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His new documentary is \u003cem>Food, Inc. 2.\u003c/em>","publishDate":1713461892,"modified":1713461892,"format":"standard","content":"\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Journalist+says+we%27re+%27basically+guinea+pigs%27+for+a+new+form+of+industrialized+food+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"/>\u003c/div>\u003c/p>","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Journalist+says+we%27re+%27basically+guinea+pigs%27+for+a+new+form+of+industrialized+food+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"/>\u003c/div>\u003c/p>\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"authors":["npr_856763118"]},"npr_1245330235":{"type":"posts","id":"npr_1245330235","meta":{"site":"npr","id":"1245330235"},"slug":"the-beast-jumps-from-1910-to-2014-to-2044-tracking-fear-through-the-ages","audioUrl":"https://play.podtrac.com/npr-1069977606/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/04/20240418_fa_02.mp3?orgId=427869011&topicId=4467349&d=481&p=13&story=1245330235&ft=nprml&f=13","audioDuration":481000,"title":"'The Beast' jumps from 1910, to 2014, to 2044, tracking fear through the ages","excerpt":"This wildly original adaptation of the Henry James novella \u003cem>The Beast in the Jungle\u003c/em> follows human alienation and anxiety, asking why, in every era, we disengage from life and the people around us.","publishDate":1713457752,"modified":1713461992,"format":"standard","content":"\u003cp>There's no easy way to sum up the work of the brilliant and maddening French writer-director Bertrand Bonello. In recent years, he's made a \u003ca href=\"https://www.npr.org/2020/01/23/798864658/zombi-child-when-the-real-horror-is-colonialism\">zombie thriller\u003c/a> rooted in Haitian voodoo lore and an \u003ca href=\"https://www.npr.org/2015/05/07/404217991/saint-laurent-a-radical-man-of-fashion\">unconventional biopic \u003c/a>of Yves Saint-Laurent. His most controversial title, \u003cem>Nocturama\u003c/em>, is a hangout movie about a group of French youth carrying out terrorist attacks around Paris. Bonello's films have a unique way of blurring the intellectual and the aesthetic: Their gorgeous surfaces are often loaded with troubling and provocative ideas.\u003c/p>\u003cp>His latest movie is called \u003cem>The Beast\u003c/em>, and it's one of the best and least classifiable things he's ever done. It's a wildly original adaptation of the 1903 Henry James novella \u003cem>The Beast in the Jungle\u003c/em>, about a man who dwells in a constant state of fear. \u003c/p>\u003cp>James' story is a cautionary tale about the dangers of being too cautious, of not embracing life and love to the fullest. Bonello takes this premise and spins it in several unexpected directions. First, he recasts the hesitant protagonist as a woman, named Gabrielle, played by the wonderful Léa Seydoux. Then he positions her in three different stories, set in three time frames, and suffused with elements of horror, mystery and science fiction. It's easier to follow than it sounds: Even when it's not entirely clear where or \u003cem>when\u003c/em> we are, Bonello's filmmaking is so hypnotic, and Seydoux's performance so subtly mesmerizing, that you can't help getting caught up in the flow.\u003c/p>\u003cp>The first story is the one that most closely resembles the novella. It's 1910, and Gabrielle is a renowned pianist who has a run-in at a Paris salon with a gentleman named Louis, played by the English actor George MacKay. In a setup that evokes the confounding 1961 classic \u003cem>Last Year at Marienbad\u003c/em>, Gabrielle and Louis seem to vaguely recall having met before. There's a clear attraction between them, but Gabrielle, who's married, resists pursuing it. Her restraint will cost her in a climax that coincides with a real-life Parisian catastrophe, the Great Flood of 1910.\u003c/p>\u003cp>The second story takes place in Los Angeles in 2014, and has some of the eerie menace of \u003ca href=\"https://www.npr.org/2017/05/19/529081041/25-years-after-twin-peaks-the-odd-genius-of-david-lynch-remains\">David Lynch\u003c/a>'s masterpiece \u003cem>Mulholland Dr.\u003c/em> Gabrielle is now an aspiring model and actor who's been housesitting for a wealthy Angeleno. Rattled by a violent earthquake one morning, she steps outside and runs into Louis, who's now a deeply disturbed incel who's been posting misogynist video rants online.\u003c/p>\u003cp>MacKay is utterly terrifying as this Louis, who's modeled on\u003cstrong> \u003c/strong>a man who\u003cstrong> \u003c/strong>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2014/05/24/315425094/shooting-near-uc-santa-barbara-leaves-3-dead\">killed six people\u003c/a> in 2014 in Isla Vista, Calif. What makes this second segment so chilling is that, unlike in the novella, the protagonist's fear is not unfounded. The beast stalking Gabrielle is all too real.\u003c/p>\u003cp>The third story is the most elusive and intriguing. It's set in 2044, when the world is run by AI. Gabrielle plays a human who, to join the work force, must undergo a process that will rid her of her emotions. This segment, with its shades of \u003ca href=\"https://www.npr.org/2004/03/19/1779197/bob-mondello-review-unforgettable-eternal-sunshine\">\u003cem>Eternal Sunshine of the Spotless Mind\u003c/em>\u003c/a>, explains the framework of the entire movie: It turns out that the 1910 and 2014 sections are remnants of Gabrielle's past lives, now being purged from her subconscious.\u003c/p>\u003cp>Bonello doesn't tell the stories one at a time; he jumps around and among them. He's tracking the sources of human alienation and anxiety through the ages, asking why, in every era, we find ways to disengage from life and the people around us. The movie is especially insightful about how technology evolves. Each chapter features an artificial human companion of sorts: a line of baby dolls in 1910, a talking doll in 2014, a robot friend in 2044. Along the way, Bonello also asks questions about the future of movies, a medium so overrun with CGI that it's become harder to tell what's real from what isn't.\u003c/p>\u003cp>As grim as \u003cem>The Beast\u003c/em> sounds, it isn't entirely pessimistic about the state of the world. I left the movie feeling disturbed but also enthralled, and strangely reassured by Seydoux's presence in all three stories. The futuristic Gabrielle may have to divest herself of her feelings, but Seydoux's emotions are always within reach. The more unreal her surroundings become, the more hauntingly human her performance feels. \u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Beast%27+jumps+from+1910%2C+to+2014%2C+to+2044%2C+tracking+fear+through+the+ages&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"/>\u003c/div>\u003c/p>","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There's no easy way to sum up the work of the brilliant and maddening French writer-director Bertrand Bonello. In recent years, he's made a \u003ca href=\"https://www.npr.org/2020/01/23/798864658/zombi-child-when-the-real-horror-is-colonialism\">zombie thriller\u003c/a> rooted in Haitian voodoo lore and an \u003ca href=\"https://www.npr.org/2015/05/07/404217991/saint-laurent-a-radical-man-of-fashion\">unconventional biopic \u003c/a>of Yves Saint-Laurent. His most controversial title, \u003cem>Nocturama\u003c/em>, is a hangout movie about a group of French youth carrying out terrorist attacks around Paris. Bonello's films have a unique way of blurring the intellectual and the aesthetic: Their gorgeous surfaces are often loaded with troubling and provocative ideas.\u003c/p>\u003cp>His latest movie is called \u003cem>The Beast\u003c/em>, and it's one of the best and least classifiable things he's ever done. It's a wildly original adaptation of the 1903 Henry James novella \u003cem>The Beast in the Jungle\u003c/em>, about a man who dwells in a constant state of fear. \u003c/p>\u003cp>James' story is a cautionary tale about the dangers of being too cautious, of not embracing life and love to the fullest. Bonello takes this premise and spins it in several unexpected directions. First, he recasts the hesitant protagonist as a woman, named Gabrielle, played by the wonderful Léa Seydoux. Then he positions her in three different stories, set in three time frames, and suffused with elements of horror, mystery and science fiction. It's easier to follow than it sounds: Even when it's not entirely clear where or \u003cem>when\u003c/em> we are, Bonello's filmmaking is so hypnotic, and Seydoux's performance so subtly mesmerizing, that you can't help getting caught up in the flow.\u003c/p>\u003cp>The first story is the one that most closely resembles the novella. It's 1910, and Gabrielle is a renowned pianist who has a run-in at a Paris salon with a gentleman named Louis, played by the English actor George MacKay. In a setup that evokes the confounding 1961 classic \u003cem>Last Year at Marienbad\u003c/em>, Gabrielle and Louis seem to vaguely recall having met before. There's a clear attraction between them, but Gabrielle, who's married, resists pursuing it. Her restraint will cost her in a climax that coincides with a real-life Parisian catastrophe, the Great Flood of 1910.\u003c/p>\u003cp>The second story takes place in Los Angeles in 2014, and has some of the eerie menace of \u003ca href=\"https://www.npr.org/2017/05/19/529081041/25-years-after-twin-peaks-the-odd-genius-of-david-lynch-remains\">David Lynch\u003c/a>'s masterpiece \u003cem>Mulholland Dr.\u003c/em> Gabrielle is now an aspiring model and actor who's been housesitting for a wealthy Angeleno. Rattled by a violent earthquake one morning, she steps outside and runs into Louis, who's now a deeply disturbed incel who's been posting misogynist video rants online.\u003c/p>\u003cp>MacKay is utterly terrifying as this Louis, who's modeled on\u003cstrong> \u003c/strong>a man who\u003cstrong> \u003c/strong>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2014/05/24/315425094/shooting-near-uc-santa-barbara-leaves-3-dead\">killed six people\u003c/a> in 2014 in Isla Vista, Calif. What makes this second segment so chilling is that, unlike in the novella, the protagonist's fear is not unfounded. The beast stalking Gabrielle is all too real.\u003c/p>\u003cp>The third story is the most elusive and intriguing. It's set in 2044, when the world is run by AI. Gabrielle plays a human who, to join the work force, must undergo a process that will rid her of her emotions. This segment, with its shades of \u003ca href=\"https://www.npr.org/2004/03/19/1779197/bob-mondello-review-unforgettable-eternal-sunshine\">\u003cem>Eternal Sunshine of the Spotless Mind\u003c/em>\u003c/a>, explains the framework of the entire movie: It turns out that the 1910 and 2014 sections are remnants of Gabrielle's past lives, now being purged from her subconscious.