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Three Eye-Opening Documentaries You Can Stream Right Now
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In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture.","avatar":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twitter":"raemondjjjj","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"science","roles":["editor"]}],"headData":{"title":"Rae Alexandra | KQED","description":"Staff Writer","ogImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ralexandra"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13957112":{"type":"posts","id":"arts_13957112","meta":{"index":"posts_1591205157","site":"arts","id":"13957112","score":null,"sort":[1714692547000]},"guestAuthors":[],"slug":"where-to-watch-met-gala-2024-zendaya-best-red-carpet-looks","title":"How to Watch Zendaya Win the 2024 Met Gala Red Carpet","publishDate":1714692547,"format":"standard","headTitle":"How to Watch Zendaya Win the 2024 Met Gala Red Carpet | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Aaah, Zendaya. Oakland-born goddess. Desert warrior of \u003cem>Dune\u003c/em>. Marvel mistress. Disney star. Dazzling denizen of red carpets everywhere. All this, and on May 6, Zendaya is stepping out in a brand new role: co-chair of the \u003ca href=\"https://www.kqed.org/arts/tag/met-gala\">Met Gala\u003c/a>.\u003c/p>\n\u003cp>What does a Met Gala co-chair do exactly? Well, basically, it means you’re hand-picked by (let’s be real) scary \u003cem>Vogue\u003c/em> editor Anna Wintour to help make decisions about the gala’s theme (\u003cem>Sleeping Beauties: Reawakening Fashion\u003c/em>), dinner and performers. This year, Zendaya was selected along with J.Lo, Bad Bunny and Chris Hemsworth for the job. And sure, OK, we might be a teeny bit biased, but if this red carpet is a contest (and we all know that it is), Zendaya is going to win the night.\u003c/p>\n\u003cp>How do we know? The following 5 reasons.\u003c/p>\n\u003ch2>1. Zendaya at the 2019 Met Gala\u003c/h2>\n\u003cp>The last time Zendaya attended the Met Gala, she did a literal magic trick on the red carpet. The theme that year was \u003cem>Camp: Notes on Fashion\u003c/em>. She teamed up with Tommy Hilfiger to come up with this light-up Cinderella moment, which nods to her beginnings as a Disney Channel child star.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iJEUt0w1B94\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If Zendaya did this for \u003cem>Camp\u003c/em>, just think what she’s going to do as host for \u003cem>Sleeping Beauties\u003c/em>. More ethereal glory awaits!\u003c/p>\n\u003ch2>2. Zendaya at the 2018 Met Gala\u003c/h2>\n\u003cfigure id=\"attachment_13957126\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957126\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-955770278-scaled-e1714682523213.jpg\" alt=\"A beautiful young woman with a red bob stands on a white carpet surrounded by photographers, wearing a dress made of chainmail and armor.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Zendaya at the 2018 Met Gala, just Joan of Arc-ing it up. \u003ccite>(Neilson Barnard/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theme of the 2018 Met Gala was \u003cem>Heavenly Bodies: Fashion & The Catholic Imagination\u003c/em>. Kim Kardashian showed up in a gold gown with a cross stuck on the hip. Katy Perry wore a gold gown with giant wings attached. Sarah Jessica Parker donned a gold gown with a miniature chapel on her head. Cardi B accessorized her gold gown with a halo thing on her face. Then Zendaya rolled up like, “Hold my sword, chumps,” in this nod to Joan of Arc badassery. Combining strength and elegance has never looked so cool.\u003c/p>\n\u003ch2>3. Zendaya at the 2017 Met Gala\u003c/h2>\n\u003cfigure id=\"attachment_13957128\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957128\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-677358932-scaled-e1714683330678.jpg\" alt=\"A young Black woman with natural hair stands at the foot of a staircase wearing a red and orange off the shoulder gown featuring a bold pattern including parrots. \" width=\"1920\" height=\"1680\">\u003cfigcaption class=\"wp-caption-text\">Zendaya at the 2017 Met Gala. \u003ccite>(Karwai Tang/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In honor of 2017’s \u003cem>Rei Kawakubo/Comme des Garçons: Art Of The In-Between \u003c/em>theme, Zendaya showed up on the Met Gala steps wearing a Dolce & Gabbana parrot-themed gown and — more importantly — her hair in a beautiful, exaggerated afro. That style choice was made just two years after Guiliana Rancic had said the actress’ dreadlocks at the 2015 Academy Awards made her look like she “\u003ca href=\"https://www.kqed.org/pop/95643/how-oaklands-zendaya-became-the-most-woke-disney-star-ever\">smells like patchouli oil or weed\u003c/a>.”\u003c/p>\n\u003cp>[aside postid='arts_13928464']In a since-removed post on Instagram, Zendaya responded to Rancic, noting: “I was hit with ignorant slurs and pure disrespect … To say that an 18-year-old young woman with locs must smell of patchouli oil or ‘weed’ is not only a large stereotype but outrageously offensive. I don’t usually feel the need to respond to negative things but certain remarks cannot go unchecked.”\u003c/p>\n\u003cp>There can be little doubt that this 2017 Met Gala hair moment was a middle finger to fashion white supremacy — and it was glorious.\u003c/p>\n\u003ch2>4. Zendaya at the 2016 Met Gala\u003c/h2>\n\u003cfigure id=\"attachment_13957137\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957137\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-scaled.jpg\" alt=\"A young, slender Black woman stands on a white and red carpet wearing a form-fitting, one-shouldered gold gown and sleek bowl hairstyle.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya at the 2016 Met Gala. \u003ccite>(Taylor Hill/ FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theme was \u003cem>Manus x Machina: Fashion in an Age of Technology.\u003c/em> Zendaya channeled Alicia Vikander in \u003cem>Ex Machina\u003c/em> but made it high fashion. In the process, she reminded us that Michael Kors still occasionally makes genuinely cool clothing — a feat even more spectacular than making helmet hair seem like a good idea.