrids have made her a favorite of Pharrell, a lovable YouTube sensation and \u003ca href=\"https://www.npr.org/2017/08/07/541948452/maggie-rogers-tiny-desk-concert\">a Tiny Desk veteran\u003c/a>, but the \u003cem>SNL\u003c/em> stage is still a big leap in terms of mainstream exposure. Her nerves pretty clearly got the better of her in the touch-and-go opening moments of \"Light On,\" but \"Fallingwater\" feels more assured in every way, as Rogers—joined by Rostam Batmanglij on piano—lets loose a bit, both vocally and in terms of her dance moves. By the end of the song, when she's strutting around the stage in a flowy red dress like the coolest bridesmaid in the history of weddings, the performance finally starts to feel like the coming-out party it was intended to be.\u003c/p>\n\u003cp>\u003cstrong>13. Khalid\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Talk,\" \"Better\"\u003c/strong>\u003c/p>\n\u003cp>Young R&B star Khalid got his start in high school and has spent the first few years of his career chronicling youthful unease and the crisis of confidence it can engender. But as an \u003cem>SNL\u003c/em> headliner, he exuded a kind of blushing charisma—complete with a high-wattage smile and easygoing style—as he showcased a pair of breezy mid-tempo jams from this spring's \u003cem>Free Spirit\u003c/em>. This \u003cem>SNL\u003c/em> season's musical guests hit intoxicating highs and soul-deadening lows, but Khalid's genially appealing performance aimed squarely for (and landed on) firm, smooth, steady middle ground.\u003c/p>\n\u003cp>\u003cstrong>12. Sara Bareilles\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=3BBuijwvqLk\">\u003cstrong>Fire\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=aygNSX1FzTg\">\u003cstrong>Saint Honesty\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3BBuijwvqLk\u003c/p>\n\u003cp>Sara Bareilles is as game-ready as they come, giving her all in a wide range of works that have been nominated for Grammys, Tonys and even an Emmy. To even \u003cem>think\u003c/em> about the 2016 Democratic Convention is to send some of Bareilles' most vibrantly sung words—\"\u003cem>I wanna see you be braaaaaaaaave\u003c/em>\"—hurtling through your brain and across the universe, where they'll persist long after all life is extinguished. But these two immaculately appointed \u003cem>SNL\u003c/em> performances, executed with proficiency bordering on perfection by Bareilles and a large but low-key band, are forgettable enough to make you wish, if only for a second, that she'd dressed up as a Perrier bottle or something.\u003c/p>\n\u003cp>\u003cstrong>11. Mumford & Sons\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=zlCVczXWPyI\">\u003cstrong>Guiding Light\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=WvS3Iq2iGis\">\u003cstrong>Delta\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WvS3Iq2iGis\u003c/p>\n\u003cp>Mumford & Sons' songs don't dominate radio playlists the way they did in in the months and years leading up to the band's Album of the Year win at the 2013 Grammys. But the group still knows how to whip up anthemic, banjo-flecked rousers like \"Guiding Light,\" which opens Mumford & Sons' third-ever \u003cem>SNL\u003c/em> appearance. Later, the Dave Matthews-esque \"Delta\" benefits from a bit of atmospheric buildup: Singer Marcus Mumford seethes stoically through the song's dimly lit first couple minutes, only to spring to life as the slow burn gives way to a bright, satisfying cataclysm.\u003c/p>\n\u003cp>\u003cstrong>10. Meek Mill\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=aaCZlzgQ8Qo\">\u003cstrong>Going Bad\u003c/strong>\u003c/a>\u003cstrong>\"/\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=aaCZlzgQ8Qo\">\u003cstrong>Uptown Vibes\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=nG_nVJKpFW8\">\u003cstrong>Championships\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nG_nVJKpFW8\u003c/p>\n\u003cp>Meek Mill has experienced \u003ca href=\"https://www.npr.org/sections/therecord/2017/11/15/564385830/meek-mill-sentencing-protest-probation-parole-reform\">trials and transformations\u003c/a> in recent years, emerging from a controversial prison stint with his mind fixed squarely on criminal-justice reform. Still, his \u003cem>SNL\u003c/em> debut gave him space for both celebration and reflection. An opening performance of \"Going Bad\" and \"Uptown Vibes\" found the Philly rapper flanked by bodysuit-clad dancers—\"Uptown Vibes\" also featured a guest spot by Fabolous, though \"Going Bad\" had to relegate Drake's verse to a prerecording from the album track—for a fun but unspectacular medley.\u003c/p>\n\u003cp>\"Championships\" took a more serious turn, as Meek Mill summed up his last few difficult years—incarceration and awakening, redemption and triumph—in a heartfelt, periodically gripping bit of storytelling that radiated a renewed sense of purpose.\u003c/p>\n\u003cp>\u003cstrong>9. Thomas Rhett\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Look What God Gave Her,\" \"Don't Threaten Me With A Good Time\"\u003c/strong>\u003c/p>\n\u003cp>For all his dressed-down everyman authenticity, Thomas Rhett can come off as focus-grouped to the hilt, starting with the parade of modern-day bro-country tropes at the heart of \"Look What God Gave Her\" and \"Don't Threaten Me With a Good Time,\" both of which he brought to the \u003cem>SNL\u003c/em> stage.\u003c/p>\n\u003cp>So it's tempting to lump him in with the mass of likeminded (and like-named) country dudes giving endlessly repetitious voice to the Male Gaze, but Rhett is also—to his great credit—more willing than most stars to test the margins of country radio's sound. By the time he and his great big overstuffed band got to the charmingly high-spirited end of \"Don't Threaten Me With a Good Time,\" filling the air with hooky declarations of joy, damned if all that weapons-grade ingratiation hadn't done its job. The guy knows what he's doing.\u003c/p>\n\u003cp>\u003cstrong>8. Gary Clark Jr.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=bGA5u-8Oy8A\">\u003cstrong>Pearl Cadillac\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=XwWQFKKUejk\">\u003cstrong>This Land\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XwWQFKKUejk\u003c/p>\n\u003cp>Gary Clark Jr.'s new album, \u003cem>This Land\u003c/em>, is an incendiary slab of politically charged blues-rock that balances raw-boned treatises on American life with guitar work that's urgent and dazzling, but never pointlessly flashy. On \u003cem>SNL\u003c/em>, Clark fit in several sides of his persona, showcasing the languid ballad \"Pearl Cadillac\"—in which he paid tribute to both his mom's sacrifices and Prince's falsetto—and \"This Land,\" a hard-charging polemic with a ripping guitar solo. The vocals were wobblier than expected here, given how great Clark has sounded in \u003ca href=\"https://www.npr.org/2019/04/11/712350241/gary-clark-jr-tiny-desk-concert\">performances without amplification\u003c/a>, but he was still a commanding presence.\u003c/p>\n\u003cp>\u003cstrong>7. Jonas Brothers\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=F1IHeNtxnGQ\">\u003cstrong>Sucker\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=PDS8tXG21DU\">\u003cstrong>Cool\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=PDS8tXG21DU\">\u003cstrong>Burnin' Up\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=F1IHeNtxnGQ\u003c/p>\n\u003cp>Nick, Joe and Kevin Jonas have kept busy since their massively successful brotherly boy band released its last album all the way back in 2009. Joe launched DNCE to great success, scoring an inescapable smash with \"\u003ca href=\"https://www.youtube.com/watch?v=PAzH-YAlFYc\">Cake by the Ocean\u003c/a>,\" while Nick enjoyed solo hits under his own name, beefed up his filmography and married Priyanka Chopra. For his part, Kevin went into private business, starred in an E! reality series and, \u003ca href=\"https://uproxx.com/tv/kevin-jonas-donald-trump-president-celebrity-apprentice/\">it's been fairly convincingly argued\u003c/a>, inadvertently compelled Donald Trump to run for president. It's been an eventful decade since the Jonases split due to reported differences in musical vision.\u003c/p>\n\u003cp>Jonas Brothers will release a long-awaited new album next month, and if the trio's game return to \u003cem>SNL\u003c/em> is any indication, their solution to the aforementioned competing musical directions has been to pursue a bunch of them at once. The chart-topping \"Sucker\" meets at the instantly familiar middle ground between Portugal. The Man's 2017 smash \"\u003ca href=\"https://www.youtube.com/watch?v=pBkHHoOIIn8\">Feel It Still\u003c/a>\" and the complete collected works of Maroon 5, while \"Cool\" could be a country sensation if only the Jonases were from, say, Tennessee instead of New Jersey. On \u003cem>SNL\u003c/em>, both songs sounded as bright and lively as the mass of balloons piled up around the assorted Jonases, who tapped into the night's celebratory atmosphere by tossing in a lively bonus performance of 2008's \"Burnin' Up.\"\u003c/p>\n\u003cp>\u003cstrong>6. Halsey\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=f98Ei9wjWlg\">\u003cstrong>Without Me\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=ySmBqIKZi3E\">\u003cstrong>Eastside\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ySmBqIKZi3E\u003c/p>\n\u003cp>When you look back on your life, you'll want to know that someone loved you as much as \u003cem>SNL\u003c/em> loves booking Halsey. The charismatic young singer was a musical guest in January 2018, a guest-of-a-musical-guest (that'd be Lil Wayne) in November 2018, and the host \u003cem>and\u003c/em> headlining musical guest a mere three months after that. If Paul Simon had appeared on \u003cem>SNL\u003c/em> with that kind of frequency over the past 44 seasons, he might be into triple digits by now.\u003c/p>\n\u003cp>But Halsey is nothing if not multi-talented: She's both an endearing host and a solid singer, albeit one who's learned to simulate Auto-Tune the way a mockingbird comes to \u003ca href=\"https://www.youtube.com/watch?v=_Zd6Iy4JuGk\">appropriate a car alarm\u003c/a>. In fact, Halsey is \u003cem>so\u003c/em> multi-talented, she actually performed the breathy ballad \"Eastside\" while crouching over a giant canvas, completing an impressive painting of a woman's face in the time it took her to finish the song. She is, in other words, gameness personified: 51 percent undeniable talent and possible icon-in-the-making, 49 percent lab-tested try-hard composite sketch of a present-day pop star. (Give or take 2 percent.)\u003c/p>\n\u003cp>\u003cstrong>5. Lil Wayne\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=cvNVRBMmQv8\">\u003cstrong>Can't Be Broken\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=lzRELRUti6w\">\u003cstrong>Uproar\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cvNVRBMmQv8\u003c/p>\n\u003cp>Not many rappers could stand stock still on the \u003cem>SNL\u003c/em> stage in a hoodie and pajama pants and hold focus for an entire song, but Lil Wayne has both the gravitas and the lyrical deftness to pull it off. \"Can't Be Broken\" doesn't get much in the way of set dressing: Lil Wayne and ubiquitous guest vocalist Halsey perform in front of a gigantic screen that resembles a wrinkled white bedsheet, flanked by a drummer and a DJ. But the song casts a spell, building to a nice moment in which the rapper thanks veterans and hugs his band.\u003c/p>\n\u003cp>\"Uproar\" gets a far busier presentation—the bedsheet and spare-but-forceful production remain, but Halsey is replaced by a large throng of dancers and the rowdy encouragement of Swizz Beatz—with similarly compelling results. Once again, Wayne finds himself clad in the most comfortable possible attire, this time wrapped in a robe straight out of the Cruella De Vil collection. But the performance isn't so laidback, as everyone on stage gets a chance to cut loose with playfully pumped-up aggression. (Incidentally, you have to give Lil Wayne a boost in the standings based on his appearance, with fellow rapper Future, in this \u003cem>SNL\u003c/em> episode's fun and funny \u003ca href=\"https://www.youtube.com/watch?v=mAL0wZu4JUg\">video about consent\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>4. Paul Simon with yMusic\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Can't Run But,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=hGDdX-yV3dQ\">\u003cstrong>Bridge Over Troubled Water\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hGDdX-yV3dQ\u003c/p>\n\u003cp>Let's start with the legacy on display here: Just weeks removed from his farewell tour, Paul Simon played \u003cem>SNL\u003c/em> on his 77th birthday. It was the singer's record \u003cem>ninth\u003c/em> appearance as an \u003cem>SNL\u003c/em> musical guest, capping off a history with the show dating back to his gig hosting its second episode all the way back in 1975.\u003c/p>\n\u003cp>So that's the history, as well as the source of the gravitas we're dealing with here. But the performances themselves—a vibrant, shimmery reboot of 1990's \"Can't Run But\" (mirroring the one heard on last year's \u003cem>In the Blue Light\u003c/em>) and a justifiably emotional take on Simon & Garfunkel's eternal \"Bridge Over Troubled Water\"—are knockouts in their own right, buoyed and deepened by the lush arrangements of the chamber ensemble yMusic. Both songs add up to a grand victory lap for a singer who's more than earned one.\u003c/p>\n\u003cp>\u003cstrong>3. BTS\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=O4NB73HTlxI\">\u003cstrong>Boy With Luv\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=jSFIwS2b-kg\">\u003cstrong>Mic Drop\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O4NB73HTlxI\u003c/p>\n\u003cp>The Studio 8H stage can be a cavernous and unforgiving place. It can make bands seem small and enervated, and it takes effort to fill the space. Some use light shows or props, while others employ an expanded array of backing musicians, but the smart ones know that it helps to bring a little something extra.\u003c/p>\n\u003cp>For the Korean boy-band sensation BTS—not only making its own \u003cem>SNL\u003c/em> debut, but also marking the show's initiation into the world of K-pop—that something extra was motion, and lots of it. The group's seven members sing and rap in multiple languages, but they're also almost comically vibrant dancers, which gives their live TV appearances a welcome jolt of energy, color and joy. Here, the ubiquitous new \"Boy With Luv\" and the older track \"Mic Drop\" unfolded as a giddy swirl of bouncy, joyful stimuli.\u003c/p>\n\u003cp>\u003cstrong>2. Travis Scott\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=5marNlhSeGw\">\u003cstrong>Skeletons/Astrothunder\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=pF8Ssdly6wo\">\u003cstrong>Sicko Mode\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pF8Ssdly6wo\u003c/p>\n\u003cp>Travis Scott could have just stood onstage and gone through the hit-regurgitating motions, treating \u003cem>SNL\u003c/em> like any other late-night appearance. Instead, each performance piled extras atop extras, without quite tilting into overkill. For a medley of \"Skeletons\" and \"Astrothunder,\" you got a few grabby visual elements—like a woman brooding astride a rotating carousel horse, or an effect in which Scott appeared to stand on clouds—that momentarily distracted from the stunt casting on display. (Tame Impala's Kevin Parker on bass! John Mayer on guitar!)\u003c/p>\n\u003cp>Later, Scott returned for a full-on feast of eye-popping tricks, starting with an effect in which the late DJ Screw's image was projected onto a curtain of smoke; soon, Scott himself appeared, rapping while appearing to... rotate? On a giant arcade cabinet? There was a \u003cem>lot\u003c/em> going on, all of it gorgeous to look at—and best of all, the visuals worked hand-in-glove with the actual songs, each of which managed an intoxicating mix of wooziness and intensity.\u003c/p>\n\u003cp>\u003cstrong>1. Anderson .Paak\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Tints,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=1bS5sHO8SFg\">\u003cstrong>Who R U?\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1bS5sHO8SFg\u003c/p>\n\u003cp>You read it here first: Anderson .Paak is \u003ca href=\"https://www.npr.org/2016/08/12/489769830/anderson-paak-the-free-nationals-tiny-desk-concert\">really, \u003cem>really\u003c/em> good\u003c/a> at this whole performing-on-stage thing. So it wasn't exactly a huge surprise when .Paak straight-up dominated in an \u003cem>SNL\u003c/em> appearance that found him showcasing two tracks from last year's \u003cem>Oxnard\u003c/em>.\u003c/p>\n\u003cp>Naturally, given the scope of the singer, rapper and multi-instrumentalist's talents, each performance took on a radically different shape. In \"Tints,\" .Paak rapped from behind sunglasses, a drum kit and a radiant smile, keeping time while making it clear he was having the time of his life. Not that anyone could blame him, given that he got to share the stage with both Tayla Parx and, in a nonchalant 40-second pop-in that elicited a few gasps from the crowd, Kendrick Lamar.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>After all that, \"Who R U?\" could have been anticlimactic, but it's a true showstopper: Performing in front of a curtain that silhouetted his band, .Paak commanded center stage with a riveting vocal, then gobbled up about a thousand extra-credit points via some fierce and unrelenting dance moves.\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=%27SNL%27+Musical+Guests%2C+Ranked+From+No.+1+To+Greta+Van+Fleet&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"BTS! DJ Khaled! Paul Simon! Kanye West dressed as a bottle of sparkling water! This season of 'Saturday Night Live' had it all, and now all 21 performances have been cruelly ranked for your enjoyment.","status":"publish","parent":0,"modified":1558380941,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":84,"wordCount":4055},"headData":{"title":"'SNL' Musical Guests, Ranked From No. 1 To Greta Van Fleet | KQED","description":"BTS! DJ Khaled! Paul Simon! Kanye West dressed as a bottle of sparkling water! This season of 'Saturday Night Live' had it all, and now all 21 performances have been cruelly ranked for your enjoyment.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'SNL' Musical Guests, Ranked From No. 1 To Greta Van Fleet","datePublished":"2019-05-20T19:35:41.000Z","dateModified":"2019-05-20T19:35:41.