\u003c/p>\u003cp>Bonello doesn't tell the stories one at a time; he jumps around and among them. He's tracking the sources of human alienation and anxiety through the ages, asking why, in every era, we find ways to disengage from life and the people around us. The movie is especially insightful about how technology evolves. Each chapter features an artificial human companion of sorts: a line of baby dolls in 1910, a talking doll in 2014, a robot friend in 2044. Along the way, Bonello also asks questions about the future of movies, a medium so overrun with CGI that it's become harder to tell what's real from what isn't.\u003c/p>\u003cp>As grim as \u003cem>The Beast\u003c/em> sounds, it isn't entirely pessimistic about the state of the world. I left the movie feeling disturbed but also enthralled, and strangely reassured by Seydoux's presence in all three stories. The futuristic Gabrielle may have to divest herself of her feelings, but Seydoux's emotions are always within reach. The more unreal her surroundings become, the more hauntingly human her performance feels. \u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Beast%27+jumps+from+1910%2C+to+2014%2C+to+2044%2C+tracking+fear+through+the+ages&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"/>\u003c/div>\u003c/p>\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"authors":["npr_536029475"],"featImg":"npr_1245528990"},"npr_1245286544":{"type":"posts","id":"npr_1245286544","meta":{"site":"npr","id":"1245286544"},"slug":"remembering-acclaimed-artist-and-quilter-faith-ringgold","audioUrl":"https://play.podtrac.com/npr-13/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/04/20240417_fa_02.mp3?orgId=427869011&topicId=1141&d=546&p=13&story=1245286544&ft=nprml&f=13","audioDuration":546000,"title":"Remembering acclaimed artist and quilter Faith Ringgold","excerpt":"Ringgold, who died April 12, portrayed themes of Black life and culture through her quilts, paintings, dolls and books. Her work was exhibited in many major museums.\u003cem> Originally broadcast in 1991.\u003c/em>","publishDate":1713374207,"modified":1713374207,"format":"standard","content":"\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+acclaimed+artist+and+quilter+Faith+Ringgold&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"/>\u003c/div>\u003c/p>","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+acclaimed+artist+and+quilter+Faith+Ringgold&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"/>\u003c/div>\u003c/p>\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"authors":["npr_2100593"]},"npr_1245264129":{"type":"posts","id":"npr_1245264129","meta":{"site":"npr","id":"1245264129"},"slug":"death-doula-says-life-is-more-meaningful-if-you-get-real-about-the-end","audioUrl":"https://play.podtrac.com/npr-191676894/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/04/20240417_fa_01.mp3?orgId=427869011&topicId=1033&d=2080&p=13&story=1245264129&ft=nprml&f=13","audioDuration":2080000,"title":"Death doula says life is more meaningful if you 'get real' about the end","excerpt":"Alua Arthur helps people plan for death. A big part of her work is helping them reconcile the lives they lived with the lives they might have wanted. Her memoir is called\u003cem> Briefly Perfectly Human.\u003c/em>","publishDate":1713369900,"modified":1713374543,"format":"standard","content":"\u003cp>As a death doula, Alua Arthur helps people to plan for the end of life and, when the time comes, to let go. She says that while we're conditioned to fear death, thinking and talking about it is instrumental to creating meaningful lives.\u003c/p>\u003cp>\"When I'm thinking about my death, I'm thinking about my life very clearly: ... What I value, who I care about, how I'm spending my time,\" Arthur says. \"And all these things allow us to reach the end of our lives gracefully, so that we can die without the fear and the concerns and the worries that many people carry.\"\u003c/p>\u003cp>Before becoming a death doula, Arthur worked as attorney — a job she hated. Unhappy and depressed, she took a trip to Cuba where she met a fellow traveler who had terminal uterine cancer. Talking to the woman about death, Arthur realized she needed to make a change.\u003c/p>\u003cp>\"Up until then, I was just kind of waiting for my life to write itself without taking any action to make it so,\" she says. \"Thinking about my mortality, about my death, really created action.\"\u003c/p>\u003cp>Arthur went on to found \u003ca href=\"https://goingwithgrace.com/\">Going with Grace\u003c/a>, an organization that supports people as they plan for the end of their lives. She says a big part of her work is helping people deal with regret as they reconcile the lives they lived with the lives they might have wanted.\u003c/p>\u003cp>\"When folks are grappling with the choices that they've made, my role is to be there with them,\" she says. \"Sometimes the greatest gift that we can offer is grace. ... Part of the reason why I named the business 'Going with Grace' is because of the grace that needs to be present at the end of life, for people to be able to let go of it.\"\u003c/p>\u003cp>Arthur's new book is \u003cem>Briefly Perfectly Human: Making an Authentic Life by Getting Real About the End\u003c/em>.\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003cstrong>Interview highlights \u003c/strong>\u003c/p>\u003cp>\u003cstrong>On the death of her brother in law, Peter, in 2013\u003c/strong>\u003c/p>\u003cp>It was the first time I was really faced with this reality that the people that we love might not be here for much longer. It felt really isolating. I knew intellectually that there were a lot of other people that were ill and getting close to ... the end of their lives, but it felt like we were the only ones that felt like we were on this little cancer planet by ourselves, where somebody we loved will soon be dying. And there wasn't some one person that I could turn to to say, \"Help! Just help. I'm lost here,\" or \"Today's really hard,\" or \"How do we navigate this?\" Or \"What do we do with all these medications?\" \"Where can we find smaller sized hospital gowns that will arrive, like in the next days?\" (Because he was losing weight so rapidly) We just needed some help and I mean, practically, but also just somebody to be there to listen, to rely upon, somebody that I could lean on as other people were leaning on me. ...\u003c/p>\u003cp>Many people have already served as death doulas for somebody in their family, and most of us will at some point. Which is why I think it's so important that we all have a functional death literacy, because we live in community. We die in community. At some point, a member of that community is going to need the support. So many of us are going to do it and already have. That's how I learned how to do it is through Peter. I took courses afterwards, but that was the initial spark, the initial practical application of the work itself.\u003c/p>\u003cp>\u003cstrong>On facing grief \u003c/strong>\u003c/p>\u003cp>The thing about grief is whether or not you want to face it, it's going to find its way through. Either we don't acknowledge it emotionally, and it manifests itself in work, or our relationships, or addiction or some other traumatic event, or it shows up in our bodies as illness. But grief is present. Grief lives in the body and it must be accessed at some point. It will force its way. I think that since we push so many of our sad or difficult emotions away, we don't allow space for grief because it is difficult. But I don't yet know anybody who has died from grieving. It's hard, and yet there is always another day, provided we choose the next day.\u003c/p>\u003cp>\u003cstrong>On the importance of talking to your medical proxy \u003c/strong>\u003c/p>\u003cp>The first thing I encourage people to do is to think about the person who will make the decisions for them in the event that they can't. That is a health care proxy or a medical power of attorney, or just somebody whose job it is to make your decisions. Somebody who would make decisions the way that you would. Not the way that they would, not the things that they want for you, but rather what you would want for yourself. And to begin communicating those desires to your health care proxy, because the communication of that desire is going to open up a beautiful, rich conversation about what you want with your life, how you want your life to eventually end, if that is the way that it's going, and then get you started on the path toward planning for it.\u003c/p>\u003cp>\u003cstrong>On how not talking about death openly leads to fear and anxiety \u003c/strong>\u003c/p>\u003cp>I think a lot of the old way of thinking is largely responsible for the death phobia that we currently experience in today's culture and society ... where we pretend it's not happening, where bodies are whisked away to funeral homes just moments after the death has occurred. We don't take time with the body. We don't take time to talk about death. We pretend it's not happening until it's too late. That death phobia has caused a real crisis, I think, in this country and in the West overall, where we are living out of relationship with nature and with our mortality, which is ultimately a detriment to us as a culture, but also to us as individuals.\u003c/p>\u003cp>\u003cstrong>On helping people who are at their worst \u003c/strong>\u003c/p>\u003cp>People are most human when they are dying. They are at their fullest. That means their best and their worst. I think as people are approaching the end, they are grieving as well. They are grieving their own death. They are grieving all the things that they're going to leave. I think we often forget that when somebody in our lives is dying, we are losing them, but they are losing everything and everyone and leaving the only place that they've known consciously. And so that brings about a lot of emotion, and some of it is anger and frustration. And sometimes disease causes personality changes. Sometimes there is some vitriol and sometimes it's just really not pretty. ... If we can be present for their experience, which often is rooted in fear, then I think it allows us to not take it so personally and to give them some grace for what it is that they are experiencing.