\u003c/p>\n\u003ch2>5. Zendaya at every ‘Challengers’ promo\u003c/h2>\n\u003cfigure id=\"attachment_13957162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957162\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tennis-z-scaled-e1714689329514.jpg\" alt=\"Three separate images of a young, slender Black woman wearing sleek dresses.\" width=\"1920\" height=\"1436\">\u003cfigcaption class=\"wp-caption-text\">Zendaya promoting her 2024 film ‘Challengers’ in (left to right) London, Los Angeles and Italy. \u003ccite>((L) Mike Marsland/ WireImage; (C) Eric Charbonneau/ Getty Images for Amazon MGM Studios; (R) Marilla Sicilia/ Archivio Marilla Sicilia/ Mondadori Portfolio via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>How do you make tennis sexy? Aside from having Luca Guadagnino make \u003ca href=\"https://www.kqed.org/arts/13956512/chellengers-review-zendaya-stylish-tennis-drama-josh-oconnor-mike-faist\">a movie about three very hot young people\u003c/a> doing an \u003ca href=\"https://www.kqed.org/arts/13957096/challengers-throuple-zendaya-polyamorous-couple\">unethical throuple\u003c/a> between bouts of sweaty on-the-court action? Zendaya has been offering a masterclass for months now, as she promotes that movie — \u003cem>Challengers\u003c/em> — in a series of outfits that nod to the demure formalwear tennis prides itself on and making it, well, kinda slutty. Game, set, match, lady. Game, set, match.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can watch Zendaya — and everyone else, I guess — arrive at the Met Gala on May 6, 2024. Cable subscribers can see the action live on \u003ca href=\"https://www.eonline.com/news/1399387/how-to-watch-the-2024-met-gala-and-live-from-e-on-tv-and-online\">E! starting at 6 p.m.\u003c/a>, while everyone else can catch it on \u003ca href=\"https://www.vogue.com/article/watch-met-gala-live-stream-2023\">Vogue’s livestream\u003c/a>, starting at 3 p.m.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Want to see Zendaya outshine everyone else at this year's Met Gala? Here's how.","status":"publish","parent":0,"modified":1714693205,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":800},"headData":{"title":"Where to Livestream the 2024 Met Gala, Co-Hosted by Zendaya | KQED","description":"Want to see Zendaya outshine everyone else at this year's Met Gala? Here's how.","ogTitle":"How to Watch Zendaya Win the 2024 Met Gala Red Carpet","ogDescription":"","ogImgId":"","twTitle":"How to Watch Zendaya Win the 2024 Met Gala Red Carpet","twDescription":"","twImgId":"","socialTitle":"Where to Livestream the 2024 Met Gala, Co-Hosted by Zendaya %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"How to Watch Zendaya Win the 2024 Met Gala Red Carpet","datePublished":"2024-05-02T23:29:07.000Z","dateModified":"2024-05-02T23:40:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957112","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957112/where-to-watch-met-gala-2024-zendaya-best-red-carpet-looks","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Aaah, Zendaya. Oakland-born goddess. Desert warrior of \u003cem>Dune\u003c/em>. Marvel mistress. Disney star. Dazzling denizen of red carpets everywhere. All this, and on May 6, Zendaya is stepping out in a brand new role: co-chair of the \u003ca href=\"https://www.kqed.org/arts/tag/met-gala\">Met Gala\u003c/a>.\u003c/p>\n\u003cp>What does a Met Gala co-chair do exactly? Well, basically, it means you’re hand-picked by (let’s be real) scary \u003cem>Vogue\u003c/em> editor Anna Wintour to help make decisions about the gala’s theme (\u003cem>Sleeping Beauties: Reawakening Fashion\u003c/em>), dinner and performers. This year, Zendaya was selected along with J.Lo, Bad Bunny and Chris Hemsworth for the job. And sure, OK, we might be a teeny bit biased, but if this red carpet is a contest (and we all know that it is), Zendaya is going to win the night.\u003c/p>\n\u003cp>How do we know? The following 5 reasons.\u003c/p>\n\u003ch2>1. Zendaya at the 2019 Met Gala\u003c/h2>\n\u003cp>The last time Zendaya attended the Met Gala, she did a literal magic trick on the red carpet. The theme that year was \u003cem>Camp: Notes on Fashion\u003c/em>. She teamed up with Tommy Hilfiger to come up with this light-up Cinderella moment, which nods to her beginnings as a Disney Channel child star.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iJEUt0w1B94'\n title='//www.youtube.com/embed/iJEUt0w1B94'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If Zendaya did this for \u003cem>Camp\u003c/em>, just think what she’s going to do as host for \u003cem>Sleeping Beauties\u003c/em>. More ethereal glory awaits!\u003c/p>\n\u003ch2>2. Zendaya at the 2018 Met Gala\u003c/h2>\n\u003cfigure id=\"attachment_13957126\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957126\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-955770278-scaled-e1714682523213.jpg\" alt=\"A beautiful young woman with a red bob stands on a white carpet surrounded by photographers, wearing a dress made of chainmail and armor.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Zendaya at the 2018 Met Gala, just Joan of Arc-ing it up. \u003ccite>(Neilson Barnard/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theme of the 2018 Met Gala was \u003cem>Heavenly Bodies: Fashion & The Catholic Imagination\u003c/em>. Kim Kardashian showed up in a gold gown with a cross stuck on the hip. Katy Perry wore a gold gown with giant wings attached. Sarah Jessica Parker donned a gold gown with a miniature chapel on her head. Cardi B accessorized her gold gown with a halo thing on her face. Then Zendaya rolled up like, “Hold my sword, chumps,” in this nod to Joan of Arc badassery. Combining strength and elegance has never looked so cool.