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"111977 https://ww2.kqed.org/pop/?p=111977","disqusUrl":"https://ww2.kqed.org/pop/2019/05/20/snl-musical-guests-ranked-from-no-1-to-greta-van-fleet/","disqusTitle":"'SNL' Musical Guests, Ranked From No. 1 To Greta Van Fleet","nprImageCredit":"Will Heath","nprByline":"Stephen Thompson","nprImageAgency":"NBC","nprStoryId":"724884348","nprApiLink":"http://api.npr.org/query?id=724884348&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/05/20/724884348/snl-musical-guests-ranked-from-no-1-to-greta-van-fleet?ft=nprml&f=724884348","nprRetrievedStory":"1","nprPubDate":"Mon, 20 May 2019 11:00:00 -0400","nprStoryDate":"Mon, 20 May 2019 11:00:20 -0400","nprLastModifiedDate":"Mon, 20 May 2019 11:00:20 -0400","path":"/pop/111977/snl-musical-guests-ranked-from-no-1-to-greta-van-fleet","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Saturday Night Live\u003c/em>'s 44th season ended over the weekend with the help of host Paul Rudd and musical guest DJ Khaled, who brought with him an all-star cast that included J Balvin, John Legend and SZA. As the season's 21st and final featured musical guest, Khaled joined a wildly mixed bag that included K-pop (BTS), blues-rock (Gary Clark Jr.), country (Thomas Rhett), R&B (Khalid, Ella Mai), hip-hop (Lil Wayne, Travis Scott, et al), neo-classic rock (Greta Van Fleet), old-school-classic folk-pop (Paul Simon) and, of course, a performance in which Kanye West rapped from inside an outfit shaped like a gigantic Perrier bottle.\u003c/p>\n\u003cp>\u003cem>SNL\u003c/em>'s Studio 8H stage is famously unforgiving: The sound can be iffy, the crowd came to see comedy and the energy can be hard to maintain. But, as with previous years, Season 44 unveiled a few gems, as well as a few true head-slappers. It's a fool's errand—a truly cruel and pointless exercise—to attempt a dispassionate rank of 21 vastly different musical performances, especially when they've been spread out over an eight-month-long season.\u003c/p>\n\u003cp>So, \u003ca href=\"https://www.npr.org/sections/allsongs/2018/05/21/612911877/this-season-s-snl-musical-guests-cruelly-ranked\">for the second year in a row\u003c/a>, here goes.\u003c/p>\n\u003cp>\u003cstrong>21. Greta Van Vleet\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?reload=9&v=DqjeLipYpsw\">\u003cstrong>Black Smoke Rising\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=9Wyn-s4Wc4s\">\u003cstrong>You're the One\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DqjeLipYpsw'\n title='//www.youtube.com/embed/DqjeLipYpsw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Whichever side of the Greta Van Fleet divide you occupy—whether you herald the Michigan band as a welcome return to classic-rock grandiosity or dismiss it as an unbearably derivative Led Zeppelin clone—it's hard to defend the band's \u003cem>SNL\u003c/em> debut, which somehow sounded both over-the-top and thuddingly lifeless. Swallowed whole by the stage, singer Josh Kiszka shrieked with grating, maximalist pitchiness through \"Black Smoke Rising\" and \"You're the One,\" while clad in what appeared to be either a beaded curtain or a \u003ca href=\"https://www.mybluprint.com/article/yarn-bomb-a-tree-trunk-a-street-sign-a-park-bench-heres-how-to-try-the-knitfiti-trend\">yarn bomb\u003c/a>. The latter song was duller than the former, but each played out like the limpest gag of Adam Sandler's \u003cem>SNL\u003c/em> career.\u003c/p>\n\u003cp>\u003cstrong>20. DJ Khaled\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=TKfAR_owRjg\">\u003cstrong>Jealous\u003c/strong>\u003c/a>\u003cstrong>\"/\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=TKfAR_owRjg\">\u003cstrong>You Stay\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=P01sQITCRYE\">\u003cstrong>Just Us\u003c/strong>\u003c/a>\u003cstrong>\"/\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=P01sQITCRYE\">\u003cstrong>Weather the Storm\u003c/strong>\u003c/a>\u003cstrong>\"/\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=P01sQITCRYE\">\u003cstrong>Higher\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TKfAR_owRjg'\n title='//www.youtube.com/embed/TKfAR_owRjg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Imagine a stage full of hip-hop, R&B and pop heavy hitters—the sort of people you might expect to headline \u003cem>SNL\u003c/em> on any given week. Some of them have done just that this season (Meek Mill, Lil Wayne) or last season (SZA) or the season before that (Big Sean), while others could sell out stadiums in their own right. John Legend! J Balvin! All paying tribute to the late lamented Nipsey Hussle! What more do you need?\u003c/p>\n\u003cp>If you answered, \"A man shouting non sequiturs, drowning out every one of those talented artists as they tried to do their thing,\" then we've got some \u003cem>excellent\u003c/em> news for you. DJ Khaled is the most successful Guy Who Screams His Own Name While Other People Perform in the business, and he brought his screaming-his-own-name A game for \u003cem>SNL\u003c/em>'s season finale. Imagine a medley of performers and songs you're interested in hearing, except that medley is punctuated every few seconds by an airhorn, and that airhorn is a man, and that man is shouting, \"SING IT, GIRL!\" at SZA \u003cem>while she's already attempting to sing\u003c/em>. You know who's really great at singing? SZA. You know who does not need to be heard yelling, \"SING IT, GIRL!\" at SZA as she sings? Three guesses, and if you somehow guess wrong the first time, I will appear in the clouds overhead like Mufasa in \u003cem>The Lion King\u003c/em> and bellow \"ANOTHER ONE!\" at you, because that's how the universe works.\u003c/p>\n\u003cp>Finally, neither of these facts is DJ Khaled's fault, but let's just put them out there anyway. Carly Rae Jepsen released a new album precisely one day prior to this performance. Four weeks earlier, Lizzo released \u003cem>Cuz I Love You\u003c/em>. We could have had Carly Rae Jepsen or Lizzo—or even both at the same time. It was the season finale! Anything seemed possible! (This is as good a time as any for a side note: In 21 episodes, \u003cem>five\u003c/em> women got headlining slots as musical guests this season, and one of them was Miley Cyrus, who shared her billing with Mark Ronson. Come \u003cem>on\u003c/em>.)\u003c/p>\n\u003cp>\u003cstrong>19. Kanye West\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=IL_h9m_-HlE\">\u003cstrong>I Love It\u003c/strong>\u003c/a>\u003cstrong>,\" \"We Got Love,\" \"Ghost Town\"\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IL_h9m_-HlE'\n title='//www.youtube.com/embed/IL_h9m_-HlE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the country's rage-spasms grow ever more frequent, it's hard to believe the controversies surrounding \u003ca href=\"https://www.npr.org/2018/09/30/653106815/the-new-kanye-reaffirms-his-love-for-president-trump-on-snl\">Kanye West's \u003cem>SNL\u003c/em> appearance\u003c/a> unfolded a mere eight months ago. But for the purposes of this ranking, let's set aside West's infamous \u003ca href=\"https://twitter.com/frankpallotta/status/1046384066403143680?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1046384066403143680&ref_url=https%3A%2F%2Fwww.cnn.com%2F2018%2F09%2F30%2Fentertainment%2Fkanye-west-trump-saturday-night-live%2Findex.html\">rambling post-credits speech\u003c/a>—in which the enigmatic superstar, clad in a \"Make America Great Again\" cap, defended his support of the president—and focus on the three songs he performed during the season-opening broadcast.\u003c/p>\n\u003cp>Though they vary wildly in tone and set dressing, each performance was a listless disaster. The first played out like cross between a fourth-grade school play and, well, an \u003cem>SNL\u003c/em> sketch: West and rapper Lil Pump performed \"I Love It\" while dressed as a Perrier bottle and a Fiji bottle, respectively, as they clomped around awkwardly and heavily redacted the original lyric.\u003c/p>\n\u003cp>West yielded much of his second song (\"We Got Love\") to protégé Teyana Taylor, whose presence and level of effort dwarfed his—at least, that is, until both had to hold still and wait for a lengthy, song-closing sample to play out. Finally, in lieu of the usual stand-around-and-wave-over-the-credits bit at the end of the telecast, West returned to the stage to play \"Ghost Town\" with Kid Cudi, 070 Shake, Ty Dolla $ign and the Saturday Night Live Band. Together, they gave the energy level a decent boost—thanks in part to the sheer number of participants—but the vocals were, to put it generously, uneven. Fortunately (or \"fortunately\") for West, audiences found other outrages to cling to by the time the next week rolled around, not that that stopped \u003cem>SNL\u003c/em> from skewering the rapper in \u003ca href=\"https://www.youtube.com/watch?v=4sO5-t3iEYY\">the sketch that opened the following episode\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>18. Tame Impala\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=iToe7b_VfWI\">\u003cstrong>Patience\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=hNJOI2dtDZ4\">\u003cstrong>Borderline\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iToe7b_VfWI'\n title='//www.youtube.com/embed/iToe7b_VfWI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In recent years, Tame Impala's fame has grown to festival-headliner proportions, even as its sound has shrunk from Technicolor psych-rock to smooth, yacht-rock-inspired soul. Bandleader Kevin Parker is a relentless sonic tinkerer and studio explorer—a genuinely talented and inventive guy—but on the \u003cem>SNL\u003c/em> stage, the Australian's new songs felt washed-out and drained of their life force. Clad in what appeared to be Old Navy button-ups they'd found at the bottom of the hamper, the guys in Tame Impala leaned hard on a flashily dappled light show that couldn't compensate for a lack of verve.\u003c/p>\n\u003cp>\u003cstrong>17. Ella Mai\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Boo'd Up,\" \"Trip\"\u003c/strong>\u003c/p>\n\u003cp>Charming U.K. R&B singer Ella Mai had one of last year's big breakthroughs with the sleekly infectious \"Boo'd Up,\" but her \u003cem>SNL\u003c/em> debut felt uneventful. These straightforward readings of \"Boo'd Up\" and \"Trip\" could have just as easily passed by as afterthoughts on any given late-night network talk show, though \"Trip\" at least gave Ella Mai a chance to perform alongside a stray park bench and a chainlink fence. In case you're keeping score on such matters: As visual palettes go, that's considerably less impressive than Travis Scott's holographic-smoke fantasia (see below) and only a little more impressive than Kanye West pantsing around on a barren stage while dressed as a bottle of sparkling water.\u003c/p>\n\u003cp>\u003cstrong>16. Shawn Mendes\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=kD_sYBsMThs\">\u003cstrong>If I Can't Have You\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=43YP4Ty_yHY\">\u003cstrong>In My Blood\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kD_sYBsMThs'\n title='//www.youtube.com/embed/kD_sYBsMThs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shawn Mendes has superfans just like any pop star, but for those who aren't in their ranks, he has a way of eliciting a \"Wait, \u003cem>who\u003c/em> is this again?\" every time one of his songs pops up on the radio. (Which, friends, is \u003cem>often\u003c/em>.) The young Canadian hitmaker has looks to burn and top-notch collaborators, but his personality rarely transcends sweet-faced amiability onstage, and his \u003cem>SNL\u003c/em> appearance was no different. After chugging through his serviceable but standard-issue single \"If I Can't Have You,\" the former Vine star returned with his best and most noteworthy hit, \"In My Blood.\"\u003c/p>\n\u003cp>Setting aside the observation that Mendes ought to be setting aside some of his royalties for Glen Hansard—Sam Smith \u003ca href=\"https://www.npr.org/2015/02/09/385000766/one-of-sam-smiths-grammys-a-win-for-tom-petty-too\">had to give\u003c/a> Tom Petty a cut of \"Stay With Me,\" after all, and it's hard not to hear the big hook from \"\u003ca href=\"https://www.youtube.com/watch?v=k8mtXwtapX4\">Falling Slowly\u003c/a>\" within \"In My Blood\"—this take on Mendes' smash does move nicely from brooding piano ballad to set-closing, string-swept blowout. But it was also almost immediately upstaged by host Adam Sandler, who took the stage after the commercials to sing a sweet and obviously deeply felt \u003ca href=\"https://www.youtube.com/watch?v=25IOsvWPQGQ\">tribute to Chris Farley\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>15. Mark Ronson & Miley Cyrus\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=lH4oos43QUs\">\u003cstrong>Nothing Breaks Like a Heart\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=MPlA1Egabj0\">\u003cstrong>Happy Xmas (War Is Over)\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lH4oos43QUs'\n title='//www.youtube.com/embed/lH4oos43QUs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mark Ronson and Miley Cyrus recently teamed up for \"Nothing Breaks Like a Heart,\" a hit from Ronson's most recent album. That one song wound up spawning its very own \u003cem>SNL\u003c/em> appearance, giving Cyrus a chance to belt out the single with fully committed intensity as Ronson stood silently nearby, strumming an acoustic guitar and otherwise unleashing roughly 0.3 percent of her charisma.\u003c/p>\n\u003cp>Later, in honor of the holidays and the fact that the two only really share the one song, they closed with a cover of John Lennon and Yoko Ono's \"Happy Xmas (War Is Over)\"—backed, appropriately enough, by Sean Ono Lennon. As a vehicle for dispensing holiday sentiment in difficult times, the song choice was a slam dunk, but as a performance it never quite cohered: Lennon was mixed too quietly to provide a counterweight for an unusually shouty Cyrus, who's usually got a better handle on when to modulate.\u003c/p>\n\u003cp>\u003cstrong>14. Maggie Rogers\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=NBNF4OwtSWQ\">\u003cstrong>Light On\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=MrO5GTVdc-Q\">\u003cstrong>Fallingwater\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/NBNF4OwtSWQ'\n title='//www.youtube.com/embed/NBNF4OwtSWQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Maggie Rogers' folk/electro-pop hybrids have made her a favorite of Pharrell, a lovable YouTube sensation and \u003ca href=\"https://www.npr.org/2017/08/07/541948452/maggie-rogers-tiny-desk-concert\">a Tiny Desk veteran\u003c/a>, but the \u003cem>SNL\u003c/em> stage is still a big leap in terms of mainstream exposure. Her nerves pretty clearly got the better of her in the touch-and-go opening moments of \"Light On,\" but \"Fallingwater\" feels more assured in every way, as Rogers—joined by Rostam Batmanglij on piano—lets loose a bit, both vocally and in terms of her dance moves. By the end of the song, when she's strutting around the stage in a flowy red dress like the coolest bridesmaid in the history of weddings, the performance finally starts to feel like the coming-out party it was intended to be.\u003c/p>\n\u003cp>\u003cstrong>13. Khalid\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Talk,\" \"Better\"\u003c/strong>\u003c/p>\n\u003cp>Young R&B star Khalid got his start in high school and has spent the first few years of his career chronicling youthful unease and the crisis of confidence it can engender. But as an \u003cem>SNL\u003c/em> headliner, he exuded a kind of blushing charisma—complete with a high-wattage smile and easygoing style—as he showcased a pair of breezy mid-tempo jams from this spring's \u003cem>Free Spirit\u003c/em>. This \u003cem>SNL\u003c/em> season's musical guests hit intoxicating highs and soul-deadening lows, but Khalid's genially appealing performance aimed squarely for (and landed on) firm, smooth, steady middle ground.\u003c/p>\n\u003cp>\u003cstrong>12. Sara Bareilles\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=3BBuijwvqLk\">\u003cstrong>Fire\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=aygNSX1FzTg\">\u003cstrong>Saint Honesty\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3BBuijwvqLk'\n title='//www.youtube.com/embed/3BBuijwvqLk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sara Bareilles is as game-ready as they come, giving her all in a wide range of works that have been nominated for Grammys, Tonys and even an Emmy. To even \u003cem>think\u003c/em> about the 2016 Democratic Convention is to send some of Bareilles' most vibrantly sung words—\"\u003cem>I wanna see you be braaaaaaaaave\u003c/em>\"—hurtling through your brain and across the universe, where they'll persist long after all life is extinguished. But these two immaculately appointed \u003cem>SNL\u003c/em> performances, executed with proficiency bordering on perfection by Bareilles and a large but low-key band, are forgettable enough to make you wish, if only for a second, that she'd dressed up as a Perrier bottle or something.\u003c/p>\n\u003cp>\u003cstrong>11. Mumford & Sons\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=zlCVczXWPyI\">\u003cstrong>Guiding Light\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=WvS3Iq2iGis\">\u003cstrong>Delta\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WvS3Iq2iGis'\n title='//www.youtube.com/embed/WvS3Iq2iGis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mumford & Sons' songs don't dominate radio playlists the way they did in in the months and years leading up to the band's Album of the Year win at the 2013 Grammys. But the group still knows how to whip up anthemic, banjo-flecked rousers like \"Guiding Light,\" which opens Mumford & Sons' third-ever \u003cem>SNL\u003c/em> appearance. Later, the Dave Matthews-esque \"Delta\" benefits from a bit of atmospheric buildup: Singer Marcus Mumford seethes stoically through the song's dimly lit first couple minutes, only to spring to life as the slow burn gives way to a bright, satisfying cataclysm.\u003c/p>\n\u003cp>\u003cstrong>10. Meek Mill\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=aaCZlzgQ8Qo\">\u003cstrong>Going Bad\u003c/strong>\u003c/a>\u003cstrong>\"/\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=aaCZlzgQ8Qo\">\u003cstrong>Uptown Vibes\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=nG_nVJKpFW8\">\u003cstrong>Championships\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nG_nVJKpFW8'\n title='//www.youtube.com/embed/nG_nVJKpFW8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Meek Mill has experienced \u003ca href=\"https://www.npr.org/sections/therecord/2017/11/15/564385830/meek-mill-sentencing-protest-probation-parole-reform\">trials and transformations\u003c/a> in recent years, emerging from a controversial prison stint with his mind fixed squarely on criminal-justice reform. Still, his \u003cem>SNL\u003c/em> debut gave him space for both celebration and reflection. An opening performance of \"Going Bad\" and \"Uptown Vibes\" found the Philly rapper flanked by bodysuit-clad dancers—\"Uptown Vibes\" also featured a guest spot by Fabolous, though \"Going Bad\" had to relegate Drake's verse to a prerecording from the album track—for a fun but unspectacular medley.