\u003c/p>\u003cp>\u003cstrong>On advice for caregivers\u003c/strong>\u003c/p>\u003cp>Give yourself plenty of grace. You, I'm sure, are doing amazing because this is really, really hard. ... I wish somebody had said that to me at various points. ... Next, I'd also encourage that people try to take a minute to check in with their bodies and take care of their bodies' needs. Make sure that you're eating to the best that you can ... find pockets of rest where you can. To the extent that you can, speak your needs and let somebody else support you in it. If you have a need, no matter how small it might be, speak it and open the space for somebody to support you in it. And I'd also say reach out for some support if you can, not only to a friend ... but there are plenty of doulas that are willing to support their community members at a free or reduced cost, maybe even a sliding scale. Reach out. There are plenty of resources that are available, but most importantly, if you hear nothing else, please just give yourself some grace for the process. It's tough.\u003c/p>\u003cp>\u003cstrong>On advice for the moment you sit with a loved one during their death\u003c/strong>\u003c/p>\u003cp>Do your best to stay present. Do your best to stay in your body. It can be so confronting that the desire, the urge to disassociate or to distract is huge. And yet, if there's somebody that you loved and cared for, if you could hold thoughts of love and care and honor and gratitude for their lives, that's a really beautiful way to be during that time. And also, as always, give yourself plenty of grace for however it is that you're approaching it. If there is somebody in the room that is having a bigger emotional reaction, ask for their consent before touching or interrupting it or being with it in any way. And not everybody who is crying wants the tears to stop, or needs a tissue to plug them up, or wants a hug. Maybe they want to stay present in their bodies without the imposition as well. ... It's utterly profound. Getting to witness the doorway to existence is a gift and a privilege and a huge honor. And so hopefully we can continue to treat it as such.\u003c/p>\u003cp>\u003cem>Sam Briger and Thea Chaloner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.\u003c/em> \u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Death+doula+says+life+is+more+meaningful+if+you+%27get+real%27+about+the+end&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"/>\u003c/div>\u003c/p>","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a death doula, Alua Arthur helps people to plan for the end of life and, when the time comes, to let go. She says that while we're conditioned to fear death, thinking and talking about it is instrumental to creating meaningful lives.\u003c/p>\u003cp>\"When I'm thinking about my death, I'm thinking about my life very clearly: ... What I value, who I care about, how I'm spending my time,\" Arthur says. \"And all these things allow us to reach the end of our lives gracefully, so that we can die without the fear and the concerns and the worries that many people carry.\"\u003c/p>\u003cp>Before becoming a death doula, Arthur worked as attorney — a job she hated. Unhappy and depressed, she took a trip to Cuba where she met a fellow traveler who had terminal uterine cancer. Talking to the woman about death, Arthur realized she needed to make a change.\u003c/p>\u003cp>\"Up until then, I was just kind of waiting for my life to write itself without taking any action to make it so,\" she says. \"Thinking about my mortality, about my death, really created action.\"\u003c/p>\u003cp>Arthur went on to found \u003ca href=\"https://goingwithgrace.com/\">Going with Grace\u003c/a>, an organization that supports people as they plan for the end of their lives. She says a big part of her work is helping people deal with regret as they reconcile the lives they lived with the lives they might have wanted.\u003c/p>\u003cp>\"When folks are grappling with the choices that they've made, my role is to be there with them,\" she says. \"Sometimes the greatest gift that we can offer is grace. ... Part of the reason why I named the business 'Going with Grace' is because of the grace that needs to be present at the end of life, for people to be able to let go of it.\"\u003c/p>\u003cp>Arthur's new book is \u003cem>Briefly Perfectly Human: Making an Authentic Life by Getting Real About the End\u003c/em>.\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003cstrong>Interview highlights \u003c/strong>\u003c/p>\u003cp>\u003cstrong>On the death of her brother in law, Peter, in 2013\u003c/strong>\u003c/p>\u003cp>It was the first time I was really faced with this reality that the people that we love might not be here for much longer. It felt really isolating. I knew intellectually that there were a lot of other people that were ill and getting close to ... the end of their lives, but it felt like we were the only ones that felt like we were on this little cancer planet by ourselves, where somebody we loved will soon be dying. And there wasn't some one person that I could turn to to say, \"Help! Just help. I'm lost here,\" or \"Today's really hard,\" or \"How do we navigate this?\" Or \"What do we do with all these medications?\" \"Where can we find smaller sized hospital gowns that will arrive, like in the next days?\" (Because he was losing weight so rapidly) We just needed some help and I mean, practically, but also just somebody to be there to listen, to rely upon, somebody that I could lean on as other people were leaning on me. ...\u003c/p>\u003cp>Many people have already served as death doulas for somebody in their family, and most of us will at some point. Which is why I think it's so important that we all have a functional death literacy, because we live in community. We die in community. At some point, a member of that community is going to need the support. So many of us are going to do it and already have. That's how I learned how to do it is through Peter. I took courses afterwards, but that was the initial spark, the initial practical application of the work itself.\u003c/p>\u003cp>\u003cstrong>On facing grief \u003c/strong>\u003c/p>\u003cp>The thing about grief is whether or not you want to face it, it's going to find its way through. Either we don't acknowledge it emotionally, and it manifests itself in work, or our relationships, or addiction or some other traumatic event, or it shows up in our bodies as illness. But grief is present. Grief lives in the body and it must be accessed at some point. It will force its way. I think that since we push so many of our sad or difficult emotions away, we don't allow space for grief because it is difficult. But I don't yet know anybody who has died from grieving. It's hard, and yet there is always another day, provided we choose the next day.\u003c/p>\u003cp>\u003cstrong>On the importance of talking to your medical proxy \u003c/strong>\u003c/p>\u003cp>The first thing I encourage people to do is to think about the person who will make the decisions for them in the event that they can't. That is a health care proxy or a medical power of attorney, or just somebody whose job it is to make your decisions. Somebody who would make decisions the way that you would. Not the way that they would, not the things that they want for you, but rather what you would want for yourself. And to begin communicating those desires to your health care proxy, because the communication of that desire is going to open up a beautiful, rich conversation about what you want with your life, how you want your life to eventually end, if that is the way that it's going, and then get you started on the path toward planning for it.\u003c/p>\u003cp>\u003cstrong>On how not talking about death openly leads to fear and anxiety \u003c/strong>\u003c/p>\u003cp>I think a lot of the old way of thinking is largely responsible for the death phobia that we currently experience in today's culture and society ... where we pretend it's not happening, where bodies are whisked away to funeral homes just moments after the death has occurred. We don't take time with the body. We don't take time to talk about death. We pretend it's not happening until it's too late. That death phobia has caused a real crisis, I think, in this country and in the West overall, where we are living out of relationship with nature and with our mortality, which is ultimately a detriment to us as a culture, but also to us as individuals.\u003c/p>\u003cp>\u003cstrong>On helping people who are at their worst \u003c/strong>\u003c/p>\u003cp>People are most human when they are dying. They are at their fullest. That means their best and their worst. I think as people are approaching the end, they are grieving as well. They are grieving their own death. They are grieving all the things that they're going to leave. I think we often forget that when somebody in our lives is dying, we are losing them, but they are losing everything and everyone and leaving the only place that they've known consciously. And so that brings about a lot of emotion, and some of it is anger and frustration. And sometimes disease causes personality changes. Sometimes there is some vitriol and sometimes it's just really not pretty. ... If we can be present for their experience, which often is rooted in fear, then I think it allows us to not take it so personally and to give them some grace for what it is that they are experiencing.\u003c/p>\u003cp>\u003cstrong>On advice for caregivers\u003c/strong>\u003c/p>\u003cp>Give yourself plenty of grace. You, I'm sure, are doing amazing because this is really, really hard. ... I wish somebody had said that to me at various points. ... Next, I'd also encourage that people try to take a minute to check in with their bodies and take care of their bodies' needs. Make sure that you're eating to the best that you can ... find pockets of rest where you can. To the extent that you can, speak your needs and let somebody else support you in it. If you have a need, no matter how small it might be, speak it and open the space for somebody to support you in it. And I'd also say reach out for some support if you can, not only to a friend ... but there are plenty of doulas that are willing to support their community members at a free or reduced cost, maybe even a sliding scale. Reach out. There are plenty of resources that are available, but most importantly, if you hear nothing else, please just give yourself some grace for the process. It's tough.