\u003c/p>\n\u003ch2>3. Zendaya at the 2017 Met Gala\u003c/h2>\n\u003cfigure id=\"attachment_13957128\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957128\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-677358932-scaled-e1714683330678.jpg\" alt=\"A young Black woman with natural hair stands at the foot of a staircase wearing a red and orange off the shoulder gown featuring a bold pattern including parrots. \" width=\"1920\" height=\"1680\">\u003cfigcaption class=\"wp-caption-text\">Zendaya at the 2017 Met Gala. \u003ccite>(Karwai Tang/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In honor of 2017’s \u003cem>Rei Kawakubo/Comme des Garçons: Art Of The In-Between \u003c/em>theme, Zendaya showed up on the Met Gala steps wearing a Dolce & Gabbana parrot-themed gown and — more importantly — her hair in a beautiful, exaggerated afro. That style choice was made just two years after Guiliana Rancic had said the actress’ dreadlocks at the 2015 Academy Awards made her look like she “\u003ca href=\"https://www.kqed.org/pop/95643/how-oaklands-zendaya-became-the-most-woke-disney-star-ever\">smells like patchouli oil or weed\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13928464","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In a since-removed post on Instagram, Zendaya responded to Rancic, noting: “I was hit with ignorant slurs and pure disrespect … To say that an 18-year-old young woman with locs must smell of patchouli oil or ‘weed’ is not only a large stereotype but outrageously offensive. I don’t usually feel the need to respond to negative things but certain remarks cannot go unchecked.”\u003c/p>\n\u003cp>There can be little doubt that this 2017 Met Gala hair moment was a middle finger to fashion white supremacy — and it was glorious.\u003c/p>\n\u003ch2>4. Zendaya at the 2016 Met Gala\u003c/h2>\n\u003cfigure id=\"attachment_13957137\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957137\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-scaled.jpg\" alt=\"A young, slender Black woman stands on a white and red carpet wearing a form-fitting, one-shouldered gold gown and sleek bowl hairstyle.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya at the 2016 Met Gala. \u003ccite>(Taylor Hill/ FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theme was \u003cem>Manus x Machina: Fashion in an Age of Technology.\u003c/em> Zendaya channeled Alicia Vikander in \u003cem>Ex Machina\u003c/em> but made it high fashion. In the process, she reminded us that Michael Kors still occasionally makes genuinely cool clothing — a feat even more spectacular than making helmet hair seem like a good idea.\u003c/p>\n\u003ch2>5. Zendaya at every ‘Challengers’ promo\u003c/h2>\n\u003cfigure id=\"attachment_13957162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957162\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tennis-z-scaled-e1714689329514.jpg\" alt=\"Three separate images of a young, slender Black woman wearing sleek dresses.\" width=\"1920\" height=\"1436\">\u003cfigcaption class=\"wp-caption-text\">Zendaya promoting her 2024 film ‘Challengers’ in (left to right) London, Los Angeles and Italy. \u003ccite>((L) Mike Marsland/ WireImage; (C) Eric Charbonneau/ Getty Images for Amazon MGM Studios; (R) Marilla Sicilia/ Archivio Marilla Sicilia/ Mondadori Portfolio via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>How do you make tennis sexy? Aside from having Luca Guadagnino make \u003ca href=\"https://www.kqed.org/arts/13956512/chellengers-review-zendaya-stylish-tennis-drama-josh-oconnor-mike-faist\">a movie about three very hot young people\u003c/a> doing an \u003ca href=\"https://www.kqed.org/arts/13957096/challengers-throuple-zendaya-polyamorous-couple\">unethical throuple\u003c/a> between bouts of sweaty on-the-court action? Zendaya has been offering a masterclass for months now, as she promotes that movie — \u003cem>Challengers\u003c/em> — in a series of outfits that nod to the demure formalwear tennis prides itself on and making it, well, kinda slutty. Game, set, match, lady. Game, set, match.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can watch Zendaya — and everyone else, I guess — arrive at the Met Gala on May 6, 2024. Cable subscribers can see the action live on \u003ca href=\"https://www.eonline.com/news/1399387/how-to-watch-the-2024-met-gala-and-live-from-e-on-tv-and-online\">E! starting at 6 p.m.\u003c/a>, while everyone else can catch it on \u003ca href=\"https://www.vogue.com/article/watch-met-gala-live-stream-2023\">Vogue’s livestream\u003c/a>, starting at 3 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957112/where-to-watch-met-gala-2024-zendaya-best-red-carpet-looks","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_76","arts_75","arts_990"],"tags":["arts_10278","arts_22131","arts_22130","arts_585","arts_21968"],"featImg":"arts_13957168","label":"arts_140"},"arts_13956944":{"type":"posts","id":"arts_13956944","meta":{"index":"posts_1591205157","site":"arts","id":"13956944","score":null,"sort":[1714585450000]},"guestAuthors":[],"slug":"the-veil-fx-hulu-review-elisabeth-moss-spy-thriller-tv-series","title":"Elisabeth Moss Embraces Her Best Role Yet as a Secret Agent in ‘The Veil’","publishDate":1714585450,"format":"standard","headTitle":"Elisabeth Moss Embraces Her Best Role Yet as a Secret Agent in ‘The Veil’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The new FX on Hulu series \u003cem>The Veil\u003c/em> is a spy show about several different spy agencies — from the United States, England and France — all after the same goal. They want to discover the details of a suspected new Sept. 11-type terrorist plot, reportedly emanating from the Middle East, and stop it before it happens.\u003c/p>\n\u003cp>Sometimes these organizations work together — sometimes they work against one another. But throughout, the agent who is most crucial to cracking the case is a British superspy temporarily going under the name of Imogen. She’s played by \u003ca href=\"https://www.npr.org/2013/07/03/198032876/elisabeth-moss-from-naif-to-player-on-tvs-mad-men\">Elisabeth Moss\u003c/a>, of \u003ca href=\"https://www.npr.org/2013/04/25/178832854/matthew-weiner-on-mad-men-and-meaning\">\u003cem>Mad Men\u003c/em>\u003c/a> and\u003ca href=\"https://www.npr.org/2022/09/15/1123153313/the-handmaids-tale-season-5-recap\">\u003cem> The Handmaid’s Tale\u003c/em>\u003c/a>, and by the end of the six episodes of \u003cem>The Veil, \u003c/em>I was convinced that this is Moss’ best role, and best performance, yet. She’s amazing.