\u003c/p>\n\u003cp>\"Championships\" took a more serious turn, as Meek Mill summed up his last few difficult years—incarceration and awakening, redemption and triumph—in a heartfelt, periodically gripping bit of storytelling that radiated a renewed sense of purpose.\u003c/p>\n\u003cp>\u003cstrong>9. Thomas Rhett\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Look What God Gave Her,\" \"Don't Threaten Me With A Good Time\"\u003c/strong>\u003c/p>\n\u003cp>For all his dressed-down everyman authenticity, Thomas Rhett can come off as focus-grouped to the hilt, starting with the parade of modern-day bro-country tropes at the heart of \"Look What God Gave Her\" and \"Don't Threaten Me With a Good Time,\" both of which he brought to the \u003cem>SNL\u003c/em> stage.\u003c/p>\n\u003cp>So it's tempting to lump him in with the mass of likeminded (and like-named) country dudes giving endlessly repetitious voice to the Male Gaze, but Rhett is also—to his great credit—more willing than most stars to test the margins of country radio's sound. By the time he and his great big overstuffed band got to the charmingly high-spirited end of \"Don't Threaten Me With a Good Time,\" filling the air with hooky declarations of joy, damned if all that weapons-grade ingratiation hadn't done its job. The guy knows what he's doing.\u003c/p>\n\u003cp>\u003cstrong>8. Gary Clark Jr.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=bGA5u-8Oy8A\">\u003cstrong>Pearl Cadillac\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=XwWQFKKUejk\">\u003cstrong>This Land\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XwWQFKKUejk'\n title='//www.youtube.com/embed/XwWQFKKUejk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gary Clark Jr.'s new album, \u003cem>This Land\u003c/em>, is an incendiary slab of politically charged blues-rock that balances raw-boned treatises on American life with guitar work that's urgent and dazzling, but never pointlessly flashy. On \u003cem>SNL\u003c/em>, Clark fit in several sides of his persona, showcasing the languid ballad \"Pearl Cadillac\"—in which he paid tribute to both his mom's sacrifices and Prince's falsetto—and \"This Land,\" a hard-charging polemic with a ripping guitar solo. The vocals were wobblier than expected here, given how great Clark has sounded in \u003ca href=\"https://www.npr.org/2019/04/11/712350241/gary-clark-jr-tiny-desk-concert\">performances without amplification\u003c/a>, but he was still a commanding presence.\u003c/p>\n\u003cp>\u003cstrong>7. Jonas Brothers\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=F1IHeNtxnGQ\">\u003cstrong>Sucker\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=PDS8tXG21DU\">\u003cstrong>Cool\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=PDS8tXG21DU\">\u003cstrong>Burnin' Up\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/F1IHeNtxnGQ'\n title='//www.youtube.com/embed/F1IHeNtxnGQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nick, Joe and Kevin Jonas have kept busy since their massively successful brotherly boy band released its last album all the way back in 2009. Joe launched DNCE to great success, scoring an inescapable smash with \"\u003ca href=\"https://www.youtube.com/watch?v=PAzH-YAlFYc\">Cake by the Ocean\u003c/a>,\" while Nick enjoyed solo hits under his own name, beefed up his filmography and married Priyanka Chopra. For his part, Kevin went into private business, starred in an E! reality series and, \u003ca href=\"https://uproxx.com/tv/kevin-jonas-donald-trump-president-celebrity-apprentice/\">it's been fairly convincingly argued\u003c/a>, inadvertently compelled Donald Trump to run for president. It's been an eventful decade since the Jonases split due to reported differences in musical vision.\u003c/p>\n\u003cp>Jonas Brothers will release a long-awaited new album next month, and if the trio's game return to \u003cem>SNL\u003c/em> is any indication, their solution to the aforementioned competing musical directions has been to pursue a bunch of them at once. The chart-topping \"Sucker\" meets at the instantly familiar middle ground between Portugal. The Man's 2017 smash \"\u003ca href=\"https://www.youtube.com/watch?v=pBkHHoOIIn8\">Feel It Still\u003c/a>\" and the complete collected works of Maroon 5, while \"Cool\" could be a country sensation if only the Jonases were from, say, Tennessee instead of New Jersey. On \u003cem>SNL\u003c/em>, both songs sounded as bright and lively as the mass of balloons piled up around the assorted Jonases, who tapped into the night's celebratory atmosphere by tossing in a lively bonus performance of 2008's \"Burnin' Up.\"\u003c/p>\n\u003cp>\u003cstrong>6. Halsey\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=f98Ei9wjWlg\">\u003cstrong>Without Me\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=ySmBqIKZi3E\">\u003cstrong>Eastside\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ySmBqIKZi3E'\n title='//www.youtube.com/embed/ySmBqIKZi3E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When you look back on your life, you'll want to know that someone loved you as much as \u003cem>SNL\u003c/em> loves booking Halsey. The charismatic young singer was a musical guest in January 2018, a guest-of-a-musical-guest (that'd be Lil Wayne) in November 2018, and the host \u003cem>and\u003c/em> headlining musical guest a mere three months after that. If Paul Simon had appeared on \u003cem>SNL\u003c/em> with that kind of frequency over the past 44 seasons, he might be into triple digits by now.\u003c/p>\n\u003cp>But Halsey is nothing if not multi-talented: She's both an endearing host and a solid singer, albeit one who's learned to simulate Auto-Tune the way a mockingbird comes to \u003ca href=\"https://www.youtube.com/watch?v=_Zd6Iy4JuGk\">appropriate a car alarm\u003c/a>. In fact, Halsey is \u003cem>so\u003c/em> multi-talented, she actually performed the breathy ballad \"Eastside\" while crouching over a giant canvas, completing an impressive painting of a woman's face in the time it took her to finish the song. She is, in other words, gameness personified: 51 percent undeniable talent and possible icon-in-the-making, 49 percent lab-tested try-hard composite sketch of a present-day pop star. (Give or take 2 percent.)\u003c/p>\n\u003cp>\u003cstrong>5. Lil Wayne\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=cvNVRBMmQv8\">\u003cstrong>Can't Be Broken\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=lzRELRUti6w\">\u003cstrong>Uproar\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cvNVRBMmQv8'\n title='//www.youtube.com/embed/cvNVRBMmQv8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not many rappers could stand stock still on the \u003cem>SNL\u003c/em> stage in a hoodie and pajama pants and hold focus for an entire song, but Lil Wayne has both the gravitas and the lyrical deftness to pull it off. \"Can't Be Broken\" doesn't get much in the way of set dressing: Lil Wayne and ubiquitous guest vocalist Halsey perform in front of a gigantic screen that resembles a wrinkled white bedsheet, flanked by a drummer and a DJ. But the song casts a spell, building to a nice moment in which the rapper thanks veterans and hugs his band.\u003c/p>\n\u003cp>\"Uproar\" gets a far busier presentation—the bedsheet and spare-but-forceful production remain, but Halsey is replaced by a large throng of dancers and the rowdy encouragement of Swizz Beatz—with similarly compelling results. Once again, Wayne finds himself clad in the most comfortable possible attire, this time wrapped in a robe straight out of the Cruella De Vil collection. But the performance isn't so laidback, as everyone on stage gets a chance to cut loose with playfully pumped-up aggression. (Incidentally, you have to give Lil Wayne a boost in the standings based on his appearance, with fellow rapper Future, in this \u003cem>SNL\u003c/em> episode's fun and funny \u003ca href=\"https://www.youtube.com/watch?v=mAL0wZu4JUg\">video about consent\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>4. Paul Simon with yMusic\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Can't Run But,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=hGDdX-yV3dQ\">\u003cstrong>Bridge Over Troubled Water\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hGDdX-yV3dQ'\n title='//www.youtube.com/embed/hGDdX-yV3dQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Let's start with the legacy on display here: Just weeks removed from his farewell tour, Paul Simon played \u003cem>SNL\u003c/em> on his 77th birthday. It was the singer's record \u003cem>ninth\u003c/em> appearance as an \u003cem>SNL\u003c/em> musical guest, capping off a history with the show dating back to his gig hosting its second episode all the way back in 1975.\u003c/p>\n\u003cp>So that's the history, as well as the source of the gravitas we're dealing with here. But the performances themselves—a vibrant, shimmery reboot of 1990's \"Can't Run But\" (mirroring the one heard on last year's \u003cem>In the Blue Light\u003c/em>) and a justifiably emotional take on Simon & Garfunkel's eternal \"Bridge Over Troubled Water\"—are knockouts in their own right, buoyed and deepened by the lush arrangements of the chamber ensemble yMusic. Both songs add up to a grand victory lap for a singer who's more than earned one.\u003c/p>\n\u003cp>\u003cstrong>3. BTS\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=O4NB73HTlxI\">\u003cstrong>Boy With Luv\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=jSFIwS2b-kg\">\u003cstrong>Mic Drop\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/O4NB73HTlxI'\n title='//www.youtube.com/embed/O4NB73HTlxI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Studio 8H stage can be a cavernous and unforgiving place. It can make bands seem small and enervated, and it takes effort to fill the space. Some use light shows or props, while others employ an expanded array of backing musicians, but the smart ones know that it helps to bring a little something extra.\u003c/p>\n\u003cp>For the Korean boy-band sensation BTS—not only making its own \u003cem>SNL\u003c/em> debut, but also marking the show's initiation into the world of K-pop—that something extra was motion, and lots of it. The group's seven members sing and rap in multiple languages, but they're also almost comically vibrant dancers, which gives their live TV appearances a welcome jolt of energy, color and joy. Here, the ubiquitous new \"Boy With Luv\" and the older track \"Mic Drop\" unfolded as a giddy swirl of bouncy, joyful stimuli.\u003c/p>\n\u003cp>\u003cstrong>2. Travis Scott\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=5marNlhSeGw\">\u003cstrong>Skeletons/Astrothunder\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=pF8Ssdly6wo\">\u003cstrong>Sicko Mode\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pF8Ssdly6wo'\n title='//www.youtube.com/embed/pF8Ssdly6wo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Travis Scott could have just stood onstage and gone through the hit-regurgitating motions, treating \u003cem>SNL\u003c/em> like any other late-night appearance. Instead, each performance piled extras atop extras, without quite tilting into overkill. For a medley of \"Skeletons\" and \"Astrothunder,\" you got a few grabby visual elements—like a woman brooding astride a rotating carousel horse, or an effect in which Scott appeared to stand on clouds—that momentarily distracted from the stunt casting on display. (Tame Impala's Kevin Parker on bass! John Mayer on guitar!)\u003c/p>\n\u003cp>Later, Scott returned for a full-on feast of eye-popping tricks, starting with an effect in which the late DJ Screw's image was projected onto a curtain of smoke; soon, Scott himself appeared, rapping while appearing to... rotate? On a giant arcade cabinet? There was a \u003cem>lot\u003c/em> going on, all of it gorgeous to look at—and best of all, the visuals worked hand-in-glove with the actual songs, each of which managed an intoxicating mix of wooziness and intensity.\u003c/p>\n\u003cp>\u003cstrong>1. Anderson .Paak\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Tints,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=1bS5sHO8SFg\">\u003cstrong>Who R U?\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1bS5sHO8SFg'\n title='//www.youtube.com/embed/1bS5sHO8SFg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You read it here first: Anderson .Paak is \u003ca href=\"https://www.npr.org/2016/08/12/489769830/anderson-paak-the-free-nationals-tiny-desk-concert\">really, \u003cem>really\u003c/em> good\u003c/a> at this whole performing-on-stage thing. So it wasn't exactly a huge surprise when .Paak straight-up dominated in an \u003cem>SNL\u003c/em> appearance that found him showcasing two tracks from last year's \u003cem>Oxnard\u003c/em>.\u003c/p>\n\u003cp>Naturally, given the scope of the singer, rapper and multi-instrumentalist's talents, each performance took on a radically different shape. In \"Tints,\" .Paak rapped from behind sunglasses, a drum kit and a radiant smile, keeping time while making it clear he was having the time of his life. Not that anyone could blame him, given that he got to share the stage with both Tayla Parx and, in a nonchalant 40-second pop-in that elicited a few gasps from the crowd, Kendrick Lamar.\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>After all that, \"Who R U?\" could have been anticlimactic, but it's a true showstopper: Performing in front of a curtain that silhouetted his band, .Paak commanded center stage with a riveting vocal, then gobbled up about a thousand extra-credit points via some fierce and unrelenting dance moves.\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=%27SNL%27+Musical+Guests%2C+Ranked+From+No.+1+To+Greta+Van+Fleet&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/111977/snl-musical-guests-ranked-from-no-1-to-greta-van-fleet","authors":["byline_pop_111977"],"categories":["pop_4","pop_3"],"tags":["pop_88","pop_1228"],"featImg":"pop_111978","label":"pop"},"pop_111259":{"type":"posts","id":"pop_111259","meta":{"index":"posts_1591205157","site":"pop","id":"111259","score":null,"sort":[1556043550000]},"guestAuthors":[],"slug":"huge-bets-fast-buzzer-sports-bettor-smashes-jeopardy-records","title":"Huge Bets, Fast Buzzer: Sports Bettor Smashes 'Jeopardy!' Records","publishDate":1556043550,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>A new star has risen on a classic game show.\u003c/p>\n\u003cp>James Holzhauer, a Las Vegas professional sports bettor, is on a \u003cem>Jeopardy!\u003c/em> hot streak. He has breezily won the last 12 games in a row.\u003c/p>\n\u003cp>But most notably, the 34-year-old is drawing attention for his unique strategy and big bets. Over the 12 wins as of Friday, he now holds the \u003ca href=\"https://www.jeopardy.com/contestant-zone/hall-of-fame\">top five slots for single-day winning records\u003c/a> on the show in regular play, racking up a total of $851,926.\u003c/p>\n\u003cp>Last week, he won $131,127 in a single game, setting yet another new record. He answered every single question correctly that he buzzed in for. Before his appearance on the show, the previous single-day record in regular play was $77,000.\u003c/p>\n\u003cp>For comparison, Ken Jennings, the show's most successful player ever during nontournament play, had won $410,158 after 12 games, \u003ca href=\"https://thejeopardyfan.com/2019/04/james-holzhauer-ken-jennings-comparison.html\">according to The Jeopardy Fan\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/KenJennings/status/1118727290249068544?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1118727290249068544&ref_url=https%3A%2F%2Fwww.npr.org%2F2019%2F04%2F22%2F714626647%2Fhuge-bets-fast-buzzer-sports-bettor-smashes-jeopardy-records\u003c/p>\n\u003cp>\"All good professional gamblers are selectively aggressive. You need to pick your spots and bet big when you identify them,\" Holzhauer tells NPR over email. \"That's basically my \u003cem>Jeopardy!\u003c/em> strategy in a nutshell.\"\u003c/p>\n\u003cp>Holzhauer starts by choosing the highest-value clues on the six-by-five board. Contestants have typically started with the lowest value of a category and worked down the board to the more valuable spots.\u003c/p>\n\u003cp>\"You need a decent-sized bankroll to bet for profit, which is why I start at the bottom of the board,\" he says. That bankroll pays off when he hits a \"Daily Double,\" a question where he can bet more if he has more money in his pocket already. And he routinely bets everything he has.\u003c/p>\n\u003cp>https://twitter.com/Jeopardy/status/1118710748681687041?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1118710748681687041&ref_url=https%3A%2F%2Fwww.npr.org%2F2019%2F04%2F22%2F714626647%2Fhuge-bets-fast-buzzer-sports-bettor-smashes-jeopardy-records\u003c/p>\n\u003cp>The show's host, Alex Trebek, put it simply during a recent show: \"If you control the board and constantly come up with correct responses, you're likely to hit most of the Daily Doubles, which is what you do,\" he remarked to Holzhauer. He asked the other contestants: \"How does it feel to come into a buzz saw?\"\u003c/p>\n\u003cp>Holzhauer, who has a degree in math from the University of Illinois, says that sports betting comes naturally to him. \"There's nothing better for my interests and talents than combining math and sports for profit.\"\u003c/p>\n\u003cp>He says he initially focused on baseball \"because it is the easiest sport to break down mathematically, but as betting markets have adjusted, I'm spending more time on football and hockey now.\"\u003c/p>\n\u003cp>His grandmother, who is now deceased, inspired him to try out for the show.\u003c/p>\n\u003cp>\"She moved from Japan to help raise me and my brother, spoke barely any English, if anything at all,\" he told Trebek \u003ca href=\"https://twitter.com/Jeopardy/status/1118987747027329024\">in a recent episode\u003c/a>. \"But \u003cem>Jeopardy!\u003c/em> was on in the afternoon at our house. ... She would watch the program with me even though she didn't understand a lick of it. And I promised her someday, she'd see me on the stage up here.\"\u003c/p>\n\u003cp>\"So, I hope wherever she is right now, she's looking down,\" Holzhauer added. He has written a short message in her honor on the final question's write-in space. On other days, he has given shout-outs to his young child and other family and friends.\u003c/p>\n\u003cp>Holzhauer dominates across topics—with answers such as \"Who is Aquaman?\" \"What is the Reformation?\" \"What is\u003cem> Quantum Leap\u003c/em>?\"\u003c/p>\n\u003cp>He says some categories come more easily to him than others. \"I spent almost no time studying categories like geography and sports, even though they came up frequently on \u003cem>Jeopardy!