\u003c/p>\u003cp>\u003cstrong>On advice for the moment you sit with a loved one during their death\u003c/strong>\u003c/p>\u003cp>Do your best to stay present. Do your best to stay in your body. It can be so confronting that the desire, the urge to disassociate or to distract is huge. And yet, if there's somebody that you loved and cared for, if you could hold thoughts of love and care and honor and gratitude for their lives, that's a really beautiful way to be during that time. And also, as always, give yourself plenty of grace for however it is that you're approaching it. If there is somebody in the room that is having a bigger emotional reaction, ask for their consent before touching or interrupting it or being with it in any way. And not everybody who is crying wants the tears to stop, or needs a tissue to plug them up, or wants a hug. Maybe they want to stay present in their bodies without the imposition as well. ... It's utterly profound. Getting to witness the doorway to existence is a gift and a privilege and a huge honor. And so hopefully we can continue to treat it as such.\u003c/p>\u003cp>\u003cem>Sam Briger and Thea Chaloner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.\u003c/em> \u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Death+doula+says+life+is+more+meaningful+if+you+%27get+real%27+about+the+end&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"/>\u003c/div>\u003c/p>\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"authors":["npr_856763118"],"featImg":"npr_1245276132"},"npr_1244847366":{"type":"posts","id":"npr_1244847366","meta":{"site":"npr","id":"1244847366"},"slug":"two-nights-before-the-attack-salman-rushdie-dreamed-he-was-stabbed-onstage","audioUrl":"https://play.podtrac.com/npr-191676894/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/04/20240416_fa_b90f68ca-e9e2-43dc-8ec2-de51274aba59.mp3?orgId=427869011&topicId=1033&d=2671&p=13&story=1244847366&ft=nprml&f=13","audioDuration":2671000,"title":"Two nights before the attack, Salman Rushdie dreamed he was stabbed onstage","excerpt":"Rushdie was onstage at a literary event in 2022 when he was attacked by a man in the audience: \"Dying in the company of strangers — that was what was going through my mind.\" His new book is \u003cem>Knife\u003c/em>.","publishDate":1713279615,"modified":1713369954,"format":"standard","content":"\u003cp>Two nights before he was \u003ca href=\"https://www.npr.org/2022/08/12/1117164727/salman-rushdie-condition-stabbing-new-york\">stabbed onstage\u003c/a> at a literary event in 2022, Salman Rushdie had a nightmare. In his dream, Rushdie was in an ancient Roman amphitheater, rolling around on the ground while a gladiator with a spear stabbed down at him.\u003c/p>\u003cp>\"It certainly felt very vivid and very actual and very scary,\" Rushdie says. \"I was rolling about in bed and thrashing around, and my wife had to wake me up.\" \u003c/p>\u003cp>His immediate impulse was to cancel his upcoming appearance at the Chautauqua Institution in upstate New York, but then he rationalized his fear away: \"People have dreams. You don't run your daily life because of having a bad dream. And so I decided I would go,\" Rushdie says.\u003c/p>\u003cp>Rushdie is no stranger to death threats. After his 1988 novel \u003cem>The Satanic Verses\u003c/em> was published, Iran's leader, the Ayatollah Khomeini, declared the book blasphemous in its treatment of Islam and the Prophet Muhammad, and issued a fatwa calling for Rushdie's death. Faced with the threat, Rushdie, who grew up in India in a secular Muslim family, stayed out of public view for years.\u003c/p>\u003cp>But after years of being surrounded by security, Rushdie had resumed normal life. Then, on Aug. 12, 2022, a 24-year-old man in the audience rushed the stage at Chautauqua. In an attack lasting 27 seconds, the man stabbed Rushdie multiple times, severing all the tendons and most of the nerves in one hand and wounding his neck, chest, thigh and eye.\u003c/p>\u003cp>Lying in a \"lake of blood,\" Rushdie believed he was about to die. He was hit with a feeling of loneliness: \"Dying in the company of strangers — that was what was going through my mind,\" he says.\u003c/p>\u003cp>Rushdie says he's disinclined to believe in miracles, but he struggles with how else to explain his survival.\u003c/p>\u003cp>\"Many of the doctors who I have been involved with in the last year and a half are not only surprised that I survived — which they are — but they're surprised that I have recovered to the degree that I have,\" he says. \"Miracles are all around me, it seems.\"\u003c/p>\u003cp>In his new book, \u003cem>Knife\u003c/em>, Rushdie writes about the attack, the \u003ca href=\"https://www.npr.org/2022/10/24/1131130774/salman-rushdie-loses-eye-hand-stabbing\">damage to his body\u003c/a> (including the loss of sight in one eye) and more existential questions about facing death and finding his identity in an altered body and state of mind. Rushdie says he was initially reluctant write about the Chautauqua incident, but he's glad he did.\u003c/p>\u003cp>\"It changed my relationship to the event,\" he says. \"Instead of just being the person who got stabbed, I now see myself as the person who wrote a book about getting stabbed. And so it feels like it's back in my own authorial space, and I feel more in charge of it. And that feels good.\"\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On how he had stopped worrying about the fatwa prior to the attack\u003c/strong>\u003c/p>\u003cp>I'd been living in New York City for close to 24 years, and during that time I'd done hundreds of literary events, readings, lectures, festivals, etc., and they had never been the faintest trace of a problem. So I'd kind of told myself that that time had gone, but sadly, I was wrong. All I ever wanted to do, Terry, was to write stories. And if I've got a few more years left to write a few more good stories, then that'll do for me.\u003c/p>\u003cp>\u003cstrong>On not holding onto anger about the attack\u003c/strong>\u003c/p>\u003cp>One of the things that I think has been very strange for me is that the emotion that I haven't really had in the aftermath of all this is anger. And it's as if something in my head tells me that anger would be a way of being stuck in the moment. It would be a way of not being able to get past it. And so I don't have anger. I guess somewhere deep down I am pretty furious with various people, notably the gentleman with the knife, but it doesn't seem productive to me to linger on anger.\u003c/p>\u003cp>\u003cstrong>On writing about both violence and hatred and healing and love \u003c/strong>\u003c/p>\u003cp>When I started thinking about writing this book, you know, I asked myself, \"OK, there's obviously this attack and I want to talk about that. But beyond that, what's the book about?\" And I came to feel that it was about myself being in between two forces. One is a force of violence and hatred, and the other is the force of love and healing. ...\u003c/p>\u003cp>The first force was obviously embodied in my assailant, and the second force was embodied in my wife, Eliza, the writer Rachel Eliza Griffiths. And I mean, since I didn't die, I'm able to say that the force of love and healing overcame the force of violence and hatred. But I felt that that triangle was what the book was about, that the book was about three people. It was about me and him and Eliza. And so I wanted to write about love, and in a more open and direct way than maybe that I've ever done before.\u003c/p>\u003cp>\u003cstrong>On the hallucinations he experienced while on a ventilator \u003c/strong>\u003c/p>\u003cp>I was hallucinating palaces made out of alphabets. ... I was seeing architecture, palatial architecture, of which the building blocks were all letters. \u003cem>... \u003c/em>There were letters floating in the air between me and other people in the room. I remember when the ventilator was taken out I said to Eliza and her family, I said, \"Why are all these letters on your clothes?\" ... It does indicate to me the extent to which the world of books is the world in which I live.\u003c/p>\u003cp>\u003cstrong>On how being attacked changed his understanding of death \u003c/strong>\u003c/p>\u003cp>I think what it did is two things that it, first of all, gave me a kind of familiarity with death. I kind of know how it goes now. I didn't get to the final note of the music, thank goodness. But I kind of understand how the tune goes. But also what it did, what it has done, is to give me an enormously increased appreciation of life. The reason I quoted, one point, a poem by \u003ca href=\"https://www.npr.org/2009/11/27/120773152/raymond-carvers-writers-life-poignantly-exposed\">Raymond Carver\u003c/a>, written after he was told he had almost no time to live, and then he lived another 10 years and did some of his best work. And he said he felt like all that time that he wasn't supposed to have, he describes it as gravy. \"Every day is gravy.\" And I kind of feel like that now. I feel like these are days I wasn't supposed to have, and yet here I am, having them, and every day is a blessing.\u003c/p>\u003cp>\u003cem>Sam Briger and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the web.\u003c/em> \u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Two+nights+before+the+attack%2C+Salman+Rushdie+dreamed+he+was+stabbed+onstage&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"/>\u003c/div>\u003c/p>","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two nights before he was \u003ca href=\"https://www.npr.org/2022/08/12/1117164727/salman-rushdie-condition-stabbing-new-york\">stabbed onstage\u003c/a> at a literary event in 2022, Salman Rushdie had a nightmare. In his dream, Rushdie was in an ancient Roman amphitheater, rolling around on the ground while a gladiator with a spear stabbed down at him.\u003c/p>\u003cp>\"It certainly felt very vivid and very actual and very scary,\" Rushdie says. \"I was rolling about in bed and thrashing around, and my wife had to wake me up.\" \u003c/p>\u003cp>His immediate impulse was to cancel his upcoming appearance at the Chautauqua Institution in upstate New York, but then he rationalized his fear away: \"People have dreams. You don't run your daily life because of having a bad dream. And so I decided I would go,\" Rushdie says.\u003c/p>\u003cp>Rushdie is no stranger to death threats. After his 1988 novel \u003cem>The Satanic Verses\u003c/em> was published, Iran's leader, the Ayatollah Khomeini, declared the book blasphemous in its treatment of Islam and the Prophet Muhammad, and issued a fatwa calling for Rushdie's death. Faced with the threat, Rushdie, who grew up in India in a secular Muslim family, stayed out of public view for years.\u003c/p>\u003cp>But after years of being surrounded by security, Rushdie had resumed normal life. Then, on Aug. 12, 2022, a 24-year-old man in the audience rushed the stage at Chautauqua. In an attack lasting 27 seconds, the man stabbed Rushdie multiple times, severing all the tendons and most of the nerves in one hand and wounding his neck, chest, thigh and eye.