\u003c/p>\n\u003cp>[aside postid='arts_13956676']As a secret agent, Imogen has plenty of secrets of her own, which unfold slowly as the miniseries progresses. She’s a damaged soul with a haunted past — which, for her latest mission, turns out to be a valuable asset. She’s been charged to locate and befriend a woman who recently surfaced in a refugee camp on the Syrian and Turkish border.\u003c/p>\n\u003cp>The woman, going by the name Adilah (Yumna Marwan), claims to be of Algerian descent, and from France — but several spy agencies suspect her of being the elusive mastermind behind the rumored imminent terrorist plot. Imogen’s mission is to locate Adilah, who is held under guard at the camp after being attacked and stabbed by other refugees. Imogen offers to help Adilah escape, while getting close enough to try to ascertain her true identity, motives and target.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GGMmFC_GpXc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The terrorist Imogen is hunting is known as Djinn al Raqqa — in folklore, a shape-shifting genie who can assume any form. Is Adilah actually Djinn al Raqqa hiding in plain sight? Or is she as innocent as she claims? Imogen, a shapeshifter of sorts herself, uses all her spycraft skills to earn Adilah’s trust, by helping her in her quest to cross borders and return to Paris, where her young daughter awaits.\u003c/p>\n\u003cp>Their journey is fascinating, with each probing to learn the other’s secrets while protecting her own. It’s a bit like \u003ca href=\"https://www.npr.org/2020/04/27/845274696/whod-have-thought-we-d-be-watching-the-homeland-finale-to-de-stress\">\u003cem>Homeland \u003c/em>\u003c/a>where you, the viewer, are unsure of each character’s true motives. And as the two women go off the grid and spend time with each other, avoiding all the authorities trying to locate them, their relationship keeps deepening.\u003c/p>\n\u003cfigure id=\"attachment_13956950\" class=\"wp-caption aligncenter\" style=\"max-width: 1298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM.png\" alt=\"Two women peer out from behind a wall, looking for someone.\" width=\"1298\" height=\"968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM.png 1298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-800x597.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-1020x761.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-768x573.png 768w\" sizes=\"(max-width: 1298px) 100vw, 1298px\">\u003cfigcaption class=\"wp-caption-text\">Elisabeth Moss and Yumna Marwan are more alike than either initially suspect in ‘The Veil.’ \u003ccite>(Christine Tamalet/ FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In that way, \u003cem>The Veil \u003c/em>is a bit like \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">\u003cem>Thelma & Louise\u003c/em>\u003c/a>\u003cem>. \u003c/em>Except, sometimes, it’s more like \u003cem>Thelma v. Louise.\u003c/em> Both characters are delightfully unpredictable. In one scene, Imogen takes Adilah to a smuggler they hope will give them new passports and identities to get to Paris. Imogen’s plan is to have them pose as singers and belly dancers. But their proposed cover is at risk when the smuggler decides to test them a little by demanding that Adilah display her skills — which she does, leaving both Imogen and the smuggler suitably impressed.\u003c/p>\n\u003cp>[aside postid='arts_13955549']These two actors are incredibly nuanced and well-matched in these roles — captivating as adversaries, and even more so if and when they decide to become allies. The writer and creator of \u003cem>The Veil\u003c/em>, Steven Knight from \u003cem>Peaky Blinders \u003c/em>and \u003ca href=\"https://www.kqed.org/arts/13937572/all-the-light-we-cannot-see-is-a-heartening-and-hopeful-wartime-tale\">\u003cem>All the Light We Cannot See\u003c/em>\u003c/a>\u003cem>,\u003c/em> explores their relationship brilliantly. But he also keeps escalating the terrorist plot, and following the many agents and agencies trying to crack it. One special standout here is Josh Charles, from \u003cem>The Good Wife\u003c/em> and\u003cem> Sports Night,\u003c/em> who is cast as an aggressive CIA agent on French soil — an ugly American in Paris. He plays his part perfectly.\u003c/p>\n\u003cp>Even so,\u003cem> The Veil, \u003c/em>at its core, is the story of two shape-shifting survivors who are more alike than either of them suspected — and whose realization of that fact may, or may not, stop a horrifying terrorist attack. It’s quite a voyage — and quite a drama.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Veil’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"In this thrilling FX/Hulu series, Moss plays a British spy on the trail of a woman who may or may not be a terrorist.","status":"publish","parent":0,"modified":1714665651,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":724},"headData":{"title":"‘The Veil’ Review: Elisabeth Moss Kills as a British Secret Agent | KQED","description":"In this thrilling FX/Hulu series, Moss plays a British spy on the trail of a woman who may or may not be a terrorist.","ogTitle":"Elisabeth Moss Embraces Her Best Role Yet as a Secret Agent in ‘The Veil’","ogDescription":"","ogImgId":"","twTitle":"Elisabeth Moss Embraces Her Best Role Yet as a Secret Agent in ‘The Veil’","twDescription":"","twImgId":"","socialTitle":"‘The Veil’ Review: Elisabeth Moss Kills as a British Secret Agent%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Elisabeth Moss Embraces Her Best Role Yet as a Secret Agent in ‘The Veil’","datePublished":"2024-05-01T17:44:10.000Z","dateModified":"2024-05-02T16:00:51.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"David Bianculli, NPR","nprStoryId":"1248099075","nprHtmlLink":"https://www.npr.org/2024/05/01/1248099075/the-veil-review-fx-elisabeth-moss","nprRetrievedStory":"1","nprPubDate":"2024-05-01T12:49:55-04:00","nprStoryDate":"2024-05-01T12:49:55-04:00","nprLastModifiedDate":"2024-05-01T12:49:55-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956944/the-veil-fx-hulu-review-elisabeth-moss-spy-thriller-tv-series","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new FX on Hulu series \u003cem>The Veil\u003c/em> is a spy show about several different spy agencies — from the United States, England and France — all after the same goal. They want to discover the details of a suspected new Sept. 11-type terrorist plot, reportedly emanating from the Middle East, and stop it before it happens.