\u003c/em>, because I'm already strong in those subjects,\" he tells NPR. Categories he says he did spend time reviewing: animals, classical music and literature.\u003c/p>\n\u003cp>In 2004,\u003cem> Jeopardy!\u003c/em> champion Ken Jennings eventually went on to win 74 straight games and more than $2.5 million.\u003c/p>\n\u003cp>\"I'm just gobsmacked by James,\" \u003ca href=\"https://www.wired.com/story/ken-jennings-james-holzhauer-jeopardy/?utm_source=pocket-newtab\">Jennings told \u003cem>Wired\u003c/em>\u003c/a>. \"It's absolutely insane what he's doing. Like, I thought I had seen everything on \u003cem>Jeopardy!\u003c/em> And this is something I would have thought was just impossible, these numbers.\"\u003c/p>\n\u003cp>He says he played the game very differently. \"I was playing a game show like I had on my couch. My top priority wasn't maximizing winnings,\" he said. \"I would never have had the stomach for those kinds of bets.\"\u003c/p>\n\u003cp>Jennings told the magazine that he is surprised his record has stood for some 15 years. \"As a fan of the show, I'm actually rooting for James or anybody who can take a swing at that record,\" he added.\u003c/p>\n\u003cp>https://twitter.com/Jeopardy/status/1115343556498022405?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1115343556498022405&ref_url=https%3A%2F%2Fwww.npr.org%2F2019%2F04%2F22%2F714626647%2Fhuge-bets-fast-buzzer-sports-bettor-smashes-jeopardy-records\u003c/p>\n\u003cp>On April 8, \u003cem>Jeopardy!\u003c/em> released a \u003ca href=\"https://twitter.com/Jeopardy/status/1115343556498022405\">trailer pumping up\u003c/a> excitement about the new challenger. \"This April ... every record ... is in \u003cem>Jeopardy!\u003c/em>\" it said. \"The next great champion ... is coming. ... Is it too soon to start making comparisons with Ken Jennings?\" (\u003cem>Jeopardy!\u003c/em> is taped in advance—the episodes that have aired thus far were taped in early February, Holzhauer said.)\u003c/p>\n\u003cp>\"It's an honor to be compared to him, but he and I play very differently,\" said Holzhauer. \"Studying his game film would be about as useful as someone my size trying to play like Shaq in a pickup basketball game.\"\u003c/p>\n\u003cp>Holzhauer has shown extraordinary speed with the buzzer—and it's notoriously difficult to get that timing right.\u003c/p>\n\u003cp>Originally on the show, contestants could buzz in as soon as the clue appeared. That \"led to a lot of quick guesses, negative scores and general confusion,\" \u003ca href=\"https://www.jeopardy.com/jbuzz/behind-scenes/how-does-jeopardy-buzzer-work\">Jeopardy!'s website says\u003c/a>. These days, the contestants can't buzz in until Trebek has finished reading the clue. Then, a staff member pushes a button that illuminates lights on either side of the game board and opens up the system to allow contestants to buzz in.\u003c/p>\n\u003cp>However, if a contestant buzzes in before the system is operating, he or she gets locked out for a quarter of second—a huge disadvantage when tiny fractions of a second determine who has the edge. As \u003cem>The Ringer\u003c/em> reported, before he appeared on the show, Holzhauer practiced his timing using \u003ca href=\"https://www.theringer.com/tv/2019/4/18/18456756/james-holzhauer-jeopardy-winner-alex-trebek-ken-jennings\">an improvised buzzer\u003c/a>—a mechanical pencil wrapped in masking tape.\u003c/p>\n\u003cp>The \u003cem>Jeopardy!\u003c/em> success hasn't changed his life much yet—\"I would say I'm currently a C-list celebrity with Vegas locals,\" Holzhauer says. But that may be different when he visits his hometown of Naperville, Ill., where he hears his success is generating a lot of buzz. \"My dad has never been more popular,\" he adds.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And at this point, he says sportsbook managers have said they are rooting for him. \"Maybe they think I will stop betting on sports if I stay on \u003cem>Jeopardy!\u003c/em> forever,\" Holzhauer adds.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Huge+Bets%2C+Fast+Buzzer%3A+Sports+Bettor+Smashes+%27Jeopardy%21%27+Records&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Over his 12-day winning streak, James Holzhauer now holds the top five slots for single-day winning records on the show. \"You need to pick your spots and bet big,\" he tells NPR. ","status":"publish","parent":0,"modified":1556043550,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1211},"headData":{"title":"Huge Bets, Fast Buzzer: Sports Bettor Smashes 'Jeopardy!' Records | KQED","description":"Over his 12-day winning streak, James Holzhauer now holds the top five slots for single-day winning records on the show. "You need to pick your spots and bet big," he tells NPR. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Huge Bets, Fast Buzzer: Sports Bettor Smashes 'Jeopardy!' Records","datePublished":"2019-04-23T18:19:10.000Z","dateModified":"2019-04-23T18:19:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"111259 https://ww2.kqed.org/pop/?p=111259","disqusUrl":"https://ww2.kqed.org/pop/2019/04/23/huge-bets-fast-buzzer-sports-bettor-smashes-jeopardy-records/","disqusTitle":"Huge Bets, Fast Buzzer: Sports Bettor Smashes 'Jeopardy!' Records","nprImageCredit":"Jeopardy Productions Inc. ","nprByline":"Merrit Kennedy","nprImageAgency":"AP","nprStoryId":"714626647","nprApiLink":"http://api.npr.org/query?id=714626647&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/04/22/714626647/huge-bets-fast-buzzer-sports-bettor-smashes-jeopardy-records?ft=nprml&f=714626647","nprRetrievedStory":"1","nprPubDate":"Mon, 22 Apr 2019 17:43:00 -0400","nprStoryDate":"Mon, 22 Apr 2019 17:07:09 -0400","nprLastModifiedDate":"Mon, 22 Apr 2019 17:43:27 -0400","path":"/pop/111259/huge-bets-fast-buzzer-sports-bettor-smashes-jeopardy-records","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new star has risen on a classic game show.\u003c/p>\n\u003cp>James Holzhauer, a Las Vegas professional sports bettor, is on a \u003cem>Jeopardy!\u003c/em> hot streak. He has breezily won the last 12 games in a row.\u003c/p>\n\u003cp>But most notably, the 34-year-old is drawing attention for his unique strategy and big bets. Over the 12 wins as of Friday, he now holds the \u003ca href=\"https://www.jeopardy.com/contestant-zone/hall-of-fame\">top five slots for single-day winning records\u003c/a> on the show in regular play, racking up a total of $851,926.\u003c/p>\n\u003cp>Last week, he won $131,127 in a single game, setting yet another new record. He answered every single question correctly that he buzzed in for. Before his appearance on the show, the previous single-day record in regular play was $77,000.\u003c/p>\n\u003cp>For comparison, Ken Jennings, the show's most successful player ever during nontournament play, had won $410,158 after 12 games, \u003ca href=\"https://thejeopardyfan.com/2019/04/james-holzhauer-ken-jennings-comparison.html\">according to The Jeopardy Fan\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1118727290249068544"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\"All good professional gamblers are selectively aggressive. You need to pick your spots and bet big when you identify them,\" Holzhauer tells NPR over email. \"That's basically my \u003cem>Jeopardy!\u003c/em> strategy in a nutshell.\"\u003c/p>\n\u003cp>Holzhauer starts by choosing the highest-value clues on the six-by-five board. Contestants have typically started with the lowest value of a category and worked down the board to the more valuable spots.\u003c/p>\n\u003cp>\"You need a decent-sized bankroll to bet for profit, which is why I start at the bottom of the board,\" he says. That bankroll pays off when he hits a \"Daily Double,\" a question where he can bet more if he has more money in his pocket already. And he routinely bets everything he has.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1118710748681687041"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The show's host, Alex Trebek, put it simply during a recent show: \"If you control the board and constantly come up with correct responses, you're likely to hit most of the Daily Doubles, which is what you do,\" he remarked to Holzhauer. He asked the other contestants: \"How does it feel to come into a buzz saw?\"\u003c/p>\n\u003cp>Holzhauer, who has a degree in math from the University of Illinois, says that sports betting comes naturally to him. \"There's nothing better for my interests and talents than combining math and sports for profit.\"\u003c/p>\n\u003cp>He says he initially focused on baseball \"because it is the easiest sport to break down mathematically, but as betting markets have adjusted, I'm spending more time on football and hockey now.\"\u003c/p>\n\u003cp>His grandmother, who is now deceased, inspired him to try out for the show.\u003c/p>\n\u003cp>\"She moved from Japan to help raise me and my brother, spoke barely any English, if anything at all,\" he told Trebek \u003ca href=\"https://twitter.com/Jeopardy/status/1118987747027329024\">in a recent episode\u003c/a>. \"But \u003cem>Jeopardy!\u003c/em> was on in the afternoon at our house. ... She would watch the program with me even though she didn't understand a lick of it. And I promised her someday, she'd see me on the stage up here.\"\u003c/p>\n\u003cp>\"So, I hope wherever she is right now, she's looking down,\" Holzhauer added. He has written a short message in her honor on the final question's write-in space. On other days, he has given shout-outs to his young child and other family and friends.\u003c/p>\n\u003cp>Holzhauer dominates across topics—with answers such as \"Who is Aquaman?\" \"What is the Reformation?\" \"What is\u003cem> Quantum Leap\u003c/em>?\"\u003c/p>\n\u003cp>He says some categories come more easily to him than others. \"I spent almost no time studying categories like geography and sports, even though they came up frequently on \u003cem>Jeopardy!\u003c/em>, because I'm already strong in those subjects,\" he tells NPR. Categories he says he did spend time reviewing: animals, classical music and literature.\u003c/p>\n\u003cp>In 2004,\u003cem> Jeopardy!\u003c/em> champion Ken Jennings eventually went on to win 74 straight games and more than $2.5 million.\u003c/p>\n\u003cp>\"I'm just gobsmacked by James,\" \u003ca href=\"https://www.wired.com/story/ken-jennings-james-holzhauer-jeopardy/?utm_source=pocket-newtab\">Jennings told \u003cem>Wired\u003c/em>\u003c/a>. \"It's absolutely insane what he's doing. Like, I thought I had seen everything on \u003cem>Jeopardy!\u003c/em> And this is something I would have thought was just impossible, these numbers.\"\u003c/p>\n\u003cp>He says he played the game very differently. \"I was playing a game show like I had on my couch. My top priority wasn't maximizing winnings,\" he said. \"I would never have had the stomach for those kinds of bets.\"\u003c/p>\n\u003cp>Jennings told the magazine that he is surprised his record has stood for some 15 years. \"As a fan of the show, I'm actually rooting for James or anybody who can take a swing at that record,\" he added.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1115343556498022405"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>On April 8, \u003cem>Jeopardy!\u003c/em> released a \u003ca href=\"https://twitter.com/Jeopardy/status/1115343556498022405\">trailer pumping up\u003c/a> excitement about the new challenger. \"This April ... every record ... is in \u003cem>Jeopardy!\u003c/em>\" it said. \"The next great champion ... is coming. ... Is it too soon to start making comparisons with Ken Jennings?\" (\u003cem>Jeopardy!\u003c/em> is taped in advance—the episodes that have aired thus far were taped in early February, Holzhauer said.)\u003c/p>\n\u003cp>\"It's an honor to be compared to him, but he and I play very differently,\" said Holzhauer. \"Studying his game film would be about as useful as someone my size trying to play like Shaq in a pickup basketball game.\"\u003c/p>\n\u003cp>Holzhauer has shown extraordinary speed with the buzzer—and it's notoriously difficult to get that timing right.\u003c/p>\n\u003cp>Originally on the show, contestants could buzz in as soon as the clue appeared. That \"led to a lot of quick guesses, negative scores and general confusion,\" \u003ca href=\"https://www.jeopardy.com/jbuzz/behind-scenes/how-does-jeopardy-buzzer-work\">Jeopardy!'s website says\u003c/a>. These days, the contestants can't buzz in until Trebek has finished reading the clue. Then, a staff member pushes a button that illuminates lights on either side of the game board and opens up the system to allow contestants to buzz in.\u003c/p>\n\u003cp>However, if a contestant buzzes in before the system is operating, he or she gets locked out for a quarter of second—a huge disadvantage when tiny fractions of a second determine who has the edge. As \u003cem>The Ringer\u003c/em> reported, before he appeared on the show, Holzhauer practiced his timing using \u003ca href=\"https://www.theringer.com/tv/2019/4/18/18456756/james-holzhauer-jeopardy-winner-alex-trebek-ken-jennings\">an improvised buzzer\u003c/a>—a mechanical pencil wrapped in masking tape.\u003c/p>\n\u003cp>The \u003cem>Jeopardy!\u003c/em> success hasn't changed his life much yet—\"I would say I'm currently a C-list celebrity with Vegas locals,\" Holzhauer says. But that may be different when he visits his hometown of Naperville, Ill., where he hears his success is generating a lot of buzz. \"My dad has never been more popular,\" he adds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And at this point, he says sportsbook managers have said they are rooting for him. \"Maybe they think I will stop betting on sports if I stay on \u003cem>Jeopardy!\u003c/em> forever,\" Holzhauer adds.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Huge+Bets%2C+Fast+Buzzer%3A+Sports+Bettor+Smashes+%27Jeopardy%21%27+Records&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/111259/huge-bets-fast-buzzer-sports-bettor-smashes-jeopardy-records","authors":["byline_pop_111259"],"categories":["pop_3"],"tags":["pop_3583","pop_533","pop_478","pop_88"],"featImg":"pop_111260","label":"pop"},"pop_108178":{"type":"posts","id":"pop_108178","meta":{"index":"posts_1591205157","site":"pop","id":"108178","score":null,"sort":[1545403611000]},"guestAuthors":[],"slug":"nprs-favorite-tv-shows-of-2018","title":"NPR's Favorite TV Shows Of 2018","publishDate":1545403611,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Hundreds and hundreds of series air every year. They are good and they are lousy; they are new and they are old. There's too much television for a comprehensive ranking, so Glen Weldon, Linda Holmes and Eric Deggans round up 16 of their favorite shows from 2018.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Americans \u003c/strong>\u003c/em>\u003cstrong>(FX)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zIn_MH8_2ig\u003c/p>\n\u003cp>The final season of this slow-burn, serious-minded series about a pair of KGB agents planted in the U.S. to raise a family and spy on government officials had its fans worried. Could the show, which so intricately examined the world of '80s spycraft through the lens of a thrillingly intense domestic drama, nail the dismount? Would Philip and Elizabeth (Matthew Rhys and Keri Russell) survive? Would their daughter, Paige (Holly Taylor), follow in their footsteps? Would their son, Henry (Keidrich Sellati) ... um, okay, no one wondered about Henry. The series finale managed to feel both surprising and inevitable, in a hugely satisfying way. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Barry\u003c/strong>\u003c/em>\u003cstrong> (HBO)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=M6TZdk1t8Zo\u003c/p>\n\u003cp>Bill Hader is best known as a comedic actor, but he delivers drama as well in HBO's dark comedy about Barry, a hit man trying to go straight by studying acting. It sounds like a precious premise. But great work from Hader and Henry Winkler as his acting teacher elevates the story to something that stuck with me stubbornly all year. It's unsettling to begin with the idea of redemption and gradually smother it, and it remains to be seen whether the second season can succeed. But these eight tight half-hours are well worth a watch. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Big Mouth \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oTC7wQMHHEA\u003c/p>\n\u003cp>The jokes about the sundry terrors of puberty are many, and filthy, and utterly cringeworthy for all the right (read: deeply earned) reasons. Compared to \u003cem>South Park,\u003c/em> an animated series that similarly delights in humiliating its characters, \u003cem>Big Mouth\u003c/em> is a filthier show, with even cruder jokes and an obsession with sex that's more relentless. Crucially, however, it's also a much more sincere, more sweet, more intensely empathetic series that, even as it's visiting horrors and humiliations on its characters, never fails to side with them. We care about these poor schmucks, so the jokes land harder and the cringes go deeper.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Chi\u003c/strong>\u003c/em>\u003cstrong> (Showtime)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tgrx0F6G2bA\u003c/p>\n\u003cp>Chicago's notoriously violent South Side neighborhoods have long needed a fictional drama that humanizes their struggle the way \u003cem>The Wire\u003c/em> characterized Baltimore and \u003cem>Boyz n the Hood\u003c/em> depicted South Central Los Angeles. Creator Lena Waithe pulls it off here. The show is fueled by Jason Mitchell's emotional turn as an aspiring chef whose ambitions are threatened by his brother's murder and Alex Hibbert's beyond-his-years performance playing the middle-schooler who saw the killing happen. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Crazy Ex-Girlfriend\u003c/strong>\u003c/em>\u003cstrong> (The CW)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eg3TKjr8A0s\u003c/p>\n\u003cp>The series about high-powered lawyer Rebecca (Rachel Bloom), who uproots her life to chase down the boy who represents everything she thinks she wants, deftly transitioned into its fourth and final season by not simply addressing the elephant in the room—Rebecca's mental illness—but wrestling it to the floor. The show managed to engage, responsibly and tastefully, with a character's attempted suicide while remaining the tuneful, breezy, acidly funny show we've come to know and love. It's a risky endeavor that's paying off by giving supporting members of the cast room to develop—and tie up their own storylines.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Good Place \u003c/strong>\u003c/em>\u003cstrong>(NBC)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FaynKNZAKkc&t=8s\u003c/p>\n\u003cp>There are few comedies as consistently joke-packed as NBC's \u003cem>The Good Place\u003c/em>. Physical comedy, dumb puns, brilliant one-liners, unexpected observations—it doesn't discriminate. But the show's other calling card is its genuine—and well-researched!