\u003c/p>\u003cp>Lying in a \"lake of blood,\" Rushdie believed he was about to die. He was hit with a feeling of loneliness: \"Dying in the company of strangers — that was what was going through my mind,\" he says.\u003c/p>\u003cp>Rushdie says he's disinclined to believe in miracles, but he struggles with how else to explain his survival.\u003c/p>\u003cp>\"Many of the doctors who I have been involved with in the last year and a half are not only surprised that I survived — which they are — but they're surprised that I have recovered to the degree that I have,\" he says. \"Miracles are all around me, it seems.\"\u003c/p>\u003cp>In his new book, \u003cem>Knife\u003c/em>, Rushdie writes about the attack, the \u003ca href=\"https://www.npr.org/2022/10/24/1131130774/salman-rushdie-loses-eye-hand-stabbing\">damage to his body\u003c/a> (including the loss of sight in one eye) and more existential questions about facing death and finding his identity in an altered body and state of mind. Rushdie says he was initially reluctant write about the Chautauqua incident, but he's glad he did.\u003c/p>\u003cp>\"It changed my relationship to the event,\" he says. \"Instead of just being the person who got stabbed, I now see myself as the person who wrote a book about getting stabbed. And so it feels like it's back in my own authorial space, and I feel more in charge of it. And that feels good.\"\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On how he had stopped worrying about the fatwa prior to the attack\u003c/strong>\u003c/p>\u003cp>I'd been living in New York City for close to 24 years, and during that time I'd done hundreds of literary events, readings, lectures, festivals, etc., and they had never been the faintest trace of a problem. So I'd kind of told myself that that time had gone, but sadly, I was wrong. All I ever wanted to do, Terry, was to write stories. And if I've got a few more years left to write a few more good stories, then that'll do for me.\u003c/p>\u003cp>\u003cstrong>On not holding onto anger about the attack\u003c/strong>\u003c/p>\u003cp>One of the things that I think has been very strange for me is that the emotion that I haven't really had in the aftermath of all this is anger. And it's as if something in my head tells me that anger would be a way of being stuck in the moment. It would be a way of not being able to get past it. And so I don't have anger. I guess somewhere deep down I am pretty furious with various people, notably the gentleman with the knife, but it doesn't seem productive to me to linger on anger.\u003c/p>\u003cp>\u003cstrong>On writing about both violence and hatred and healing and love \u003c/strong>\u003c/p>\u003cp>When I started thinking about writing this book, you know, I asked myself, \"OK, there's obviously this attack and I want to talk about that. But beyond that, what's the book about?\" And I came to feel that it was about myself being in between two forces. One is a force of violence and hatred, and the other is the force of love and healing. ...\u003c/p>\u003cp>The first force was obviously embodied in my assailant, and the second force was embodied in my wife, Eliza, the writer Rachel Eliza Griffiths. And I mean, since I didn't die, I'm able to say that the force of love and healing overcame the force of violence and hatred. But I felt that that triangle was what the book was about, that the book was about three people. It was about me and him and Eliza. And so I wanted to write about love, and in a more open and direct way than maybe that I've ever done before.\u003c/p>\u003cp>\u003cstrong>On the hallucinations he experienced while on a ventilator \u003c/strong>\u003c/p>\u003cp>I was hallucinating palaces made out of alphabets. ... I was seeing architecture, palatial architecture, of which the building blocks were all letters. \u003cem>... \u003c/em>There were letters floating in the air between me and other people in the room. I remember when the ventilator was taken out I said to Eliza and her family, I said, \"Why are all these letters on your clothes?\" ... It does indicate to me the extent to which the world of books is the world in which I live.\u003c/p>\u003cp>\u003cstrong>On how being attacked changed his understanding of death \u003c/strong>\u003c/p>\u003cp>I think what it did is two things that it, first of all, gave me a kind of familiarity with death. I kind of know how it goes now. I didn't get to the final note of the music, thank goodness. But I kind of understand how the tune goes. But also what it did, what it has done, is to give me an enormously increased appreciation of life. The reason I quoted, one point, a poem by \u003ca href=\"https://www.npr.org/2009/11/27/120773152/raymond-carvers-writers-life-poignantly-exposed\">Raymond Carver\u003c/a>, written after he was told he had almost no time to live, and then he lived another 10 years and did some of his best work. And he said he felt like all that time that he wasn't supposed to have, he describes it as gravy. \"Every day is gravy.\" And I kind of feel like that now. I feel like these are days I wasn't supposed to have, and yet here I am, having them, and every day is a blessing.\u003c/p>\u003cp>\u003cem>Sam Briger and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the web.\u003c/em> \u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Two+nights+before+the+attack%2C+Salman+Rushdie+dreamed+he+was+stabbed+onstage&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"/>\u003c/div>\u003c/p>\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"authors":["npr_2100593"],"featImg":"npr_1245008104"},"npr_1244774773":{"type":"posts","id":"npr_1244774773","meta":{"site":"npr","id":"1244774773"},"slug":"a-first-date-turns-into-a-whodunit-in-diarra-from-detroit","audioUrl":"https://play.podtrac.com/npr-191676894/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/04/20240415_fa_89cb75bc-f0f4-4bdd-9f5e-c09a1e463eae.mp3?orgId=427869011&topicId=1138&d=2599&p=13&story=1244774773&ft=nprml&f=13","audioDuration":2599000,"title":"A first date turns into a whodunit in 'Diarra from Detroit'","excerpt":"Growing up, when Diarra Kilpatrick watched murder mystery shows with her grandmother, she never saw Black women driving the narrative. She seeks to change that in her new new BET+ series.","publishDate":1713203579,"modified":1713203601,"format":"standard","content":"\u003cp>Detroit native Diarra Kilpatrick has always wanted to share her version of the city with the world: \"For me, the gems of Detroit have far outweighed some of the more challenging aspects of growing up there,\" the actor, writer and producer says. \u003c/p>\u003cp>Kilpatrick's new BET+ series, \u003cem>Diarra from Detroit, \u003c/em>is inspired, in part, by the time she spent as a little girl watching \u003cem>Columbo \u003c/em>and \u003cem>Perry Mason\u003c/em> with her grandmother. Kilpatrick notes that despite the fact that all the women in her life seemed to be obsessed with murder mystery shows back then, she never saw Black women driving the narrative. \u003c/p>\u003cp>\u003cem>Diarra from Detroit \u003c/em>is a dark comedy about a public school teacher going through a divorce who decides to hit the dating scene. When a guy she meets on Tinder ghosts her, Diarra goes on a hunt to find out why — and winds up embroiled in a decades old mystery. \u003c/p>\u003cp>Kilpatrick says she was initially reluctant to use her own first name in the title for the show because she was concerned that the audience would assume she was simply being herself instead of playing a character. But as the show progressed in development, the decision began to feel right. \u003c/p>\u003cp>\"It felt like it was like an announcement,\" Kilpatrick says. \"Almost, like 'Diarra from Detroit is ready to be seen!' \" \u003c/p>\u003cp>In addition to working on this latest series, Kilpatrick is an actor, writer and producer who created and starred in the ABC digital original satirical comedy \u003cem>American Koko\u003c/em>, for which she was nominated for an Emmy Award. She also co-starred for three seasons in the HBO period drama\u003cem> \u003c/em>\u003ca href=\"https://www.npr.org/2023/03/03/1159276842/perry-mason-review-season-2-matthew-rhys\">\u003cem>Perry Mason\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On her tendency to joke about dark things \u003c/strong>\u003c/p>\u003cp>My father, the only way to describe him is just a damn fool. He cannot take anything seriously. They say comedy is tragedy plus time. He doesn't need the time. It's just ... funeral, joke. Someone's hurt, joke. It's never too soon, joke. So he just really doesn't have the ability to take anything seriously. And I think my mom took everything really seriously and had a tremendous amount of depth of feeling and thought and everything. And so I think making sense of the two of those personalities within myself, has kind of been my lot. And I think making sense of comedy and depth is probably a hallmark of my work. \u003c/p>\u003cp>\u003cstrong>On casting \u003c/strong>\u003cem>\u003cstrong>Diarra from Detroit\u003c/strong>\u003c/em>\u003cstrong> by listening to the actors' voices \u003c/strong>\u003c/p>\u003cp>It's in the voice. I could be playing auditions on the computer and walk away from the computer to get a cup of tea or something, and the voice will drive me back. We're not really doing the vocal fry thing in the Midwest. We're not really doing the pitching up thing in the Midwest. Detroit is a southern town up north for me. And so it's that bit of southern in the voice, it's that bit of bass in the voice. Assuredness in the voice. I could tell it immediately. \u003c/p>\u003cp>\u003cstrong>On learning to drop her Detroit accent in acting school, but then using it to get roles afterward \u003c/strong>\u003c/p>\u003cp>I went to theater school, too, and they beat me up pretty good when I first got there. ... They were like, \"Ma'am, what is this accent that you have? Your vowels are all over the place. You sound a hot mess.\" ... Even though I did love being at Tisch and that training, I didn't love the kind of judgment that I felt about my accent and being the only Black girl in studio. It was like, \"We got to fix that!