\u003c/p>\n\u003cp>Sometimes these organizations work together — sometimes they work against one another. But throughout, the agent who is most crucial to cracking the case is a British superspy temporarily going under the name of Imogen. She’s played by \u003ca href=\"https://www.npr.org/2013/07/03/198032876/elisabeth-moss-from-naif-to-player-on-tvs-mad-men\">Elisabeth Moss\u003c/a>, of \u003ca href=\"https://www.npr.org/2013/04/25/178832854/matthew-weiner-on-mad-men-and-meaning\">\u003cem>Mad Men\u003c/em>\u003c/a> and\u003ca href=\"https://www.npr.org/2022/09/15/1123153313/the-handmaids-tale-season-5-recap\">\u003cem> The Handmaid’s Tale\u003c/em>\u003c/a>, and by the end of the six episodes of \u003cem>The Veil, \u003c/em>I was convinced that this is Moss’ best role, and best performance, yet. She’s amazing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956676","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As a secret agent, Imogen has plenty of secrets of her own, which unfold slowly as the miniseries progresses. She’s a damaged soul with a haunted past — which, for her latest mission, turns out to be a valuable asset. She’s been charged to locate and befriend a woman who recently surfaced in a refugee camp on the Syrian and Turkish border.\u003c/p>\n\u003cp>The woman, going by the name Adilah (Yumna Marwan), claims to be of Algerian descent, and from France — but several spy agencies suspect her of being the elusive mastermind behind the rumored imminent terrorist plot. Imogen’s mission is to locate Adilah, who is held under guard at the camp after being attacked and stabbed by other refugees. Imogen offers to help Adilah escape, while getting close enough to try to ascertain her true identity, motives and target.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GGMmFC_GpXc'\n title='//www.youtube.com/embed/GGMmFC_GpXc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The terrorist Imogen is hunting is known as Djinn al Raqqa — in folklore, a shape-shifting genie who can assume any form. Is Adilah actually Djinn al Raqqa hiding in plain sight? Or is she as innocent as she claims? Imogen, a shapeshifter of sorts herself, uses all her spycraft skills to earn Adilah’s trust, by helping her in her quest to cross borders and return to Paris, where her young daughter awaits.\u003c/p>\n\u003cp>Their journey is fascinating, with each probing to learn the other’s secrets while protecting her own. It’s a bit like \u003ca href=\"https://www.npr.org/2020/04/27/845274696/whod-have-thought-we-d-be-watching-the-homeland-finale-to-de-stress\">\u003cem>Homeland \u003c/em>\u003c/a>where you, the viewer, are unsure of each character’s true motives. And as the two women go off the grid and spend time with each other, avoiding all the authorities trying to locate them, their relationship keeps deepening.\u003c/p>\n\u003cfigure id=\"attachment_13956950\" class=\"wp-caption aligncenter\" style=\"max-width: 1298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM.png\" alt=\"Two women peer out from behind a wall, looking for someone.\" width=\"1298\" height=\"968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM.png 1298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-800x597.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-1020x761.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-768x573.png 768w\" sizes=\"(max-width: 1298px) 100vw, 1298px\">\u003cfigcaption class=\"wp-caption-text\">Elisabeth Moss and Yumna Marwan are more alike than either initially suspect in ‘The Veil.’ \u003ccite>(Christine Tamalet/ FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In that way, \u003cem>The Veil \u003c/em>is a bit like \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">\u003cem>Thelma & Louise\u003c/em>\u003c/a>\u003cem>. \u003c/em>Except, sometimes, it’s more like \u003cem>Thelma v. Louise.\u003c/em> Both characters are delightfully unpredictable. In one scene, Imogen takes Adilah to a smuggler they hope will give them new passports and identities to get to Paris. Imogen’s plan is to have them pose as singers and belly dancers. But their proposed cover is at risk when the smuggler decides to test them a little by demanding that Adilah display her skills — which she does, leaving both Imogen and the smuggler suitably impressed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955549","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>These two actors are incredibly nuanced and well-matched in these roles — captivating as adversaries, and even more so if and when they decide to become allies. The writer and creator of \u003cem>The Veil\u003c/em>, Steven Knight from \u003cem>Peaky Blinders \u003c/em>and \u003ca href=\"https://www.kqed.org/arts/13937572/all-the-light-we-cannot-see-is-a-heartening-and-hopeful-wartime-tale\">\u003cem>All the Light We Cannot See\u003c/em>\u003c/a>\u003cem>,\u003c/em> explores their relationship brilliantly. But he also keeps escalating the terrorist plot, and following the many agents and agencies trying to crack it. One special standout here is Josh Charles, from \u003cem>The Good Wife\u003c/em> and\u003cem> Sports Night,\u003c/em> who is cast as an aggressive CIA agent on French soil — an ugly American in Paris. He plays his part perfectly.\u003c/p>\n\u003cp>Even so,\u003cem> The Veil, \u003c/em>at its core, is the story of two shape-shifting survivors who are more alike than either of them suspected — and whose realization of that fact may, or may not, stop a horrifying terrorist attack. It’s quite a voyage — and quite a drama.