—considerations of philosophy. It asks over and over: \u003cem>What does it mean to be a good person? What do we owe to each other? \u003c/em>In its third season, as Michael (Ted Danson) and the gang face new questions together, it remains a high-stakes, thrillingly inventive series with one of TV's most consistently compelling casts. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Homecoming\u003c/strong>\u003c/em>\u003cstrong> (Amazon)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9WJSdpE-sJQ\u003c/p>\n\u003cp>Building a new series from the bones of a popular podcast is the latest fad in TV-land. But Director/Executive Producer Sam Esmail wound up developing an inventive show that stands as the best TV drama of the year. Movie superstar Julia Roberts crushes here, benching her legendary smile—mostly—to play a frazzled, damaged administrator discovering the dark side of a corporate-run program for veterans. And Esmail, whose trippy genius fueled USA Network's \u003cem>Mr. Robot, \u003c/em>upends the rules of TV storytelling by turning this show's half-hour-ish episodes into taut bits of visually ambitious drama.\u003cem> — Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Killing Eve\u003c/strong>\u003c/em>\u003cstrong> (BBC America)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Kk0PyD-XNZA\u003c/p>\n\u003cp>This may be the strangest—and most compelling—story of how opposites attract on TV this year. Sandra Oh is acerbic and knowing as Eve Polastri, a deskbound, low-level staffer in British intelligence who instinctively figures out how to track a notoriously psychopathic assassin, played with maniacal glee by Jodie Comer. Executive producer Phoebe Waller-Bridge subverts every male-centered trope of espionage thrillers as Eve and the assassin play a deadly cat-and-mouse game fueled by their mutual fascination with each other. —\u003cem> Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Kominsky Method\u003c/strong>\u003c/em>\u003cstrong> (Netflix)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TjuOTlf5Jb0\u003c/p>\n\u003cp>Okay, it may not \u003cem>sound\u003c/em> like much fun watching a silver-haired acting teacher kvetch about aging with his even older best friend and agent. But when those two guys are 70-something Michael Douglas (as actor/teacher Sandy Kominsky) and 80-something Alan Arkin (as his agent, Norman), you've got dramedy gold. Creator Chuck Lorre hits a career high, crafting stories rooted in the pain of loss and aging delivered by stars whose deft touch is informed by over a century of acting experience between them. —\u003cem> Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Legion \u003c/strong>\u003c/em>\u003cstrong>(FX)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5LjWnM1BsaE\u003c/p>\n\u003cp>When the guy with a wicker basket on his head (who talks only through androgynous android-clones in Tom Selleck mustaches and Beatle wigs) is the \u003cem>least\u003c/em> weird thing about your show, that show can safely be called ... distinctive. Welcome to Season 2 of \u003cem>Legion,\u003c/em> FX's not-your-daddy's-mutant-superhero series helmed once again by Noah Hawley (who also runs FX's other stylish, genre-inflected offering, \u003cem>Fargo\u003c/em>). It's a visual and aural feast, stylized to the point of gorgeous absurdity, and a testament to what a director with a good eye—and a loose leash—can bring to series television.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>One Day at a Time \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wNFFleycS8k\u003c/p>\n\u003cp>There was much ado about \u003cem>Roseanne\u003c/em> returning to ABC, and the hope that it would give \"working-class families\" more of a presence. Anyone looking for a working-class family, however, already had a few choices. One is the Alvarez family from Netflix's \u003cem>One Day at a Time\u003c/em>. Penelope (Justina Machado) is a veteran and a single mom, dating and raising her two kids, living with her mom (Rita Moreno). The cast is divine, the show feels contemporary and smart (its explorations of sexual and gender identity feel particularly profoundly needed), and Rita Moreno can still crack your heart right open. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Pose\u003c/strong>\u003c/em>\u003cstrong> (FX)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_t4YuPXdLZw\u003c/p>\n\u003cp>There is no more revolutionary act in television than a once-marginalized group rising up to tell its own stories, so this series matters. \u003cem>Pose\u003c/em> features an amazing cast of LGBTQ characters exploring 1980s New York through the city's ball culture competitions. Transgender actress Mj Rodriguez is indomitable as Blanca, the house mother to LGBTQ competitors who have chosen each other as family after biological relatives rejected them. Transgender writers like Janet Mock and Our Lady J served as producers, and, according to FX, the show made history by assembling TV's largest cast of transgender actors in regular series roles. Truly a revolution through revelation.\u003cem> — Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Queer Eye \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=97Gh0LRdKu4\u003c/p>\n\u003cp>You know the drill: Five gay guys breeze into the lives of hapless schlubs and show them the life-changing magic of ... making a damn effort. The Netflix reboot stays true to the formula, with an all-new quintet of queers—and a willingness to broaden the mission statement to address something other than straight, white man-boys. The new series brings less acid humor and a lot more heart than the original, and while its fumbling attempts to address America's political and racial divides can seem cringingly naive, it's a dependable source of pop-culture comfort food.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Shut Up and Dribble\u003c/strong>\u003c/em>\u003cstrong> (Showtime)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b8ZYeVuzPKs\u003c/p>\n\u003cp>LeBron James is one of the executive producers of this excellent Showtime documentary series examining the relationship between race and the NBA. Inspired by \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/19/587097707/laura-ingraham-told-lebron-james-to-shutup-and-dribble-he-went-to-the-hoop\">a dismissive cable-news insult directed at James himself\u003c/a>, the series looks back at pioneers like Oscar Robertson and Bill Russell, whose activism was fundamental to their careers. But it also considers stories like Magic versus Bird and the branding genius of Michael Jordan. It explores the inescapable links between racial justice and professional basketball—and labor economics as well. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>A Very English Scandal \u003c/strong>\u003c/em>\u003cstrong>(Amazon)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vfrPRzxMlTY\u003c/p>\n\u003cp>Ben Whishaw dithers fetchingly as Norman Scott, who enters into an illicit affair with the very opportunistic and so veddy veddy posh member of British Parliament Jeremy Thorpe. Hugh Grant plays Thorpe with a smarmy sense of entitlement and vowels plummier than moo shu pork. Watching this very—nay, \u003cem>achingly—\u003c/em>English affair play out, and then flame out, is what a Brit might call \"a right old hoot.\" It's soapy, funny, by turns gorgeous and grubby, and performed with a kind of headlong verve that's a joy to behold.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Vida \u003c/strong>\u003c/em>\u003cstrong>(Starz)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PhP9Ho7MS6w\u003c/p>\n\u003cp>On the surface, it's a familiar story: Two sisters who left home return after a parent's death to face all the complications left behind. But this series breaks new ground because the sisters are Latinx, they are returning to take ownership of a crumbling bar in a gentrifying East Los Angeles neighborhood, and they never knew their mother was a lesbian who married her partner and left her spouse one-third of their family business. Couching a familiar story in an authentic, specific experience helps create transformative, groundbreaking television. And \u003cem>Vida\u003c/em> delivers. —\u003cem> Eric Deggans\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Jessica Reedy produced and edited this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR%27s+Favorite+TV+Shows+Of+2018&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"This year we said goodbye to 'The Americans,' but also celebrated new gems like 'Queer Eye,' 'Killing Eve' and 'Homecoming.'","status":"publish","parent":0,"modified":1545360570,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1855},"headData":{"title":"NPR's Favorite TV Shows Of 2018 | KQED","description":"This year we said goodbye to 'The Americans,' but also celebrated new gems like 'Queer Eye,' 'Killing Eve' and 'Homecoming.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"NPR's Favorite TV Shows Of 2018","datePublished":"2018-12-21T14:46:51.000Z","dateModified":"2018-12-21T02:49:30.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"108178 https://ww2.kqed.org/pop/?p=108178","disqusUrl":"https://ww2.kqed.org/pop/2018/12/21/nprs-favorite-tv-shows-of-2018/","disqusTitle":"NPR's Favorite TV Shows Of 2018","nprByline":"Glen Weldon","nprImageAgency":"Netflix/Amazon Prime Video/BBC America/NBC/Courtesy of Starz","nprStoryId":"671482181","nprApiLink":"http://api.npr.org/query?id=671482181&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2018/12/17/671482181/nprs-favorite-tv-shows-of-2018?ft=nprml&f=671482181","nprRetrievedStory":"1","nprPubDate":"Mon, 17 Dec 2018 05:29:00 -0500","nprStoryDate":"Mon, 17 Dec 2018 05:29:00 -0500","nprLastModifiedDate":"Mon, 17 Dec 2018 05:29:53 -0500","path":"/pop/108178/nprs-favorite-tv-shows-of-2018","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hundreds and hundreds of series air every year. They are good and they are lousy; they are new and they are old. There's too much television for a comprehensive ranking, so Glen Weldon, Linda Holmes and Eric Deggans round up 16 of their favorite shows from 2018.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Americans \u003c/strong>\u003c/em>\u003cstrong>(FX)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zIn_MH8_2ig'\n title='//www.youtube.com/embed/zIn_MH8_2ig'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The final season of this slow-burn, serious-minded series about a pair of KGB agents planted in the U.S. to raise a family and spy on government officials had its fans worried. Could the show, which so intricately examined the world of '80s spycraft through the lens of a thrillingly intense domestic drama, nail the dismount? Would Philip and Elizabeth (Matthew Rhys and Keri Russell) survive? Would their daughter, Paige (Holly Taylor), follow in their footsteps? Would their son, Henry (Keidrich Sellati) ... um, okay, no one wondered about Henry. The series finale managed to feel both surprising and inevitable, in a hugely satisfying way. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Barry\u003c/strong>\u003c/em>\u003cstrong> (HBO)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/M6TZdk1t8Zo'\n title='//www.youtube.com/embed/M6TZdk1t8Zo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bill Hader is best known as a comedic actor, but he delivers drama as well in HBO's dark comedy about Barry, a hit man trying to go straight by studying acting. It sounds like a precious premise. But great work from Hader and Henry Winkler as his acting teacher elevates the story to something that stuck with me stubbornly all year. It's unsettling to begin with the idea of redemption and gradually smother it, and it remains to be seen whether the second season can succeed. But these eight tight half-hours are well worth a watch. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Big Mouth \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oTC7wQMHHEA'\n title='//www.youtube.com/embed/oTC7wQMHHEA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The jokes about the sundry terrors of puberty are many, and filthy, and utterly cringeworthy for all the right (read: deeply earned) reasons. Compared to \u003cem>South Park,\u003c/em> an animated series that similarly delights in humiliating its characters, \u003cem>Big Mouth\u003c/em> is a filthier show, with even cruder jokes and an obsession with sex that's more relentless. Crucially, however, it's also a much more sincere, more sweet, more intensely empathetic series that, even as it's visiting horrors and humiliations on its characters, never fails to side with them. We care about these poor schmucks, so the jokes land harder and the cringes go deeper.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Chi\u003c/strong>\u003c/em>\u003cstrong> (Showtime)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tgrx0F6G2bA'\n title='//www.youtube.com/embed/tgrx0F6G2bA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Chicago's notoriously violent South Side neighborhoods have long needed a fictional drama that humanizes their struggle the way \u003cem>The Wire\u003c/em> characterized Baltimore and \u003cem>Boyz n the Hood\u003c/em> depicted South Central Los Angeles. Creator Lena Waithe pulls it off here. The show is fueled by Jason Mitchell's emotional turn as an aspiring chef whose ambitions are threatened by his brother's murder and Alex Hibbert's beyond-his-years performance playing the middle-schooler who saw the killing happen. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Crazy Ex-Girlfriend\u003c/strong>\u003c/em>\u003cstrong> (The CW)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eg3TKjr8A0s'\n title='//www.youtube.com/embed/eg3TKjr8A0s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The series about high-powered lawyer Rebecca (Rachel Bloom), who uproots her life to chase down the boy who represents everything she thinks she wants, deftly transitioned into its fourth and final season by not simply addressing the elephant in the room—Rebecca's mental illness—but wrestling it to the floor. The show managed to engage, responsibly and tastefully, with a character's attempted suicide while remaining the tuneful, breezy, acidly funny show we've come to know and love. It's a risky endeavor that's paying off by giving supporting members of the cast room to develop—and tie up their own storylines.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Good Place \u003c/strong>\u003c/em>\u003cstrong>(NBC)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FaynKNZAKkc'\n title='//www.youtube.com/embed/FaynKNZAKkc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are few comedies as consistently joke-packed as NBC's \u003cem>The Good Place\u003c/em>. Physical comedy, dumb puns, brilliant one-liners, unexpected observations—it doesn't discriminate. But the show's other calling card is its genuine—and well-researched!—considerations of philosophy. It asks over and over: \u003cem>What does it mean to be a good person? What do we owe to each other? \u003c/em>In its third season, as Michael (Ted Danson) and the gang face new questions together, it remains a high-stakes, thrillingly inventive series with one of TV's most consistently compelling casts. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Homecoming\u003c/strong>\u003c/em>\u003cstrong> (Amazon)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9WJSdpE-sJQ'\n title='//www.youtube.com/embed/9WJSdpE-sJQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Building a new series from the bones of a popular podcast is the latest fad in TV-land. But Director/Executive Producer Sam Esmail wound up developing an inventive show that stands as the best TV drama of the year. Movie superstar Julia Roberts crushes here, benching her legendary smile—mostly—to play a frazzled, damaged administrator discovering the dark side of a corporate-run program for veterans. And Esmail, whose trippy genius fueled USA Network's \u003cem>Mr. Robot, \u003c/em>upends the rules of TV storytelling by turning this show's half-hour-ish episodes into taut bits of visually ambitious drama.\u003cem> — Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Killing Eve\u003c/strong>\u003c/em>\u003cstrong> (BBC America)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Kk0PyD-XNZA'\n title='//www.youtube.com/embed/Kk0PyD-XNZA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This may be the strangest—and most compelling—story of how opposites attract on TV this year. Sandra Oh is acerbic and knowing as Eve Polastri, a deskbound, low-level staffer in British intelligence who instinctively figures out how to track a notoriously psychopathic assassin, played with maniacal glee by Jodie Comer. Executive producer Phoebe Waller-Bridge subverts every male-centered trope of espionage thrillers as Eve and the assassin play a deadly cat-and-mouse game fueled by their mutual fascination with each other. —\u003cem> Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Kominsky Method\u003c/strong>\u003c/em>\u003cstrong> (Netflix)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TjuOTlf5Jb0'\n title='//www.youtube.com/embed/TjuOTlf5Jb0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Okay, it may not \u003cem>sound\u003c/em> like much fun watching a silver-haired acting teacher kvetch about aging with his even older best friend and agent. But when those two guys are 70-something Michael Douglas (as actor/teacher Sandy Kominsky) and 80-something Alan Arkin (as his agent, Norman), you've got dramedy gold. Creator Chuck Lorre hits a career high, crafting stories rooted in the pain of loss and aging delivered by stars whose deft touch is informed by over a century of acting experience between them. —\u003cem> Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Legion \u003c/strong>\u003c/em>\u003cstrong>(FX)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5LjWnM1BsaE'\n title='//www.youtube.com/embed/5LjWnM1BsaE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When the guy with a wicker basket on his head (who talks only through androgynous android-clones in Tom Selleck mustaches and Beatle wigs) is the \u003cem>least\u003c/em> weird thing about your show, that show can safely be called ... distinctive. Welcome to Season 2 of \u003cem>Legion,\u003c/em> FX's not-your-daddy's-mutant-superhero series helmed once again by Noah Hawley (who also runs FX's other stylish, genre-inflected offering, \u003cem>Fargo\u003c/em>). It's a visual and aural feast, stylized to the point of gorgeous absurdity, and a testament to what a director with a good eye—and a loose leash—can bring to series television.