\" Because as soon as you graduate, no one's asking you to speak the King's English. As a dark skinned, Black, 20-something actress, they want your regional dialect. A lot of times you're going out for Prostitute No. 4. They don't need you to sound like you're doing a Shakespearean play. So that part of it was interesting to kind of lose it and then kind of learn to regain it, because that's what the industry was requiring of me. And I did wish that it had been framed that way for me in school. Like, there's nothing wrong with your accent. In fact, you're probably going to work more with your regional dialect and without it. \u003cstrong> \u003c/strong>\u003c/p>\u003cp>\u003cstrong>On seeing the beauty in her Detroit childhood \u003c/strong>\u003c/p>\u003cp>I grew up in the city. When I was really young, we didn't have a lot of money. My mom and I lived in Section 8. We lived in Calumet Townhomes right off the Lodge Freeway. ... I had a very idyllic childhood. I have a very pristine idea of what it was to grow up in that Section 8 housing community. And I think it was in part my imagination. \u003c/p>\u003cp>It's not there now, but there used to be, right across from where I grew up, this big field. It was an empty field, and I would cut across that field to get to the corner store whenever my mother would bless me with a couple dollars to go get ice cream or whatever. And that field, in my imagination, in my mind, was honestly like Maria von Trapp, like \u003cem>The Sound of Music\u003c/em>, like Austrian vistas and mountains. The grass was so high. I would go in that field and pick flowers for my mother. I would sing and dance and get lost in that field. And it wasn't until I was much older that I was like, \"That was an empty lot. The grass was mad high because it should have been cut. Those were dandelions. They're not flowers.\" There was a church bell that would ring. I was always like, this is magic, because I guess that's just the love that I felt. And that's just something about me. \u003c/p>\u003cp>So I do realize not everybody has that point of view on it. I'm able to see the beauty of it. I also am able to recognize that there are challenges and there are things there that need to be fixed. So I feel like I can make room for both. \u003c/p>\u003cp>\u003cstrong>On the \"angry Black woman\" stereotype \u003c/strong>\u003c/p>\u003cp>It is a trap. They have made us afraid of our anger. ... But at the end of the day, anger is so beautiful and so powerful to me. Nothing changes unless someone gets angry. Obviously you don't just want to aim a bunch of unwieldy anger all over the place. That's not going to be constructive either. But there is great information in your anger. There's great direction in your anger. And, of course, there's great change that comes out of somebody being like, \"I'm mad as hell and I'm not going to take it anymore.\" ... I think that when Black women are afraid of it, it will siphon off some of your power and your intuition and your drive. \u003c/p>\u003cp>\u003cstrong>On seeing a mural for the show in Detroit \u003c/strong> \u003c/p>\u003cp>I got a chance to go to Detroit with my husband and my baby and my sister and my oldest friend in the world, and we stood out there and took pictures. And it was a beautiful moment. ... I was trying to figure out how do I take a brick wall back on the plane with me? But it was a really beautiful moment. And I have to shout out \u003ca href=\"https://www.instagram.com/sydneygjames/?hl=en\">Sydney James,\u003c/a> who was a wonderful muralist in Detroit, who created it with her team. And I just try to keep my head down and do my work. I'll try to listen for my assignment and just follow and be obedient to it. But there are those moments that kind of shake you, like, \"Girl, you're doing it. You're doing it! Your face is on this whole wall!\" That's crazy. And it was a really touching, lovely moment. \u003c/p>\u003cp>\u003cem>Lauren Krenzel and Susan Nyakundi produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.\u003c/em> \u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+first+date+turns+into+a+whodunit+in+%27Diarra+from+Detroit%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"/>\u003c/div>\u003c/p>","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Detroit native Diarra Kilpatrick has always wanted to share her version of the city with the world: \"For me, the gems of Detroit have far outweighed some of the more challenging aspects of growing up there,\" the actor, writer and producer says. \u003c/p>\u003cp>Kilpatrick's new BET+ series, \u003cem>Diarra from Detroit, \u003c/em>is inspired, in part, by the time she spent as a little girl watching \u003cem>Columbo \u003c/em>and \u003cem>Perry Mason\u003c/em> with her grandmother. Kilpatrick notes that despite the fact that all the women in her life seemed to be obsessed with murder mystery shows back then, she never saw Black women driving the narrative. \u003c/p>\u003cp>\u003cem>Diarra from Detroit \u003c/em>is a dark comedy about a public school teacher going through a divorce who decides to hit the dating scene. When a guy she meets on Tinder ghosts her, Diarra goes on a hunt to find out why — and winds up embroiled in a decades old mystery. \u003c/p>\u003cp>Kilpatrick says she was initially reluctant to use her own first name in the title for the show because she was concerned that the audience would assume she was simply being herself instead of playing a character. But as the show progressed in development, the decision began to feel right. \u003c/p>\u003cp>\"It felt like it was like an announcement,\" Kilpatrick says. \"Almost, like 'Diarra from Detroit is ready to be seen!' \" \u003c/p>\u003cp>In addition to working on this latest series, Kilpatrick is an actor, writer and producer who created and starred in the ABC digital original satirical comedy \u003cem>American Koko\u003c/em>, for which she was nominated for an Emmy Award. She also co-starred for three seasons in the HBO period drama\u003cem> \u003c/em>\u003ca href=\"https://www.npr.org/2023/03/03/1159276842/perry-mason-review-season-2-matthew-rhys\">\u003cem>Perry Mason\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On her tendency to joke about dark things \u003c/strong>\u003c/p>\u003cp>My father, the only way to describe him is just a damn fool. He cannot take anything seriously. They say comedy is tragedy plus time. He doesn't need the time. It's just ... funeral, joke. Someone's hurt, joke. It's never too soon, joke. So he just really doesn't have the ability to take anything seriously. And I think my mom took everything really seriously and had a tremendous amount of depth of feeling and thought and everything. And so I think making sense of the two of those personalities within myself, has kind of been my lot. And I think making sense of comedy and depth is probably a hallmark of my work. \u003c/p>\u003cp>\u003cstrong>On casting \u003c/strong>\u003cem>\u003cstrong>Diarra from Detroit\u003c/strong>\u003c/em>\u003cstrong> by listening to the actors' voices \u003c/strong>\u003c/p>\u003cp>It's in the voice. I could be playing auditions on the computer and walk away from the computer to get a cup of tea or something, and the voice will drive me back. We're not really doing the vocal fry thing in the Midwest. We're not really doing the pitching up thing in the Midwest. Detroit is a southern town up north for me. And so it's that bit of southern in the voice, it's that bit of bass in the voice. Assuredness in the voice. I could tell it immediately. \u003c/p>\u003cp>\u003cstrong>On learning to drop her Detroit accent in acting school, but then using it to get roles afterward \u003c/strong>\u003c/p>\u003cp>I went to theater school, too, and they beat me up pretty good when I first got there. ... They were like, \"Ma'am, what is this accent that you have? Your vowels are all over the place. You sound a hot mess.\" ... Even though I did love being at Tisch and that training, I didn't love the kind of judgment that I felt about my accent and being the only Black girl in studio. It was like, \"We got to fix that!\" Because as soon as you graduate, no one's asking you to speak the King's English. As a dark skinned, Black, 20-something actress, they want your regional dialect. A lot of times you're going out for Prostitute No. 4. They don't need you to sound like you're doing a Shakespearean play. So that part of it was interesting to kind of lose it and then kind of learn to regain it, because that's what the industry was requiring of me. And I did wish that it had been framed that way for me in school. Like, there's nothing wrong with your accent. In fact, you're probably going to work more with your regional dialect and without it. \u003cstrong> \u003c/strong>\u003c/p>\u003cp>\u003cstrong>On seeing the beauty in her Detroit childhood \u003c/strong>\u003c/p>\u003cp>I grew up in the city. When I was really young, we didn't have a lot of money. My mom and I lived in Section 8. We lived in Calumet Townhomes right off the Lodge Freeway. ... I had a very idyllic childhood. I have a very pristine idea of what it was to grow up in that Section 8 housing community. And I think it was in part my imagination. \u003c/p>\u003cp>It's not there now, but there used to be, right across from where I grew up, this big field. It was an empty field, and I would cut across that field to get to the corner store whenever my mother would bless me with a couple dollars to go get ice cream or whatever. And that field, in my imagination, in my mind, was honestly like Maria von Trapp, like \u003cem>The Sound of Music\u003c/em>, like Austrian vistas and mountains. The grass was so high. I would go in that field and pick flowers for my mother. I would sing and dance and get lost in that field. And it wasn't until I was much older that I was like, \"That was an empty lot. The grass was mad high because it should have been cut. Those were dandelions. They're not flowers.\" There was a church bell that would ring. I was always like, this is magic, because I guess that's just the love that I felt. And that's just something about me. \u003c/p>\u003cp>So I do realize not everybody has that point of view on it. I'm able to see the beauty of it. I also am able to recognize that there are challenges and there are things there that need to be fixed. So I feel like I can make room for both. \u003c/p>\u003cp>\u003cstrong>On the \"angry Black woman\" stereotype \u003c/strong>\u003c/p>\u003cp>It is a trap. They have made us afraid of our anger. ... But at the end of the day, anger is so beautiful and so powerful to me. Nothing changes unless someone gets angry. Obviously you don't just want to aim a bunch of unwieldy anger all over the place. That's not going to be constructive either. But there is great information in your anger. There's great direction in your anger. And, of course, there's great change that comes out of somebody being like, \"I'm mad as hell and I'm not going to take it anymore.