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Veil’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956944/the-veil-fx-hulu-review-elisabeth-moss-spy-thriller-tv-series","authors":["byline_arts_13956944"],"programs":["arts_140"],"categories":["arts_1","arts_75","arts_990"],"tags":["arts_15246","arts_5234","arts_769","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13956945","label":"arts_140"},"arts_13956762":{"type":"posts","id":"arts_13956762","meta":{"index":"posts_1591205157","site":"arts","id":"13956762","score":null,"sort":[1714418423000]},"guestAuthors":[{"ID":"13818263","displayName":"Eric Deggans","firstName":"Eric","lastName":"Deggans","userLogin":"eric-deggans","userEmail":"","linkedAccount":"","website":"https://www.npr.org/people/243254424/eric-deggans","description":"","userNicename":"eric-deggans","type":"guest-author","nickname":""}],"slug":"hulu-bon-jovi-documentary-review-thank-you-goodnight-1980s-rock","title":"Bon Jovi Docuseries ‘Thank You, Goodnight’ Is an Argument for Respect","publishDate":1714418423,"format":"standard","headTitle":"Bon Jovi Docuseries ‘Thank You, Goodnight’ Is an Argument for Respect | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Hulu’s docuseries \u003cem>Thank You, Goodnight: The Bon Jovi Story\u003c/em>, spends a lot of time building up the Bon Jovi legend — exploring the band’s almost unbelievable 40-plus-year run from playing hardscrabble rock clubs in New Jersey to earning platinum albums and entry into the Rock & Roll Hall of Fame.\u003c/p>\n\u003cp>[aside postid='arts_13956737']But what moved me most in the four-part series was something more revealing: its close look at the struggle by lead singer Jon Bon Jovi to overcome vocal problems which nearly led him to quit the band.\u003c/p>\n\u003cp>Footage of the singer croaking through vocal exercises, undergoing laser treatments, enduring acupuncture and finally turning to surgery is sprinkled throughout the series, which toggles back and forth between his problems in 2022 and a chronological story of the band’s triumphs and tragedies from its earliest days.\u003c/p>\n\u003ch3>Refusing to be Fat Elvis\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/26/bon-jovi-interview_wide-c83baa356887ee82f0c07a6224c39639523159ba.jpeg?s=1200&c=75&f=jpeg\" alt=\"A man with shaggy grey hair sits pensively in a dark room, head bowed forward.\" width=\"1200\" height=\"674\">\u003cfigcaption class=\"wp-caption-text\">Jon Bon Jovi being interviewed for ‘Thank You, Goodnight.’\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>Through it all, a question hangs: Will Bon Jovi ever recover enough vocal strength to lead a 40th anniversary tour?\u003c/p>\n\u003cp>“If I can’t be the very best I can be, I’m out,” he tells the cameras, still looking a bit boyish despite his voluminous gray hair at age 62. “I’m not here to drag down the legacy, I’m not here for the ‘Where are they now?’ tour … I’m not ever gonna be the Fat Elvis … That ain’t happening.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Filmmaker Gotham Chopra — who has also directed docuseries about his father, spiritualist Deepak Chopra, and star quarterback Tom Brady — digs deeply into the band’s history, aided by boatloads of pictures, video footage and early recordings provided by the group.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/26/bon-jovi---sambora_wide-d71e860a90aa6740a8e2d971af0e98761cd0e806.jpeg?s=1200&c=75&f=jpeg\" alt=\"An older man sits in a recording studio smiling. He is wearing a leather jacket and unbuttoned red shirt.\" width=\"1200\" height=\"674\">\u003cfigcaption class=\"wp-caption-text\">Former Bon Jovi guitarist Richie Sambora in ‘Thank You, Goodnight.’\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>Chopra gets folks from the group’s tight inner circle to speak up, including former manager Doc McGhee and guitarist Richie Sambora, who quit the band in 2013. (“Are we telling the truth, or are we going to lie, what are we going to do?” Sambora cracks to his offscreen interviewer. “Let’s figure it out.”)\u003c/p>\n\u003cp>[aside postid='arts_13954358']But anyone expecting gossipy dish will walk away disappointed. Even major scandals in the band’s history are handled with care, including the firing of founding bassist Alec John Such in 1994 (and the admission that his replacement, Hugh McDonald, already had been secretly playing bass parts on their albums for years), drummer Tico Torres’ stint in addiction treatment and Sambora’s decision to quit midway through a tour in 2013, with no notice to bandmates he had performed alongside for 30 years.\u003c/p>\n\u003cp>Sambora’s explanation: When issues with substance use and family problems led him to miss recording sessions, Bon Jovi got producer John Shanks to play more guitar on their 2013 record \u003cem>What About Now\u003c/em>. And Sambora was hurt.\u003c/p>\n\u003cp>“[Bon Jovi] had the whole thing kinda planned out,” Sambora says, “which basically was telling me, um, ‘I can do it without you.'”\u003c/p>\n\u003ch3>Building a band on rock anthems\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/26/bon-jovi---jon-and-phil-x_wide-86d1c4bbbda28e8e5a64d6e06ac11c3ccce9a7e8.jpeg?s=1200&c=75&f=jpeg\" alt=\"A man with shaggy grey hair, wearing a leather jacket sings towards his audience. At his right is a long haired man playing the guitar.\" width=\"1200\" height=\"675\">\u003cfigcaption class=\"wp-caption-text\">Jon Bon Jovi with guitarist Phil X.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>The docuseries shows how young New Jersey native John Bongiovi turned a job as a gofer at legendary recording studio The Power Station – owned by a cousin — into a recording of his first hit in the early 1980s, \u003cem>Runaway\u003c/em>. His song eventually caught the ear of another little-known artist from New Jersey called Bruce Springsteen.\u003c/p>\n\u003cp>“The first demo I got of Jon’s was a good song,” says Springsteen, a longtime friend of Bon Jovi. “I mean, Jon’s great talent is these big, powerful pop rock choruses that just demand to be sung by, you know, 20,000 people in an arena.”\u003c/p>\n\u003cp>\u003cem>Thank You, Goodnight \u003c/em>shows the band really took off by honing those rock anthems with songwriter Desmond Child, while simultaneously developing videos that showcased their status as a fun, rollicking live band. Hits like \u003cem>You Give Love a Bad Name, Livin’ on a Prayer\u003c/em> and \u003cem>Wanted: Dead or Alive\u003c/em> made them MTV darlings and rock superstars.\u003c/p>\n\u003cp>[aside postid='arts_13951126']Through it all, the singer and bandleader is shown as the group’s visionary and spark plug, open about how strategically he pushed the band to write hit songs and positioned them for commercial success.