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>One Day at a Time \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wNFFleycS8k'\n title='//www.youtube.com/embed/wNFFleycS8k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There was much ado about \u003cem>Roseanne\u003c/em> returning to ABC, and the hope that it would give \"working-class families\" more of a presence. Anyone looking for a working-class family, however, already had a few choices. One is the Alvarez family from Netflix's \u003cem>One Day at a Time\u003c/em>. Penelope (Justina Machado) is a veteran and a single mom, dating and raising her two kids, living with her mom (Rita Moreno). The cast is divine, the show feels contemporary and smart (its explorations of sexual and gender identity feel particularly profoundly needed), and Rita Moreno can still crack your heart right open. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Pose\u003c/strong>\u003c/em>\u003cstrong> (FX)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_t4YuPXdLZw'\n title='//www.youtube.com/embed/_t4YuPXdLZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There is no more revolutionary act in television than a once-marginalized group rising up to tell its own stories, so this series matters. \u003cem>Pose\u003c/em> features an amazing cast of LGBTQ characters exploring 1980s New York through the city's ball culture competitions. Transgender actress Mj Rodriguez is indomitable as Blanca, the house mother to LGBTQ competitors who have chosen each other as family after biological relatives rejected them. Transgender writers like Janet Mock and Our Lady J served as producers, and, according to FX, the show made history by assembling TV's largest cast of transgender actors in regular series roles. Truly a revolution through revelation.\u003cem> — Eric Deggans\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Queer Eye \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/97Gh0LRdKu4'\n title='//www.youtube.com/embed/97Gh0LRdKu4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You know the drill: Five gay guys breeze into the lives of hapless schlubs and show them the life-changing magic of ... making a damn effort. The Netflix reboot stays true to the formula, with an all-new quintet of queers—and a willingness to broaden the mission statement to address something other than straight, white man-boys. The new series brings less acid humor and a lot more heart than the original, and while its fumbling attempts to address America's political and racial divides can seem cringingly naive, it's a dependable source of pop-culture comfort food.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Shut Up and Dribble\u003c/strong>\u003c/em>\u003cstrong> (Showtime)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/b8ZYeVuzPKs'\n title='//www.youtube.com/embed/b8ZYeVuzPKs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>LeBron James is one of the executive producers of this excellent Showtime documentary series examining the relationship between race and the NBA. Inspired by \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/19/587097707/laura-ingraham-told-lebron-james-to-shutup-and-dribble-he-went-to-the-hoop\">a dismissive cable-news insult directed at James himself\u003c/a>, the series looks back at pioneers like Oscar Robertson and Bill Russell, whose activism was fundamental to their careers. But it also considers stories like Magic versus Bird and the branding genius of Michael Jordan. It explores the inescapable links between racial justice and professional basketball—and labor economics as well. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>A Very English Scandal \u003c/strong>\u003c/em>\u003cstrong>(Amazon)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vfrPRzxMlTY'\n title='//www.youtube.com/embed/vfrPRzxMlTY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ben Whishaw dithers fetchingly as Norman Scott, who enters into an illicit affair with the very opportunistic and so veddy veddy posh member of British Parliament Jeremy Thorpe. Hugh Grant plays Thorpe with a smarmy sense of entitlement and vowels plummier than moo shu pork. Watching this very—nay, \u003cem>achingly—\u003c/em>English affair play out, and then flame out, is what a Brit might call \"a right old hoot.\" It's soapy, funny, by turns gorgeous and grubby, and performed with a kind of headlong verve that's a joy to behold.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Vida \u003c/strong>\u003c/em>\u003cstrong>(Starz)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PhP9Ho7MS6w'\n title='//www.youtube.com/embed/PhP9Ho7MS6w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the surface, it's a familiar story: Two sisters who left home return after a parent's death to face all the complications left behind. But this series breaks new ground because the sisters are Latinx, they are returning to take ownership of a crumbling bar in a gentrifying East Los Angeles neighborhood, and they never knew their mother was a lesbian who married her partner and left her spouse one-third of their family business. Couching a familiar story in an authentic, specific experience helps create transformative, groundbreaking television. And \u003cem>Vida\u003c/em> delivers. —\u003cem> Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Jessica Reedy produced and edited this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR%27s+Favorite+TV+Shows+Of+2018&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/108178/nprs-favorite-tv-shows-of-2018","authors":["byline_pop_108178"],"categories":["pop_3"],"tags":["pop_3108","pop_3389","pop_3093","pop_271","pop_88","pop_438","pop_3247","pop_3228","pop_3086"],"featImg":"pop_108179","label":"pop"},"pop_106128":{"type":"posts","id":"pop_106128","meta":{"index":"posts_1591205157","site":"pop","id":"106128","score":null,"sort":[1538504872000]},"guestAuthors":[],"slug":"melissa-villasenor-is-finding-her-own-voice-on-snl","title":"Melissa Villaseñor is Finding Her Own Voice on 'SNL'","publishDate":1538504872,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>In her stand-up comedy, Melissa Villaseñor often begins her shows with a warning.\u003c/p>\n\u003cp>\"I hope you know what you're getting into,\" she tells an audience at this summer's Just For Laughs festival in Montreal. \"This is my voice.\"\u003c/p>\n\u003cp>Villaseñor is very proud of what she describes as her Kermit the Frog voice, or sometimes a Mickey Mouse voice.\u003c/p>\n\u003cp>\"I love it,\" she says on stage in Montreal. \"It makes me laugh. It makes me happy. I like waking up in the morning and hearing it, and going, 'Oh yeah. It's gonna be a good day.'\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=2&v=yZ-Darot-is\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Villaseñor's voice is unrecognizable when she inhabits the sounds and mannerisms of famous figures, whether it's the charming eccentricity of \u003ca href=\"https://www.youtube.com/watch?v=Hl3-M5gUZlg\">Bjork\u003c/a> or the hearty laugh of Hillary Clinton. From Gwen Stefani to Pokémon's Ash Ketchum, Wanda Sykes to Steve Buscemi, her output of celebrity imitations is vast and varied.\u003c/p>\n\u003cp>Her talent for impressions helped to earn her a spot as a featured player on \u003cem>Saturday Night Live. \u003c/em>And when \u003cem>SNL\u003c/em>'s new season premiered Sept. 29, it was Villaseñor's first as a full cast member.\u003c/p>\n\u003cp>Villaseñor is Mexican-American. Her parents own a fencing company in Whittier, Calif., outside Los Angeles. It was her dad who turned her on to comedy: Rodney Dangerfield, Steve Martin, Jim Carrey.\u003c/p>\n\u003cp>When she was 12, Villaseñor remembers making her friends laugh by imitating singers such as Christina Aguilera, Britney Spears and Mandy Moore. (\"All the pop divas,\" she says.) She performed in her high school talent show and attended The Laugh Factory's summer comedy camp in Los Angeles.\u003c/p>\n\u003cp>There's now a seemingly endless catalog of Villaseñor's impressions online: homemade videos, stand-up clips, her \u003ca href=\"https://www.youtube.com/watch?v=vuQoQMzfG48\">breakthrough performance\u003c/a> on \u003cem>America's Got Talent\u003c/em>, and a series from the Latino comedy studio Más Mejor called \u003ca href=\"https://www.youtube.com/playlist?list=PLFTsBICWg3L-NxMive_VTEVmAxyRJVldV\">Daily Itineraries\u003c/a>, where she imagines the personal schedules of various celebrities including Jennifer Lopez and Sarah Silverman.\u003c/p>\n\u003cp>\"She's just got really amazing range,\" says Ian Jones-Quartey, creator of the Cartoon Network series \u003cem>OK K.O.! Let's Be Heroes\u003c/em>. Villaseñor voices a number of characters for the show, including a bunny rabbit, a teenage strawberry and a football. \"We can kind of just throw her at a situation and she can create something really hilarious.\"\u003c/p>\n\u003cp>Jones-Quartey first saw Villaseñor at a comedy club in LA a few years ago. Then he started watching her videos online. He calls her impression of Owen Wilson \"legendary.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=72&v=VdCsbcx_loI\u003c/p>\n\u003cp>Villaseñor says she has affection for all of the celebrities she chooses to mimic.\u003c/p>\n\u003cp>\"They really inspire me and I would say help me feel less alone and make me feel like they're my friend,\" she says in an interview. \"Like, Owen Wilson—he's so soothing and silly and peaceful, and that makes me feel comfort.\"\u003c/p>\n\u003cp>After it was announced Villaseñor would be joining \u003cem>SNL\u003c/em>, the triumph was somewhat diminished. Online commentators noticed she had deleted some old tweets they considered racist.\u003c/p>\n\u003cp>Other comedians have had their Twitter pasts scrutinized. Old jokes by Trevor Noah and Sarah Silverman, for example, were deemed offensive when they resurfaced years later.\u003c/p>\n\u003cp>Villaseñor says those old Tweets were her \"trying to be edgy.\" But she doesn't regret deleting them.\u003c/p>\n\u003cp>\"I'm flawed like everyone else, and yeah, I just wanted to make sure I was perfect,\" she says.\u003c/p>\n\u003cp>The online attacks left her \"numb,\" so she got some advice from more seasoned \u003cem>SNL\u003c/em> cast members.\u003c/p>\n\u003cp>\"And they're just like, 'You got to get tough and get used to it,'\" she says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=149&v=XCPSoKpLXZQ\u003c/p>\n\u003cp>It's one lesson among many Villaseñor says she's learned since joining \u003cem>SNL\u003c/em>. She says when writers like Mikey Day and Streeter Seidell have worked with her on sketches, they'll do impressions of \u003cem>her\u003c/em>, froggy voice and all.\u003c/p>\n\u003cp>\"Comedians, we just love picking on each other, and it just makes me feel at home,\" she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Melissa Villaseñor is trying to develop original characters for \u003cem>SNL\u003c/em>. She says that's much harder than doing impressions — but that we might see one this season.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Top+Impressionist%2C+Melissa+Villase%C3%B1or+Is+Finding+Her+Own+Voice+On+%27SNL%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cdiv>\u003cem>Parts of this story have been updated to reflect the fact that SNL's season premiere has now aired. \u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"She's known for celebrity imitations like Owen Wilson, Jennifer Lopez and Bjork. As she joins SNL's full cast, she's learning what else she can do.","status":"publish","parent":0,"modified":1538504872,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":777},"headData":{"title":"Melissa Villaseñor is Finding Her Own Voice on 'SNL' | KQED","description":"She's known for celebrity imitations like Owen Wilson, Jennifer Lopez and Bjork. 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It makes me happy. I like waking up in the morning and hearing it, and going, 'Oh yeah. It's gonna be a good day.'\"\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/yZ-Darot-is'\n title='//www.youtube.com/embed/yZ-Darot-is'\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>But Villaseñor's voice is unrecognizable when she inhabits the sounds and mannerisms of famous figures, whether it's the charming eccentricity of \u003ca href=\"https://www.youtube.com/watch?v=Hl3-M5gUZlg\">Bjork\u003c/a> or the hearty laugh of Hillary Clinton. From Gwen Stefani to Pokémon's Ash Ketchum, Wanda Sykes to Steve Buscemi, her output of celebrity imitations is vast and varied.\u003c/p>\n\u003cp>Her talent for impressions helped to earn her a spot as a featured player on \u003cem>Saturday Night Live. \u003c/em>And when \u003cem>SNL\u003c/em>'s new season premiered Sept. 29, it was Villaseñor's first as a full cast member.\u003c/p>\n\u003cp>Villaseñor is Mexican-American. Her parents own a fencing company in Whittier, Calif., outside Los Angeles. It was her dad who turned her on to comedy: Rodney Dangerfield, Steve Martin, Jim Carrey.\u003c/p>\n\u003cp>When she was 12, Villaseñor remembers making her friends laugh by imitating singers such as Christina Aguilera, Britney Spears and Mandy Moore. (\"All the pop divas,\" she says.) She performed in her high school talent show and attended The Laugh Factory's summer comedy camp in Los Angeles.\u003c/p>\n\u003cp>There's now a seemingly endless catalog of Villaseñor's impressions online: homemade videos, stand-up clips, her \u003ca href=\"https://www.youtube.com/watch?v=vuQoQMzfG48\">breakthrough performance\u003c/a> on \u003cem>America's Got Talent\u003c/em>, and a series from the Latino comedy studio Más Mejor called \u003ca href=\"https://www.youtube.com/playlist?list=PLFTsBICWg3L-NxMive_VTEVmAxyRJVldV\">Daily Itineraries\u003c/a>, where she imagines the personal schedules of various celebrities including Jennifer Lopez and Sarah Silverman.\u003c/p>\n\u003cp>\"She's just got really amazing range,\" says Ian Jones-Quartey, creator of the Cartoon Network series \u003cem>OK K.O.! Let's Be Heroes\u003c/em>. Villaseñor voices a number of characters for the show, including a bunny rabbit, a teenage strawberry and a football. \"We can kind of just throw her at a situation and she can create something really hilarious.\"\u003c/p>\n\u003cp>Jones-Quartey first saw Villaseñor at a comedy club in LA a few years ago. Then he started watching her videos online. He calls her impression of Owen Wilson \"legendary.\"\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/VdCsbcx_loI'\n title='//www.youtube.com/embed/VdCsbcx_loI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Villaseñor says she has affection for all of the celebrities she chooses to mimic.\u003c/p>\n\u003cp>\"They really inspire me and I would say help me feel less alone and make me feel like they're my friend,\" she says in an interview. \"Like, Owen Wilson—he's so soothing and silly and peaceful, and that makes me feel comfort.\"\u003c/p>\n\u003cp>After it was announced Villaseñor would be joining \u003cem>SNL\u003c/em>, the triumph was somewhat diminished. Online commentators noticed she had deleted some old tweets they considered racist.\u003c/p>\n\u003cp>Other comedians have had their Twitter pasts scrutinized. Old jokes by Trevor Noah and Sarah Silverman, for example, were deemed offensive when they resurfaced years later.\u003c/p>\n\u003cp>Villaseñor says those old Tweets were her \"trying to be edgy.\" But she doesn't regret deleting them.\u003c/p>\n\u003cp>\"I'm flawed like everyone else, and yeah, I just wanted to make sure I was perfect,\" she says.\u003c/p>\n\u003cp>The online attacks left her \"numb,\" so she got some advice from more seasoned \u003cem>SNL\u003c/em> cast members.\u003c/p>\n\u003cp>\"And they're just like, 'You got to get tough and get used to it,'\" 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/XCPSoKpLXZQ'\n title='//www.youtube.com/embed/XCPSoKpLXZQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It's one lesson among many Villaseñor says she's learned since joining \u003cem>SNL\u003c/em>. She says when writers like Mikey Day and Streeter Seidell have worked with her on sketches, they'll do impressions of \u003cem>her\u003c/em>, froggy voice and all.\u003c/p>\n\u003cp>\"Comedians, we just love picking on each other, and it just makes me feel at home,\" she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Melissa Villaseñor is trying to develop original characters for \u003cem>SNL\u003c/em>. She says that's much harder than doing impressions — but that we might see one this season.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Top+Impressionist%2C+Melissa+Villase%C3%B1or+Is+Finding+Her+Own+Voice+On+%27SNL%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cdiv>\u003cem>Parts of this story have been updated to reflect the fact that SNL's season premiere has now aired. \u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/106128/melissa-villasenor-is-finding-her-own-voice-on-snl","authors":["byline_pop_106128"],"categories":["pop_2696","pop_3"],"tags":["pop_3300","pop_88","pop_537","pop_1228"],"featImg":"pop_106129","label":"pop"},"pop_106122":{"type":"posts","id":"pop_106122","meta":{"index":"posts_1591205157","site":"pop","id":"106122","score":null,"sort":[1538423627000]},"guestAuthors":[],"slug":"matt-damon-is-a-sniffing-shouting-brett-kavanaugh-on-snl-premiere","title":"Matt Damon is a Sniffing, Shouting Brett Kavanaugh on 'SNL' Premiere","publishDate":1538423627,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>\u003cstrong>Updated at 1:15 p.m. ET Sunday\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Saturday Night Live\u003c/em> kicked off its 44th season in a sketch many of us expected in some form or another: a send-up of the emotionally charged hearings into the sexual assault allegations against Supreme Court nominee Brett Kavanaugh.\u003c/p>\n\u003cp>The show skipped any impression of accuser Christine Blasey Ford's testimony, starting the scene just before Kavanaugh's entrance.\u003c/p>\n\u003cp>\"We've heard from the alleged victim, but now it's time to hear from the hero, Judge Brett Kavanaugh,\" says Sen. Chuck Grassley, played by cast member Alex Moffat.\u003c/p>\n\u003cp>In walks a shouting, sniffing Judge Brett Kavanaugh, in an appearance by Matt Damon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"I'm gonna start at an 11, I'ma take it to about a 15 real quick!\" he yells.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VRJecfRxbr8\u003c/p>\n\u003cp>He talks a lot about beer. \"I'm usually an optimist, I'm a keg is half-full kind of guy,\" he says.\u003c/p>\n\u003cp>Echoing the real Kavanaugh's statement that \"you'll never get me to quit,\" Damon's judge notes, \"I'm not backing down ... I don't know the meaning of the word stop.\"\u003c/p>\n\u003cp>Aidy Bryant played Rachel Mitchell, the Arizona prosecutor brought in to question Ford, who says, \"I'm here mostly for Twitter.