\" ... I think that when Black women are afraid of it, it will siphon off some of your power and your intuition and your drive. \u003c/p>\u003cp>\u003cstrong>On seeing a mural for the show in Detroit \u003c/strong> \u003c/p>\u003cp>I got a chance to go to Detroit with my husband and my baby and my sister and my oldest friend in the world, and we stood out there and took pictures. And it was a beautiful moment. ... I was trying to figure out how do I take a brick wall back on the plane with me? But it was a really beautiful moment. And I have to shout out \u003ca href=\"https://www.instagram.com/sydneygjames/?hl=en\">Sydney James,\u003c/a> who was a wonderful muralist in Detroit, who created it with her team. And I just try to keep my head down and do my work. I'll try to listen for my assignment and just follow and be obedient to it. But there are those moments that kind of shake you, like, \"Girl, you're doing it. You're doing it! Your face is on this whole wall!\" That's crazy. And it was a really touching, lovely moment. \u003c/p>\u003cp>\u003cem>Lauren Krenzel and Susan Nyakundi produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.\u003c/em> \u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+first+date+turns+into+a+whodunit+in+%27Diarra+from+Detroit%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"/>\u003c/div>\u003c/p>\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"authors":["npr_856763118"],"featImg":"npr_1244802540"},"npr_1244108384":{"type":"posts","id":"npr_1244108384","meta":{"site":"npr","id":"1244108384"},"slug":"fresh-air-weekend-andrew-scott-how-cars-became-a-gendered-technology","audioUrl":"https://play.podtrac.com/npr-139029251/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/04/20240413_fa_a1866d0a-4ae8-48a1-93d5-f4a4310b25b3.mp3?orgId=427869011&aggIds=139029251&d=2662&p=13&story=1244108384&ft=nprml&f=13","audioDuration":2662000,"title":"Fresh Air Weekend: Andrew Scott; How cars became a gendered technology","excerpt":"Scott plays con man Tom Ripley in the Netflix adaptation of \u003cem>The Talented Mr. Ripley.\u003c/em> Maureen Corrigan reviews Lionel Shriver's \u003cem>Mania. \u003c/em>Nancy Nichols is the author of \u003cem>Women Behind the Wheel.\u003c/em>","publishDate":1713004803,"modified":1713004805,"format":"standard","content":"\u003cp>\u003cem>Fresh Air Weekend highlights some of the best interviews and reviews from past weeks, and new program elements specially paced for weekends. Our weekend show emphasizes interviews with writers, filmmakers, actors and musicians, and often includes excerpts from live in-studio concerts. This week:\u003c/em> \u003c/p>\u003cp>\u003cstrong>Don't call him a sociopath: Here's how Andrew Scott humanizes 'Ripley':\u003c/strong> Scott (who you may know as \"hot priest\" from \u003cem>Fleabag\u003c/em>) plays con man Tom Ripley in the Netflix adaptation of \u003cem>The Talented Mr. Ripley.\u003c/em> He says his job is to advocate for his characters, not judge them.\u003c/p>\u003cp>\u003cstrong>Contrarian Lionel Shriver deftly satirizes anti-intellectualism in 'Mania': \u003c/strong> Shriver's new novel is one of her best. It takes place in an alternative America, where the last acceptable bias — discrimination against people considered not so smart — is being stamped out. \u003c/p>\u003cp>\u003cstrong>'Women Behind the Wheel' explains how cars became a gendered technology: \u003c/strong>Author Nancy Nichols says that for men, cars signify adventure, power and strength. For women, they are about performing domestic duties; there was even a minivan prototype with a washer/dryer inside.\u003c/p>\u003cp>\u003cem>You can listen to the original interviews and review here:\u003c/em> \u003c/p>\u003cp>\u003ca href=\"https://www.npr.org/2024/04/08/1243380181/ripley-netflix-andrew-scott\">Don't call him a sociopath: Here's how Andrew Scott humanizes 'Ripley'\u003c/a>\u003c/p>\u003cp>\u003ca href=\"https://www.npr.org/2024/04/09/1243652224/contrarian-lionel-shriver-deftly-satirizes-anti-intellectualism-in-mania\">Contrarian Lionel Shriver deftly satirizes anti-intellectualism in 'Mania'\u003c/a>\u003c/p>\u003cp>\u003ca href=\"https://www.npr.org/2024/03/28/1241321758/women-behind-the-wheel-nancy-nichols-car-culture\">'Women Behind the Wheel' explains how cars became a gendered technology\u003c/a>: \u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fresh+Air+Weekend%3A+Andrew+Scott%3B+How+cars+became+a+gendered+technology&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"/>\u003c/div>\u003c/p>","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Fresh Air Weekend highlights some of the best interviews and reviews from past weeks, and new program elements specially paced for weekends. Our weekend show emphasizes interviews with writers, filmmakers, actors and musicians, and often includes excerpts from live in-studio concerts. This week:\u003c/em> \u003c/p>\u003cp>\u003cstrong>Don't call him a sociopath: Here's how Andrew Scott humanizes 'Ripley':\u003c/strong> Scott (who you may know as \"hot priest\" from \u003cem>Fleabag\u003c/em>) plays con man Tom Ripley in the Netflix adaptation of \u003cem>The Talented Mr. Ripley.\u003c/em> He says his job is to advocate for his characters, not judge them.\u003c/p>\u003cp>\u003cstrong>Contrarian Lionel Shriver deftly satirizes anti-intellectualism in 'Mania': \u003c/strong> Shriver's new novel is one of her best. It takes place in an alternative America, where the last acceptable bias — discrimination against people considered not so smart — is being stamped out. \u003c/p>\u003cp>\u003cstrong>'Women Behind the Wheel' explains how cars became a gendered technology: \u003c/strong>Author Nancy Nichols says that for men, cars signify adventure, power and strength. For women, they are about performing domestic duties; there was even a minivan prototype with a washer/dryer inside.\u003c/p>\u003cp>\u003cem>You can listen to the original interviews and review here:\u003c/em> \u003c/p>\u003cp>\u003ca href=\"https://www.npr.org/2024/04/08/1243380181/ripley-netflix-andrew-scott\">Don't call him a sociopath: Here's how Andrew Scott humanizes 'Ripley'\u003c/a>\u003c/p>\u003cp>\u003ca href=\"https://www.npr.org/2024/04/09/1243652224/contrarian-lionel-shriver-deftly-satirizes-anti-intellectualism-in-mania\">Contrarian Lionel Shriver deftly satirizes anti-intellectualism in 'Mania'\u003c/a>\u003c/p>\u003cp>\u003ca href=\"https://www.npr.org/2024/03/28/1241321758/women-behind-the-wheel-nancy-nichols-car-culture\">'Women Behind the Wheel' explains how cars became a gendered technology\u003c/a>: \u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fresh+Air+Weekend%3A+Andrew+Scott%3B+How+cars+became+a+gendered+technology&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"/>\u003c/div>\u003c/p>\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"featImg":"npr_1244321438"},"npr_1244291465":{"type":"posts","id":"npr_1244291465","meta":{"site":"npr","id":"1244291465"},"slug":"a-look-back-at-how-godzilla-and-king-kong-first-roared-onto-screen","audioUrl":"https://play.podtrac.com/npr-13/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/04/20240412_fa_01.mp3?orgId=427869011&topicId=1137&d=2266&p=13&story=1244291465&ft=nprml&f=13","audioDuration":2266000,"title":"A look back at how Godzilla and King Kong first roared onto screen","excerpt":"\u003cem>Godzilla x Kong: The New Empire\u003c/em> is out. We listen back to archival interviews with film historian Rudy Behlmer about the original 1933 \u003cem>King Kong \u003c/em>and with Steve Ryfle about the original 1954 \u003cem>Godzilla.\u003c/em>","publishDate":1712942580,"modified":1712942580,"format":"standard","content":"\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+look+back+at+how+Godzilla+and+King+Kong+first+roared+onto+screen&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"/>\u003c/div>\u003c/p>","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+look+back+at+how+Godzilla+and+King+Kong+first+roared+onto+screen&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"/>\u003c/div>\u003c/p>\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"authors":["npr_2100593"]},"npr_1244092650":{"type":"posts","id":"npr_1244092650","meta":{"site":"npr","id":"1244092650"},"slug":"civil-war-is-a-doomsday-thought-experiment-that-could-have-used-more-thinking","audioUrl":"https://play.podtrac.com/npr-191676894/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/04/20240412_fa_02.mp3?orgId=427869011&topicId=4467349&d=438&p=13&story=1244092650&ft=nprml&f=13","audioDuration":438000,"title":"'Civil War' is a doomsday thought experiment — that could have used more thinking","excerpt":"This ambitious thriller comes across as an empty stunt — a democracy dystopia that sidesteps the politics of the present moment. But Kirsten Dunst is excellent as a battle scarred photojournalist.","publishDate":1712930707,"modified":1712942630,"format":"standard","content":"\u003cp>Releasing a movie called \u003cem>Civil War\u003c/em> in this election year is certainly one way to grab headlines. Surprisingly, though, \u003ca href=\"https://www.npr.org/2015/04/14/399613904/more-fear-of-human-intelligence-than-artificial-intelligence-in-ex-machina\">Alex Garland\u003c/a>'s ambitious new thriller largely sidesteps the politics of the present moment. \u003c/p>\u003cp>It wants to sound a queasy note of alarm, as if the democracy doomsday scenario it's showing us could really happen, but it's hard to buy into a premise that feels this thinly sketched. The story takes place in a not-so-distant future where Texas and California have improbably joined forces and seceded from the U.S. \u003c/p>\u003cp>Florida, not to be outdone, has also broken away on its own. The president, a third-term tyrant played by \u003ca href=\"https://www.npr.org/2018/06/07/617865266/i-could-never-fake-it-nick-offerman-on-striving-for-nonchalance\">Nick Offerman\u003c/a>, has responded by calling in the troops and launching airstrikes on his fellow Americans, plunging the country into poverty and lawlessness.\u003c/p>\u003cp>Garland keeps a lot of the details vague; he's less interested in how we might have gotten here than in how we would respond. To that end, he focuses on characters whose job it is to document what's happening. \u003c/p>\u003cp>\u003ca href=\"https://www.npr.org/2022/01/03/1069915927/for-kirsten-dunst-the-power-of-the-dog-is-a-cinematic-love-letter-to-her-childre\">Kirsten Dunst\u003c/a> gives a strong, tough-minded performance as Lee, a skilled photojournalist who's covered conflicts all over the world and is now confronting this nightmare on her home turf. She's headed from New York to Washington, D.C., where many expect that the war, which has been raging for some time, will end with a showdown at the White House. \u003c/p>\u003cp>Accompanying Lee on this dangerous journey are two seasoned colleagues: Joel, a wily reporter played by \u003ca href=\"https://www.npr.org/2016/09/02/492234846/narcos-actor-wagner-moura-on-shedding-the-weight-of-pablo-escobar\">Wagner Moura\u003c/a> from \u003cem>Narcos\u003c/em>, and Sammy, a veteran political writer played by the always outstanding Stephen McKinley Henderson.