\u003c/p>\n\u003cp>“It wasn’t as though I woke up one morning and was the best singer in the school, or on the block, or in my house,” he tells the camera, laughing. “I just had a desire and a work ethic that was always the driving force.”\u003c/p>\n\u003cp>I saw that dynamic up close in the mid-1990s when I worked as a music critic in New Jersey, spending time with Jon Bon Jovi and the band. Back then, his mother ran the group’s fan club and was always trying to convince the local rock critic to write about her superstar son — I was fascinated by how the band shrugged off criticisms of being uncool and survived changing musical trends, led by a frontman who worked hard to stay grounded.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lScnabjU6Is\u003c/p>\n\u003cp>Bon Jovi was always gracious and willing to talk; he even introduced me to then-New Jersey Gov. Christine Todd Whitman at one of his legendary Christmas charity concerts. (And in a crazy coincidence, the band’s backup singer Everett Bradley is an old friend from college.)\u003c/p>\n\u003cp>I think the docuseries captures Bon Jovi’s skill at leading the group through challenges musical and otherwise — from metal’s slow fade off the pop charts to the rise of grunge rock — something the singer rarely gets credit for achieving.\u003c/p>\n\u003cp>[aside postid='arts_13938155']Still, much of \u003cem>Thank You, Goodnight \u003c/em>feels like an extended celebration of the band and its charismatic frontman, leavened by his earnest effort to regain control of his voice. If you’re not a Bon Jovi fan, four episodes of this story may feel like a bit much (I’d recommend at least watching the first and last episodes.)\u003c/p>\n\u003cp>More than anything, the docuseries feels like an extended argument for something Bon Jovi has struggled to achieve, even amid million selling records and top-grossing concert tours — respect as a legendary rock band.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The audio and digital versions of this story\u003c/em> \u003cem>were edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/1091803881/jennifer-vanasco\">\u003cem>Jennifer Vanasco\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The new Hulu show takes a close look at Bon Jovi’s career, and singer Jon Bon Jovi’s struggle to overcome vocal problems.","status":"publish","parent":0,"modified":1714671137,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1106},"headData":{"title":"‘Thank You, Goodnight’ Review: A Bon Jovi History From Hulu | KQED","description":"The new Hulu show takes a close look at Bon Jovi’s career, and singer Jon Bon Jovi’s struggle to overcome vocal problems.","ogTitle":"Bon Jovi Docuseries ‘Thank You, Goodnight’ Is an Argument for Respect","ogDescription":"","ogImgId":"","twTitle":"Bon Jovi Docuseries ‘Thank You, Goodnight’ Is an Argument for Respect","twDescription":"","twImgId":"","socialTitle":"‘Thank You, Goodnight’ Review: A Bon Jovi History From Hulu %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bon Jovi Docuseries ‘Thank You, Goodnight’ Is an Argument for Respect","datePublished":"2024-04-29T19:20:23.000Z","dateModified":"2024-05-02T17:32:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Eric Deggans, NPR","nprStoryId":"1247434616","nprHtmlLink":"https://www.npr.org/2024/04/26/1247434616/bon-jovi-thank-you-goodnight-review-hulu-music-rock","nprRetrievedStory":"1","nprPubDate":"2024-04-26T16:00:12-04:00","nprStoryDate":"2024-04-26T16:00:12-04:00","nprLastModifiedDate":"2024-04-29T11:16:24-04:00","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2024/04/20240426_atc_bon_jovi_docuseries_thank_you_goodnight_is_an_argument_for_respect.mp3?d=234&size=3749556&e=1247434616&t=progseg&seg=14&p=2","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956762/hulu-bon-jovi-documentary-review-thank-you-goodnight-1980s-rock","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2024/04/20240426_atc_bon_jovi_docuseries_thank_you_goodnight_is_an_argument_for_respect.mp3?d=234&size=3749556&e=1247434616&t=progseg&seg=14&p=2","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hulu’s docuseries \u003cem>Thank You, Goodnight: The Bon Jovi Story\u003c/em>, spends a lot of time building up the Bon Jovi legend — exploring the band’s almost unbelievable 40-plus-year run from playing hardscrabble rock clubs in New Jersey to earning platinum albums and entry into the Rock & Roll Hall of Fame.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956737","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But what moved me most in the four-part series was something more revealing: its close look at the struggle by lead singer Jon Bon Jovi to overcome vocal problems which nearly led him to quit the band.\u003c/p>\n\u003cp>Footage of the singer croaking through vocal exercises, undergoing laser treatments, enduring acupuncture and finally turning to surgery is sprinkled throughout the series, which toggles back and forth between his problems in 2022 and a chronological story of the band’s triumphs and tragedies from its earliest days.\u003c/p>\n\u003ch3>Refusing to be Fat Elvis\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/26/bon-jovi-interview_wide-c83baa356887ee82f0c07a6224c39639523159ba.jpeg?s=1200&c=75&f=jpeg\" alt=\"A man with shaggy grey hair sits pensively in a dark room, head bowed forward.\" width=\"1200\" height=\"674\">\u003cfigcaption class=\"wp-caption-text\">Jon Bon Jovi being interviewed for ‘Thank You, Goodnight.’\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>Through it all, a question hangs: Will Bon Jovi ever recover enough vocal strength to lead a 40th anniversary tour?\u003c/p>\n\u003cp>“If I can’t be the very best I can be, I’m out,” he tells the cameras, still looking a bit boyish despite his voluminous gray hair at age 62. “I’m not here to drag down the legacy, I’m not here for the ‘Where are they now?’ tour … I’m not ever gonna be the Fat Elvis … That ain’t happening.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Filmmaker Gotham Chopra — who has also directed docuseries about his father, spiritualist Deepak Chopra, and star quarterback Tom Brady — digs deeply into the band’s history, aided by boatloads of pictures, video footage and early recordings provided by the group.