\"\u003c/p>\n\u003cp>Later on in the scene, Kate McKinnon, who can do a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/20/612751096/tina-fey-hosts-star-studded-snl-season-43-finale\">good impression\u003c/a> of \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/03/05/518601702/kate-mckinnon-mocks-sessions-as-forrest-gump-on-snl\">pretty much anybody,\u003c/a> channeled the indignation of Sen. Lindsey Graham, who lashed out on Thursday at Democrats.\u003c/p>\n\u003cp>\"You put this man on the Supreme Court now,\" McKinnon's Graham says. \"No vote, no discussion. You give him a damn robe and you let him do whatever the hell he wants. Because this right now, this is my audition for Mr. Trump's Cabinet. And also for a regional production of \u003cem>The Crucible.\u003c/em>\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ljmCX0R7Tqg\u003c/p>\n\u003cp>Weekend Update had its usual digs at the week in politics, beginning with the Ford and Kavanaugh appearances. \"A classic debate of she said, he yelled,\" as Colin Jost described it.\u003c/p>\n\u003cp>Kate McKinnon was back (again!) as Justice Ruth Bader Ginsburg, giving her take on Kavanaugh and his calendars. Today on Ginsburg's agenda: \"Don't die.\"\u003c/p>\n\u003cp>Kanye West was the night's musical guest. He performed three times, the first of which was ... in a costume of a \u003ca href=\"https://twitter.com/nbcsnl/status/1046254473063075840\">bottle of Perrier.\u003c/a>\u003c/p>\n\u003cp>He ended the show with a song performed while wearing a Make America Great Again hat. West is a \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/02/616402658/two-sided-trying-to-hear-kanye-wests-new-album-ye-through-all-the-noise\">noted fan of President Trump.\u003c/a>\u003c/p>\n\u003cp>On Sunday afternoon, President Trump \u003ca href=\"https://twitter.com/realDonaldTrump/status/1046443996074127361\">tweeted\u003c/a> about first show of the season, saying \"Like many, I don't watch Saturday Night Live (even though I past hosted it) - no longer funny, no talent or charm. It is just a political ad for the Dems. Word is that Kanye West, who put on a MAGA hat after the show (despite being told \"no\"), was great. He's leading the charge!\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The show is back live next week with host \u003ca href=\"https://www.npr.org/2018/08/17/639670914/crazy-rich-asians-star-awkwafina-has-always-aggressively-been-myself\">Awkwafina\u003c/a> and musical guest \u003ca href=\"https://www.npr.org/2018/08/07/636278850/travis-scott-rides-a-fire-breathing-dragon-in-stop-trying-to-be-god-video\">Travis Scott.\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Matt+Damon+Is+A+Sniffing%2C+Shouting+Brett+Kavanaugh+On+%27SNL%27+Season+Premiere&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"\"I'm not backing down,\" says Matt Damon, in character as an angry Brett Kavanaugh. \"I don't know the meaning of the word stop.\"","status":"publish","parent":0,"modified":1538423627,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":510},"headData":{"title":"Matt Damon is a Sniffing, Shouting Brett Kavanaugh on 'SNL' Premiere | KQED","description":""I'm not backing down," says Matt Damon, in character as an angry Brett Kavanaugh. "I don't know the meaning of the word stop."","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Matt Damon is a Sniffing, Shouting Brett Kavanaugh on 'SNL' Premiere","datePublished":"2018-10-01T19:53:47.000Z","dateModified":"2018-10-01T19:53:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"106122 https://ww2.kqed.org/pop/?p=106122","disqusUrl":"https://ww2.kqed.org/pop/2018/10/01/matt-damon-is-a-sniffing-shouting-brett-kavanaugh-on-snl-premiere/","disqusTitle":"Matt Damon is a Sniffing, Shouting Brett Kavanaugh on 'SNL' Premiere","nprImageCredit":"Saturday Night Live via YouTube","nprByline":"Serena McMahon","nprImageAgency":"Screenshot by NPR","nprStoryId":"653062763","nprApiLink":"http://api.npr.org/query?id=653062763&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2018/09/30/653062763/matt-damon-is-a-sniffing-shouting-brett-kavanaugh-on-snl-season-premiere?ft=nprml&f=653062763","nprRetrievedStory":"1","nprPubDate":"Mon, 01 Oct 2018 11:57:00 -0400","nprStoryDate":"Sun, 30 Sep 2018 04:14:00 -0400","nprLastModifiedDate":"Mon, 01 Oct 2018 11:57:48 -0400","path":"/pop/106122/matt-damon-is-a-sniffing-shouting-brett-kavanaugh-on-snl-premiere","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 1:15 p.m. ET Sunday\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Saturday Night Live\u003c/em> kicked off its 44th season in a sketch many of us expected in some form or another: a send-up of the emotionally charged hearings into the sexual assault allegations against Supreme Court nominee Brett Kavanaugh.\u003c/p>\n\u003cp>The show skipped any impression of accuser Christine Blasey Ford's testimony, starting the scene just before Kavanaugh's entrance.\u003c/p>\n\u003cp>\"We've heard from the alleged victim, but now it's time to hear from the hero, Judge Brett Kavanaugh,\" says Sen. Chuck Grassley, played by cast member Alex Moffat.\u003c/p>\n\u003cp>In walks a shouting, sniffing Judge Brett Kavanaugh, in an appearance by Matt Damon.\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 gonna start at an 11, I'ma take it to about a 15 real quick!\" he yells.\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/VRJecfRxbr8'\n title='//www.youtube.com/embed/VRJecfRxbr8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He talks a lot about beer. \"I'm usually an optimist, I'm a keg is half-full kind of guy,\" he says.\u003c/p>\n\u003cp>Echoing the real Kavanaugh's statement that \"you'll never get me to quit,\" Damon's judge notes, \"I'm not backing down ... I don't know the meaning of the word stop.\"\u003c/p>\n\u003cp>Aidy Bryant played Rachel Mitchell, the Arizona prosecutor brought in to question Ford, who says, \"I'm here mostly for Twitter.\"\u003c/p>\n\u003cp>Later on in the scene, Kate McKinnon, who can do a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/20/612751096/tina-fey-hosts-star-studded-snl-season-43-finale\">good impression\u003c/a> of \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/03/05/518601702/kate-mckinnon-mocks-sessions-as-forrest-gump-on-snl\">pretty much anybody,\u003c/a> channeled the indignation of Sen. Lindsey Graham, who lashed out on Thursday at Democrats.\u003c/p>\n\u003cp>\"You put this man on the Supreme Court now,\" McKinnon's Graham says. \"No vote, no discussion. You give him a damn robe and you let him do whatever the hell he wants. Because this right now, this is my audition for Mr. Trump's Cabinet. And also for a regional production of \u003cem>The Crucible.\u003c/em>\"\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ljmCX0R7Tqg'\n title='//www.youtube.com/embed/ljmCX0R7Tqg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Weekend Update had its usual digs at the week in politics, beginning with the Ford and Kavanaugh appearances. \"A classic debate of she said, he yelled,\" as Colin Jost described it.\u003c/p>\n\u003cp>Kate McKinnon was back (again!) as Justice Ruth Bader Ginsburg, giving her take on Kavanaugh and his calendars. Today on Ginsburg's agenda: \"Don't die.\"\u003c/p>\n\u003cp>Kanye West was the night's musical guest. He performed three times, the first of which was ... in a costume of a \u003ca href=\"https://twitter.com/nbcsnl/status/1046254473063075840\">bottle of Perrier.\u003c/a>\u003c/p>\n\u003cp>He ended the show with a song performed while wearing a Make America Great Again hat. West is a \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/02/616402658/two-sided-trying-to-hear-kanye-wests-new-album-ye-through-all-the-noise\">noted fan of President Trump.\u003c/a>\u003c/p>\n\u003cp>On Sunday afternoon, President Trump \u003ca href=\"https://twitter.com/realDonaldTrump/status/1046443996074127361\">tweeted\u003c/a> about first show of the season, saying \"Like many, I don't watch Saturday Night Live (even though I past hosted it) - no longer funny, no talent or charm. It is just a political ad for the Dems. Word is that Kanye West, who put on a MAGA hat after the show (despite being told \"no\"), was great. He's leading the charge!\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The show is back live next week with host \u003ca href=\"https://www.npr.org/2018/08/17/639670914/crazy-rich-asians-star-awkwafina-has-always-aggressively-been-myself\">Awkwafina\u003c/a> and musical guest \u003ca href=\"https://www.npr.org/2018/08/07/636278850/travis-scott-rides-a-fire-breathing-dragon-in-stop-trying-to-be-god-video\">Travis Scott.\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Matt+Damon+Is+A+Sniffing%2C+Shouting+Brett+Kavanaugh+On+%27SNL%27+Season+Premiere&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/106122/matt-damon-is-a-sniffing-shouting-brett-kavanaugh-on-snl-premiere","authors":["byline_pop_106122"],"categories":["pop_3"],"tags":["pop_222","pop_88","pop_322","pop_1228"],"featImg":"pop_106123","label":"pop"},"pop_105436":{"type":"posts","id":"pop_105436","meta":{"index":"posts_1591205157","site":"pop","id":"105436","score":null,"sort":[1537794965000]},"guestAuthors":[],"slug":"what-the-good-place-has-taught-us-about-philosophy-and-life-so-far","title":"What 'The Good Place' Has Taught Us About Philosophy and Life So Far","publishDate":1537794965,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Fill up your coffee pot and get ready to buy a whole new set of moral philosophy books because the third season of \u003ca href=\"https://www.nbc.com/the-good-place\">\u003cem>The Good Place\u003c/em>\u003c/a> is back on September 27. The NBC exploration of what it truly means to be good has already taught us how to cope with pretty much every moral dilemma in the universe, while giving us a laundry list of things to avoid doing if we want to stay out of hell (just say no to those vanity license plates and Red Hot Chili Peppers tickets, people!). So before we dive into Season 3, here's a quick refresher of the most important lessons we've learned so far.\u003cem> (Warning: Spoilers are coming!)\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>1. Good Deeds Don't Automatically Make You A Good Human\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YDcQ27cc7hE\u003c/p>\n\u003cp>Tahani Al-Jamil (Jameela Jamil) winds up in the Bad Place despite raising \u003ca href=\"http://thegoodplace.wikia.com/wiki/Tahani_Al-Jamil\">$60 billion for charity\u003c/a>. Why? Because she was only doing it in an attempt to outshine her famous sister and win the approval of her (terrible) parents. Similarly, Eleanor doesn't benefit from doing good deeds in the Good Place, because she's only doing them in order to stay out of the Bad Place. Self-interest sullies all. As Maya Rudolph's all-knowing judge points out at the end of Season 2: \"You're supposed to do good things because they're good—not for moral dessert.\"\u003c/p>\n\u003cp>\u003cstrong>Lesson: \u003c/strong>Our overlords know when our motivations are pure. If you only do good stuff for selfish reasons, you are still going to hell. Sorry!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>2. \"Humans Make A Lot of Mistakes When They're Horny\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=u72aDNL3vRw\u003c/p>\n\u003cp>So says Michael (Ted Danson), head demon and inventor of the fake Good Place.\u003c/p>\n\u003cp>\u003cstrong>Lesson:\u003c/strong> What he said.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>3. Design Your A.I. Technology Carefully\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6vo4Fdf7E0w\u003c/p>\n\u003cp>Once someone figures out how to make life-like robots, in all likelihood they will be smarter, more efficient and fairer than humans. Anthropomorphized \"vessel of knowledge\" Good Janet (as opposed to the infinitely more flatulent \u003ca href=\"https://www.youtube.com/watch?v=w_KOcBhE9eg\">Bad Janet\u003c/a>) is all of these things. Plus, thanks to being in her 25th generation and rebooted too many times, she's also now complex enough to develop emotional attachments and a sense of responsibility.\u003c/p>\n\u003cp>Janet offers a perky, aesthetically pleasing antidote to every form of A.I. we've ever seen on the likes of \u003ca href=\"https://www.imdb.com/title/tt2085059/?ref_=fn_al_tt_1\">\u003cem>Black Mirror\u003c/em>.\u003c/a> Even if Janet is upset or drunk on magnets, the only weapon she ever really wields against humans is using our own stupid emotions or inferior brains against us.\u003c/p>\n\u003cp>\u003cstrong>Lesson:\u003c/strong> The robots are going to outsmart us in the end, so let's make sure they all get super amenable personality chips like Good Janet's. Otherwise, when we try to kill them, we'll end up with a \u003ca href=\"https://www.indiewire.com/gallery/westworld-trailer-clues-season-2/\">\u003cem>Westworld\u003c/em> shoreline massacre\u003c/a> situation, and not the much nicer stroll on the beach we see in the clip above. Which would you rather?\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>4. Moral Philosophy Will Make Your Brain Hurt\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vfIdNV22LQM\u003c/p>\n\u003cp>British philosopher \u003ca href=\"https://en.wikipedia.org/wiki/Philippa_Foot\">Philippa Foot\u003c/a>'s Trolley Problem gets turned into a literal—and gory—moral exercise, as Michael forces Chidi to live out his own lesson about utilitarianism (i.e. the idea that whichever action benefits the majority of people is the best one). Episodes later, Michael, who had initially been using the exercise as a form of torture for the chronically indecisive Chidi, decides that the answer to the \u003ca href=\"https://en.wikipedia.org/wiki/Trolley_problem\">trolley problem\u003c/a> is, in fact, personal sacrifice. The demon has come a long way, baby!\u003c/p>\n\u003cp>\u003cstrong>Lesson:\u003c/strong> Utilitarianism: bad. Selflessness: good.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>5. Kierkegaard Is A Lifesaver\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105459\" class=\"wp-caption alignnone\" style=\"max-width: 581px\">\u003cimg class=\"size-full wp-image-105459\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/Screen-Shot-2018-08-28-at-12.50.11-PM.png\" alt=\"\" width=\"581\" height=\"386\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/08/Screen-Shot-2018-08-28-at-12.50.11-PM.png 581w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/Screen-Shot-2018-08-28-at-12.50.11-PM-160x106.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/Screen-Shot-2018-08-28-at-12.50.11-PM-240x159.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/Screen-Shot-2018-08-28-at-12.50.11-PM-375x249.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/Screen-Shot-2018-08-28-at-12.50.11-PM-520x345.png 520w\" sizes=\"(max-width: 581px) 100vw, 581px\">\u003cfigcaption class=\"wp-caption-text\">Jason (Manny Jacinto), Michael (Ted Danson) and Tahani (Jameela Jamil) in Season 2 of 'The Good Place' (NBC).\u003c/figcaption>\u003c/figure>\n\u003cp>Philosopher and father of existentialism \u003ca href=\"https://en.wikipedia.org/wiki/S%C3%B8ren_Kierkegaard\">Søren Kierkegaard thought\u003c/a> \"that to have faith is at the same time to have doubt. So, for example, for one to truly have faith in God, one would also have to doubt one's beliefs about God; the doubt is the rational part of a person's thought involved in weighing evidence, without which the faith would have no real substance.\"\u003c/p>\n\u003cp>The only reason I know this is because of an episode of \u003cem>The Good Place\u003c/em> in which Michael references Kierkegaard in order to send a secret message to the humans to have faith in him, even in the midst of their fears that he cannot be trusted. Chidi's Kierkegaard rap in Season 1 didn't hurt either. (“My name is Kierkegaard and my writing is impeccable! / Check out my teleological suspension of the ethical!”)\u003c/p>\n\u003cp>\u003cstrong>Lesson:\u003c/strong> When Eleonor says a leap of faith is better than a \"sit of doubt,\" she is correct!\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>6. The Flaws of Deontological Ethics\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105458\" class=\"wp-caption aligncenter\" style=\"max-width: 688px\">\u003cimg class=\"size-full wp-image-105458\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/Screen-Shot-2018-08-28-at-12.44.33-PM.png\" alt=\"\" width=\"688\" height=\"386\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/08/Screen-Shot-2018-08-28-at-12.44.33-PM.png 688w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/Screen-Shot-2018-08-28-at-12.44.33-PM-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/Screen-Shot-2018-08-28-at-12.44.33-PM-240x135.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/Screen-Shot-2018-08-28-at-12.44.33-PM-375x210.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/Screen-Shot-2018-08-28-at-12.44.33-PM-520x292.png 520w\" sizes=\"(max-width: 688px) 100vw, 688px\">\u003cfigcaption class=\"wp-caption-text\">Eleanor (Kristen Bell) and Chidi (William Jackson Harper), in Season 1 of 'The Good Place' (NBC).\u003c/figcaption>\u003c/figure>\n\u003cp>Professor of Moral Philosphy, Chidi, can't get enough of 18th-century philosopher \u003ca href=\"https://en.wikipedia.org/wiki/Immanuel_Kant\">Immanuel Kant\u003c/a>, and tries to teach Eleanor his theories of deontological ethics. Essentially, Kant believed that religion and morality were separate entities, not reliant on one another. He suggested instead that our moral compasses should be guided by reason, potential effects on others and what he called categorical imperatives. \u003ca href=\"https://www.youtube.com/watch?v=8bIys6JoEDw\">In other words:\u003c/a> “It doesn’t matter whether you want to be moral or not—the moral law is binding on all of us” and provides us with “commands you must follow, regardless of your desires.”\u003c/p>\n\u003cp>Chidi is walking-talking, indecisive proof that trying to follow these principles is almost entirely impossible since, for example, he holds a stricter moral code than anyone around him, on Earth or otherwise.\u003c/p>\n\u003cp>\u003cstrong>Lesson:\u003c/strong> Kant's theories are great in, well, theory. In practice, life is a little more complicated.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>7. Moral Particularism Is Super Useful\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MwQNkECtskU\u003c/p>\n\u003cp>When Chidi and Eleanor find themselves at a cocktail party in hell, trying to blend in with demons, Chidi begins to have a crisis about lying to get through the situation since he believes that lying is always bad (even when you're doing it to be nice). Eleanor knocks some sense into him using theories by \u003ca href=\"https://en.wikipedia.org/wiki/Jonathan_Dancy\">Jonathan Dancy\u003c/a>. \"There are no fixed rules that work in every situation,\" she says. \"Like, you promised your friend you'd go to the movies, but then your mom suddenly gets rushed to the E.R. Your boy \u003ca href=\"https://en.wikipedia.org/wiki/Immanuel_Kant\">Kant\u003c/a> would say 'Never break a promise. Go see \u003cem>Chronicles of Riddick!