\u003c/p>\u003cp>Per movie convention, there's also an inexperienced young outsider: Jessie, an aspiring war photographer played by Cailee Spaeny, the star of last year's biopic \u003ca href=\"https://www.npr.org/2023/11/03/1210112681/intimate-and-piercingly-sad-priscilla-is-sofia-coppolas-strongest-movie-in-years\">\u003cem>Priscilla\u003c/em>\u003c/a>. Not long into their trip, the four journalists stumble on a tense scene at a gas station where three armed men are holding two other men captive. The journalists get away without incident, but Jessie was deeply disturbed by what what was happening, started second guessing herself and didn't get the shot. \u003c/p>\u003cp>In time, Jessie gets better at her job; more than that, she becomes hooked. The movie is partly about the addictive thrill of thrusting a camera into a war zone. But it's also about the trauma and desensitization that these photographers experience as they put their emotions aside and do everything they can to get that perfect shot.\u003c/p>\u003cp>\u003cem>Civil War \u003c/em>itself has been quite strikingly visualized by the cinematographer Rob Hardy and the production designer Caty Maxey. They show us an America that looks both familiar and unfamiliar, resembling the battlefields we've seen in footage from other conflicts in other places. There are surreally grim images of bloodstained sidewalks, bombed-out buildings, and a once-busy highway where rows of abandoned cars stretch for miles and miles. Garland has a real feel for post-apocalyptic landscapes, as we saw in his script for the zombie thriller \u003ca href=\"https://www.npr.org/2003/06/27/1312076/movie-review-28-days-later\">\u003cem>28 Days Later\u003c/em>\u003c/a>. In the movies he's directed since, like the brilliant \u003ca href=\"https://www.npr.org/2018/02/22/587684466/a-masterful-shattering-glimpse-of-humanitys-physical-and-emotional-annihilation\">\u003cem>Annihilation\u003c/em>\u003c/a>, he's shown a real talent for building suspense and anxiety. \u003c/p>\u003cp>But as stunningly detailed as \u003cem>Civil War\u003c/em>'s dystopia is, from moment to moment, I hardly believed a thing I was seeing. As Lee and her pals inch closer to D.C., they go from one violent set-piece to another, each one calculated for maximum terror. \u003c/p>\u003cp>There's a nasty ambush at a Christmas theme-park display in the middle of nowhere, followed by a chilling encounter with a gun-toting racist psychopath played, in a mordant touch, by Jesse Plemons, Dunst's off-screen husband. The result is more of a button-pushing genre exercise than a serious reckoning with the consequences of the movie's premise. By the time the characters arrive at their destination, just in time for a daring raid on the White House, \u003cem>Civil War\u003c/em> feels ever more like an empty stunt — a thought experiment that hasn't been especially well thought out.\u003c/p>\u003cp>If there's one thing that keeps you watching, though, it's Dunst's performance as a battle-scarred professional doing her job under horrific circumstances that she's too numb to feel horrified by. As she showed in her great performance in \u003ca href=\"https://www.npr.org/2011/11/06/142026288/lars-von-trier-a-problematic-sort-of-ladies-man\">Lars von Trier\u003c/a>'s \u003ca href=\"https://www.npr.org/2011/11/10/142174134/dunst-expressing-something-blue-in-melancholia\">\u003cem>Melancholia\u003c/em>\u003c/a>, there's something about Dunst that's particularly well suited to apocalyptic material. I wish her better vehicles than \u003cem>Civil War\u003c/em> in the future, but it's gratifying to see her anchor a major movie regardless. She's an actor I'd follow to the end of the world and back. \u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Civil+War%27+is+a+doomsday+thought+experiment+%E2%80%94+that+could+have+used+more+thinking&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"/>\u003c/div>\u003c/p>","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Releasing a movie called \u003cem>Civil War\u003c/em> in this election year is certainly one way to grab headlines. Surprisingly, though, \u003ca href=\"https://www.npr.org/2015/04/14/399613904/more-fear-of-human-intelligence-than-artificial-intelligence-in-ex-machina\">Alex Garland\u003c/a>'s ambitious new thriller largely sidesteps the politics of the present moment. \u003c/p>\u003cp>It wants to sound a queasy note of alarm, as if the democracy doomsday scenario it's showing us could really happen, but it's hard to buy into a premise that feels this thinly sketched. The story takes place in a not-so-distant future where Texas and California have improbably joined forces and seceded from the U.S. \u003c/p>\u003cp>Florida, not to be outdone, has also broken away on its own. The president, a third-term tyrant played by \u003ca href=\"https://www.npr.org/2018/06/07/617865266/i-could-never-fake-it-nick-offerman-on-striving-for-nonchalance\">Nick Offerman\u003c/a>, has responded by calling in the troops and launching airstrikes on his fellow Americans, plunging the country into poverty and lawlessness.\u003c/p>\u003cp>Garland keeps a lot of the details vague; he's less interested in how we might have gotten here than in how we would respond. To that end, he focuses on characters whose job it is to document what's happening. \u003c/p>\u003cp>\u003ca href=\"https://www.npr.org/2022/01/03/1069915927/for-kirsten-dunst-the-power-of-the-dog-is-a-cinematic-love-letter-to-her-childre\">Kirsten Dunst\u003c/a> gives a strong, tough-minded performance as Lee, a skilled photojournalist who's covered conflicts all over the world and is now confronting this nightmare on her home turf. She's headed from New York to Washington, D.C., where many expect that the war, which has been raging for some time, will end with a showdown at the White House. \u003c/p>\u003cp>Accompanying Lee on this dangerous journey are two seasoned colleagues: Joel, a wily reporter played by \u003ca href=\"https://www.npr.org/2016/09/02/492234846/narcos-actor-wagner-moura-on-shedding-the-weight-of-pablo-escobar\">Wagner Moura\u003c/a> from \u003cem>Narcos\u003c/em>, and Sammy, a veteran political writer played by the always outstanding Stephen McKinley Henderson.\u003c/p>\u003cp>Per movie convention, there's also an inexperienced young outsider: Jessie, an aspiring war photographer played by Cailee Spaeny, the star of last year's biopic \u003ca href=\"https://www.npr.org/2023/11/03/1210112681/intimate-and-piercingly-sad-priscilla-is-sofia-coppolas-strongest-movie-in-years\">\u003cem>Priscilla\u003c/em>\u003c/a>. Not long into their trip, the four journalists stumble on a tense scene at a gas station where three armed men are holding two other men captive. The journalists get away without incident, but Jessie was deeply disturbed by what what was happening, started second guessing herself and didn't get the shot. \u003c/p>\u003cp>In time, Jessie gets better at her job; more than that, she becomes hooked. The movie is partly about the addictive thrill of thrusting a camera into a war zone. But it's also about the trauma and desensitization that these photographers experience as they put their emotions aside and do everything they can to get that perfect shot.\u003c/p>\u003cp>\u003cem>Civil War \u003c/em>itself has been quite strikingly visualized by the cinematographer Rob Hardy and the production designer Caty Maxey. They show us an America that looks both familiar and unfamiliar, resembling the battlefields we've seen in footage from other conflicts in other places. There are surreally grim images of bloodstained sidewalks, bombed-out buildings, and a once-busy highway where rows of abandoned cars stretch for miles and miles. Garland has a real feel for post-apocalyptic landscapes, as we saw in his script for the zombie thriller \u003ca href=\"https://www.npr.org/2003/06/27/1312076/movie-review-28-days-later\">\u003cem>28 Days Later\u003c/em>\u003c/a>. In the movies he's directed since, like the brilliant \u003ca href=\"https://www.npr.org/2018/02/22/587684466/a-masterful-shattering-glimpse-of-humanitys-physical-and-emotional-annihilation\">\u003cem>Annihilation\u003c/em>\u003c/a>, he's shown a real talent for building suspense and anxiety. \u003c/p>\u003cp>But as stunningly detailed as \u003cem>Civil War\u003c/em>'s dystopia is, from moment to moment, I hardly believed a thing I was seeing. As Lee and her pals inch closer to D.C., they go from one violent set-piece to another, each one calculated for maximum terror. \u003c/p>\u003cp>There's a nasty ambush at a Christmas theme-park display in the middle of nowhere, followed by a chilling encounter with a gun-toting racist psychopath played, in a mordant touch, by Jesse Plemons, Dunst's off-screen husband. The result is more of a button-pushing genre exercise than a serious reckoning with the consequences of the movie's premise. By the time the characters arrive at their destination, just in time for a daring raid on the White House, \u003cem>Civil War\u003c/em> feels ever more like an empty stunt — a thought experiment that hasn't been especially well thought out.\u003c/p>\u003cp>If there's one thing that keeps you watching, though, it's Dunst's performance as a battle-scarred professional doing her job under horrific circumstances that she's too numb to feel horrified by. As she showed in her great performance in \u003ca href=\"https://www.npr.org/2011/11/06/142026288/lars-von-trier-a-problematic-sort-of-ladies-man\">Lars von Trier\u003c/a>'s \u003ca href=\"https://www.npr.org/2011/11/10/142174134/dunst-expressing-something-blue-in-melancholia\">\u003cem>Melancholia\u003c/em>\u003c/a>, there's something about Dunst that's particularly well suited to apocalyptic material. I wish her better vehicles than \u003cem>Civil War\u003c/em> in the future, but it's gratifying to see her anchor a major movie regardless. She's an actor I'd follow to the end of the world and back. \u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Civil+War%27+is+a+doomsday+thought+experiment+%E2%80%94+that+could+have+used+more+thinking&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"/>\u003c/div>\u003c/p>\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"authors":["npr_536029475"],"featImg":"npr_1244104226"}},"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. 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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. 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