\u003c/em> It doesn't matter if your mom gets lonely and steals a bucket of Vicodin from the nurse's closet!' But a moral particularist would say there's no absolute rule. You have to choose your actions based on the particular situation.\"\u003c/p>\n\u003cp>\u003cstrong>Lesson:\u003c/strong> It's okay to break promises and/or lie to other people if you have a good enough reason. Hurray!\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>8. No, Seriously: Design Your A.I. Technology VERY Carefully\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dJpi-BxMJiU\u003c/p>\n\u003cp>She's not supposed to be able to do it, but when she wants a rebound guy after her \u003ca href=\"https://www.youtube.com/watch?v=1-yzfjvu-n4\">failed marriage to Jason\u003c/a>, Janet invents Derek, a malfunctioning humanoid who has windchimes instead of a penis.\u003c/p>\n\u003cp>\u003cstrong>Lesson:\u003c/strong> If A.I. units figure out how to build other beings, the events that follow will likely be calamitous.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>9. Always Start With Aristotle\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OWnMZ9idrb0\u003c/p>\n\u003cp>When Eleanor is first tasked with trying to become a better person in order to fit into The Good Place, Chidi starts her off with a foundation of theories by ancient Greek philosophers, Socrates, Plato and Aristotle. It's an uphill struggle, but the teachings of Aristotle, in particular, lead to the first breakthrough Chidi makes in getting Eleanor to be a less deplorable human.\u003c/p>\n\u003cp>\u003cstrong>Lesson:\u003c/strong> If you're trying to transform someone's decision-making process from the emotional to the logical, Aristotle is a damn good place to start.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>10. It's The Little Things\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tj_0zcOlb4M\u003c/p>\n\u003cp>One of the key ways that Michael's fake Good Place is really the Bad Place is the removal of simple pleasures, like swearing, full-fat ice cream and functioning television. Not being able to curse freely is a major irritant for Eleanor from the get-go, and Michael's insistence on making most of the stores in their midst frozen yogurt-based, turn out to be subtle—but extremely effective—forms of torture.\u003c/p>\n\u003cp>\u003cstrong>Lesson:\u003c/strong> Watching good TV while eating real ice cream, and the ability to gleefully swear about those things are just some of the things that make being human better.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As we start Season 3, Eleanor, Chidi, Jason and Tahani have been sent back to Earth to prove they've become better people since they last died. If they remember half of what we've learned so far, they'll be in the real Good Place in no time. Knowing this show's twist and turns though? Un-forking-likely.\u003c/p>\n\n","blocks":[],"excerpt":"Season 3 of 'The Good Place' is coming our way this week! Here's everything it's taught us so far.","status":"publish","parent":0,"modified":1537814605,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1522},"headData":{"title":"What 'The Good Place' Has Taught Us About Philosophy and Life So Far | KQED","description":"Season 3 of 'The Good Place' is coming our way this week! Here's everything it's taught us so far.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"What 'The Good Place' Has Taught Us About Philosophy and Life So Far","datePublished":"2018-09-24T13:16:05.000Z","dateModified":"2018-09-24T18:43:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"105436 https://ww2.kqed.org/pop/?p=105436","disqusUrl":"https://ww2.kqed.org/pop/2018/09/24/what-the-good-place-has-taught-us-about-philosophy-and-life-so-far/","disqusTitle":"What 'The Good Place' Has Taught Us About Philosophy and Life So Far","path":"/pop/105436/what-the-good-place-has-taught-us-about-philosophy-and-life-so-far","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fill up your coffee pot and get ready to buy a whole new set of moral philosophy books because the third season of \u003ca href=\"https://www.nbc.com/the-good-place\">\u003cem>The Good Place\u003c/em>\u003c/a> is back on September 27. The NBC exploration of what it truly means to be good has already taught us how to cope with pretty much every moral dilemma in the universe, while giving us a laundry list of things to avoid doing if we want to stay out of hell (just say no to those vanity license plates and Red Hot Chili Peppers tickets, people!). So before we dive into Season 3, here's a quick refresher of the most important lessons we've learned so far.\u003cem> (Warning: Spoilers are coming!)\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>1. Good Deeds Don't Automatically Make You A Good Human\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YDcQ27cc7hE'\n title='//www.youtube.com/embed/YDcQ27cc7hE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tahani Al-Jamil (Jameela Jamil) winds up in the Bad Place despite raising \u003ca href=\"http://thegoodplace.wikia.com/wiki/Tahani_Al-Jamil\">$60 billion for charity\u003c/a>. Why? Because she was only doing it in an attempt to outshine her famous sister and win the approval of her (terrible) parents. Similarly, Eleanor doesn't benefit from doing good deeds in the Good Place, because she's only doing them in order to stay out of the Bad Place. Self-interest sullies all. As Maya Rudolph's all-knowing judge points out at the end of Season 2: \"You're supposed to do good things because they're good—not for moral dessert.\"\u003c/p>\n\u003cp>\u003cstrong>Lesson: \u003c/strong>Our overlords know when our motivations are pure. If you only do good stuff for selfish reasons, you are still going to hell. Sorry!\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 style=\"text-align: center\">\u003cstrong>2. \"Humans Make A Lot of Mistakes When They're Horny\"\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/u72aDNL3vRw'\n title='//www.youtube.com/embed/u72aDNL3vRw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So says Michael (Ted Danson), head demon and inventor of the fake Good Place.\u003c/p>\n\u003cp>\u003cstrong>Lesson:\u003c/strong> What he said.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>3. Design Your A.I. Technology Carefully\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6vo4Fdf7E0w'\n title='//www.youtube.com/embed/6vo4Fdf7E0w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Once someone figures out how to make life-like robots, in all likelihood they will be smarter, more efficient and fairer than humans. Anthropomorphized \"vessel of knowledge\" Good Janet (as opposed to the infinitely more flatulent \u003ca href=\"https://www.youtube.com/watch?v=w_KOcBhE9eg\">Bad Janet\u003c/a>) is all of these things. Plus, thanks to being in her 25th generation and rebooted too many times, she's also now complex enough to develop emotional attachments and a sense of responsibility.\u003c/p>\n\u003cp>Janet offers a perky, aesthetically pleasing antidote to every form of A.I. we've ever seen on the likes of \u003ca href=\"https://www.imdb.com/title/tt2085059/?ref_=fn_al_tt_1\">\u003cem>Black Mirror\u003c/em>.\u003c/a> Even if Janet is upset or drunk on magnets, the only weapon she ever really wields against humans is using our own stupid emotions or inferior brains against us.\u003c/p>\n\u003cp>\u003cstrong>Lesson:\u003c/strong> The robots are going to outsmart us in the end, so let's make sure they all get super amenable personality chips like Good Janet's. Otherwise, when we try to kill them, we'll end up with a \u003ca href=\"https://www.indiewire.com/gallery/westworld-trailer-clues-season-2/\">\u003cem>Westworld\u003c/em> shoreline massacre\u003c/a> situation, and not the much nicer stroll on the beach we see in the clip above. Which would you rather?\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>4. Moral Philosophy Will Make Your Brain Hurt\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vfIdNV22LQM'\n title='//www.youtube.com/embed/vfIdNV22LQM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>British philosopher \u003ca href=\"https://en.wikipedia.org/wiki/Philippa_Foot\">Philippa Foot\u003c/a>'s Trolley Problem gets turned into a literal—and gory—moral exercise, as Michael forces Chidi to live out his own lesson about utilitarianism (i.e. the idea that whichever action benefits the majority of people is the best one). Episodes later, Michael, who had initially been using the exercise as a form of torture for the chronically indecisive Chidi, decides that the answer to the \u003ca href=\"https://en.wikipedia.org/wiki/Trolley_problem\">trolley problem\u003c/a> is, in fact, personal sacrifice. The demon has come a long way, baby!\u003c/p>\n\u003cp>\u003cstrong>Lesson:\u003c/strong> Utilitarianism: bad. Selflessness: good.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>5. Kierkegaard Is A Lifesaver\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105459\" class=\"wp-caption alignnone\" style=\"max-width: 581px\">\u003cimg class=\"size-full wp-image-105459\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/Screen-Shot-2018-08-28-at-12.50.11-PM.png\" alt=\"\" width=\"581\" height=\"386\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/08/Screen-Shot-2018-08-28-at-12.50.11-PM.png 581w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/Screen-Shot-2018-08-28-at-12.50.11-PM-160x106.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/Screen-Shot-2018-08-28-at-12.50.11-PM-240x159.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/Screen-Shot-2018-08-28-at-12.50.11-PM-375x249.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/Screen-Shot-2018-08-28-at-12.50.11-PM-520x345.png 520w\" sizes=\"(max-width: 581px) 100vw, 581px\">\u003cfigcaption class=\"wp-caption-text\">Jason (Manny Jacinto), Michael (Ted Danson) and Tahani (Jameela Jamil) in Season 2 of 'The Good Place' (NBC).\u003c/figcaption>\u003c/figure>\n\u003cp>Philosopher and father of existentialism \u003ca href=\"https://en.wikipedia.org/wiki/S%C3%B8ren_Kierkegaard\">Søren Kierkegaard thought\u003c/a> \"that to have faith is at the same time to have doubt. So, for example, for one to truly have faith in God, one would also have to doubt one's beliefs about God; the doubt is the rational part of a person's thought involved in weighing evidence, without which the faith would have no real substance.\"\u003c/p>\n\u003cp>The only reason I know this is because of an episode of \u003cem>The Good Place\u003c/em> in which Michael references Kierkegaard in order to send a secret message to the humans to have faith in him, even in the midst of their fears that he cannot be trusted. Chidi's Kierkegaard rap in Season 1 didn't hurt either. (“My name is Kierkegaard and my writing is impeccable! / Check out my teleological suspension of the ethical!”)\u003c/p>\n\u003cp>\u003cstrong>Lesson:\u003c/strong> When Eleonor says a leap of faith is better than a \"sit of doubt,\" she is correct!\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>6. The Flaws of Deontological Ethics\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_105458\" class=\"wp-caption aligncenter\" style=\"max-width: 688px\">\u003cimg class=\"size-full wp-image-105458\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/Screen-Shot-2018-08-28-at-12.44.33-PM.png\" alt=\"\" width=\"688\" height=\"386\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/08/Screen-Shot-2018-08-28-at-12.44.33-PM.png 688w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/Screen-Shot-2018-08-28-at-12.44.33-PM-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/Screen-Shot-2018-08-28-at-12.44.33-PM-240x135.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/Screen-Shot-2018-08-28-at-12.44.33-PM-375x210.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/Screen-Shot-2018-08-28-at-12.44.33-PM-520x292.png 520w\" sizes=\"(max-width: 688px) 100vw, 688px\">\u003cfigcaption class=\"wp-caption-text\">Eleanor (Kristen Bell) and Chidi (William Jackson Harper), in Season 1 of 'The Good Place' (NBC).\u003c/figcaption>\u003c/figure>\n\u003cp>Professor of Moral Philosphy, Chidi, can't get enough of 18th-century philosopher \u003ca href=\"https://en.wikipedia.org/wiki/Immanuel_Kant\">Immanuel Kant\u003c/a>, and tries to teach Eleanor his theories of deontological ethics. Essentially, Kant believed that religion and morality were separate entities, not reliant on one another. He suggested instead that our moral compasses should be guided by reason, potential effects on others and what he called categorical imperatives. \u003ca href=\"https://www.youtube.com/watch?v=8bIys6JoEDw\">In other words:\u003c/a> “It doesn’t matter whether you want to be moral or not—the moral law is binding on all of us” and provides us with “commands you must follow, regardless of your desires.”\u003c/p>\n\u003cp>Chidi is walking-talking, indecisive proof that trying to follow these principles is almost entirely impossible since, for example, he holds a stricter moral code than anyone around him, on Earth or otherwise.\u003c/p>\n\u003cp>\u003cstrong>Lesson:\u003c/strong> Kant's theories are great in, well, theory. In practice, life is a little more complicated.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>7. Moral Particularism Is Super Useful\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MwQNkECtskU'\n title='//www.youtube.com/embed/MwQNkECtskU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When Chidi and Eleanor find themselves at a cocktail party in hell, trying to blend in with demons, Chidi begins to have a crisis about lying to get through the situation since he believes that lying is always bad (even when you're doing it to be nice). Eleanor knocks some sense into him using theories by \u003ca href=\"https://en.wikipedia.org/wiki/Jonathan_Dancy\">Jonathan Dancy\u003c/a>. \"There are no fixed rules that work in every situation,\" she says. \"Like, you promised your friend you'd go to the movies, but then your mom suddenly gets rushed to the E.R. Your boy \u003ca href=\"https://en.wikipedia.org/wiki/Immanuel_Kant\">Kant\u003c/a> would say 'Never break a promise. Go see \u003cem>Chronicles of Riddick!\u003c/em> It doesn't matter if your mom gets lonely and steals a bucket of Vicodin from the nurse's closet!' But a moral particularist would say there's no absolute rule. You have to choose your actions based on the particular situation.\"\u003c/p>\n\u003cp>\u003cstrong>Lesson:\u003c/strong> It's okay to break promises and/or lie to other people if you have a good enough reason. Hurray!\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>8. No, Seriously: Design Your A.I. Technology VERY Carefully\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dJpi-BxMJiU'\n title='//www.youtube.com/embed/dJpi-BxMJiU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She's not supposed to be able to do it, but when she wants a rebound guy after her \u003ca href=\"https://www.youtube.com/watch?v=1-yzfjvu-n4\">failed marriage to Jason\u003c/a>, Janet invents Derek, a malfunctioning humanoid who has windchimes instead of a penis.\u003c/p>\n\u003cp>\u003cstrong>Lesson:\u003c/strong> If A.I. units figure out how to build other beings, the events that follow will likely be calamitous.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>9. Always Start With Aristotle\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OWnMZ9idrb0'\n title='//www.youtube.com/embed/OWnMZ9idrb0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When Eleanor is first tasked with trying to become a better person in order to fit into The Good Place, Chidi starts her off with a foundation of theories by ancient Greek philosophers, Socrates, Plato and Aristotle. It's an uphill struggle, but the teachings of Aristotle, in particular, lead to the first breakthrough Chidi makes in getting Eleanor to be a less deplorable human.\u003c/p>\n\u003cp>\u003cstrong>Lesson:\u003c/strong> If you're trying to transform someone's decision-making process from the emotional to the logical, Aristotle is a damn good place to start.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>10. It's The Little Things\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Tj_0zcOlb4M'\n title='//www.youtube.com/embed/Tj_0zcOlb4M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of the key ways that Michael's fake Good Place is really the Bad Place is the removal of simple pleasures, like swearing, full-fat ice cream and functioning television. Not being able to curse freely is a major irritant for Eleanor from the get-go, and Michael's insistence on making most of the stores in their midst frozen yogurt-based, turn out to be subtle—but extremely effective—forms of torture.\u003c/p>\n\u003cp>\u003cstrong>Lesson:\u003c/strong> Watching good TV while eating real ice cream, and the ability to gleefully swear about those things are just some of the things that make being human better.\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 we start Season 3, Eleanor, Chidi, Jason and Tahani have been sent back to Earth to prove they've become better people since they last died. If they remember half of what we've learned so far, they'll be in the real Good Place in no time. Knowing this show's twist and turns though? Un-forking-likely.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/105436/what-the-good-place-has-taught-us-about-philosophy-and-life-so-far","authors":["11242"],"categories":["pop_3"],"tags":["pop_3111","pop_88","pop_3284"],"featImg":"pop_105439","label":"pop"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png","officialWebsiteLink":"http://freakonomics.com/","airtime":"SUN 1am-2am, SAT 3pm-4pm","meta":{"site":"radio","source":"WNYC"},"link":"/radio/program/freakonomics-radio","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519","tuneIn":"https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/","rss":"https://feeds.feedburner.com/freakonomicsradio"}},"fresh-air":{"id":"fresh-air","title":"Fresh Air","info":"Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.","airtime":"MON-FRI 7pm-8pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/fresh-air/","meta":{"site":"radio","source":"npr"},"link":"/radio/program/fresh-air","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/Fresh-Air-p17/","rss":"https://feeds.npr.org/381444908/podcast.xml"}},"here-and-now":{"id":"here-and-now","title":"Here & Now","info":"A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. 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