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/26/bon-jovi---sambora_wide-d71e860a90aa6740a8e2d971af0e98761cd0e806.jpeg?s=1200&c=75&f=jpeg\" alt=\"An older man sits in a recording studio smiling. He is wearing a leather jacket and unbuttoned red shirt.\" width=\"1200\" height=\"674\">\u003cfigcaption class=\"wp-caption-text\">Former Bon Jovi guitarist Richie Sambora in ‘Thank You, Goodnight.’\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>Chopra gets folks from the group’s tight inner circle to speak up, including former manager Doc McGhee and guitarist Richie Sambora, who quit the band in 2013. (“Are we telling the truth, or are we going to lie, what are we going to do?” Sambora cracks to his offscreen interviewer. “Let’s figure it out.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954358","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But anyone expecting gossipy dish will walk away disappointed. Even major scandals in the band’s history are handled with care, including the firing of founding bassist Alec John Such in 1994 (and the admission that his replacement, Hugh McDonald, already had been secretly playing bass parts on their albums for years), drummer Tico Torres’ stint in addiction treatment and Sambora’s decision to quit midway through a tour in 2013, with no notice to bandmates he had performed alongside for 30 years.\u003c/p>\n\u003cp>Sambora’s explanation: When issues with substance use and family problems led him to miss recording sessions, Bon Jovi got producer John Shanks to play more guitar on their 2013 record \u003cem>What About Now\u003c/em>. And Sambora was hurt.\u003c/p>\n\u003cp>“[Bon Jovi] had the whole thing kinda planned out,” Sambora says, “which basically was telling me, um, ‘I can do it without you.'”\u003c/p>\n\u003ch3>Building a band on rock anthems\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/26/bon-jovi---jon-and-phil-x_wide-86d1c4bbbda28e8e5a64d6e06ac11c3ccce9a7e8.jpeg?s=1200&c=75&f=jpeg\" alt=\"A man with shaggy grey hair, wearing a leather jacket sings towards his audience. At his right is a long haired man playing the guitar.\" width=\"1200\" height=\"675\">\u003cfigcaption class=\"wp-caption-text\">Jon Bon Jovi with guitarist Phil X.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>The docuseries shows how young New Jersey native John Bongiovi turned a job as a gofer at legendary recording studio The Power Station – owned by a cousin — into a recording of his first hit in the early 1980s, \u003cem>Runaway\u003c/em>. His song eventually caught the ear of another little-known artist from New Jersey called Bruce Springsteen.\u003c/p>\n\u003cp>“The first demo I got of Jon’s was a good song,” says Springsteen, a longtime friend of Bon Jovi. “I mean, Jon’s great talent is these big, powerful pop rock choruses that just demand to be sung by, you know, 20,000 people in an arena.”\u003c/p>\n\u003cp>\u003cem>Thank You, Goodnight \u003c/em>shows the band really took off by honing those rock anthems with songwriter Desmond Child, while simultaneously developing videos that showcased their status as a fun, rollicking live band. Hits like \u003cem>You Give Love a Bad Name, Livin’ on a Prayer\u003c/em> and \u003cem>Wanted: Dead or Alive\u003c/em> made them MTV darlings and rock superstars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951126","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Through it all, the singer and bandleader is shown as the group’s visionary and spark plug, open about how strategically he pushed the band to write hit songs and positioned them for commercial success.\u003c/p>\n\u003cp>“It wasn’t as though I woke up one morning and was the best singer in the school, or on the block, or in my house,” he tells the camera, laughing. “I just had a desire and a work ethic that was always the driving force.”\u003c/p>\n\u003cp>I saw that dynamic up close in the mid-1990s when I worked as a music critic in New Jersey, spending time with Jon Bon Jovi and the band. Back then, his mother ran the group’s fan club and was always trying to convince the local rock critic to write about her superstar son — I was fascinated by how the band shrugged off criticisms of being uncool and survived changing musical trends, led by a frontman who worked hard to stay grounded.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lScnabjU6Is'\n title='//www.youtube.com/embed/lScnabjU6Is'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bon Jovi was always gracious and willing to talk; he even introduced me to then-New Jersey Gov. Christine Todd Whitman at one of his legendary Christmas charity concerts. (And in a crazy coincidence, the band’s backup singer Everett Bradley is an old friend from college.)\u003c/p>\n\u003cp>I think the docuseries captures Bon Jovi’s skill at leading the group through challenges musical and otherwise — from metal’s slow fade off the pop charts to the rise of grunge rock — something the singer rarely gets credit for achieving.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13938155","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Still, much of \u003cem>Thank You, Goodnight \u003c/em>feels like an extended celebration of the band and its charismatic frontman, leavened by his earnest effort to regain control of his voice. If you’re not a Bon Jovi fan, four episodes of this story may feel like a bit much (I’d recommend at least watching the first and last episodes.)\u003c/p>\n\u003cp>More than anything, the docuseries feels like an extended argument for something Bon Jovi has struggled to achieve, even amid million selling records and top-grossing concert tours — respect as a legendary rock band.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The audio and digital versions of this story\u003c/em> \u003cem>were edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/1091803881/jennifer-vanasco\">\u003cem>Jennifer Vanasco\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956762/hulu-bon-jovi-documentary-review-thank-you-goodnight-1980s-rock","authors":["byline_arts_13956762"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_69","arts_990"],"tags":["arts_10493","arts_13672","arts_5234","arts_769","arts_905","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13956763","label":"arts_140"},"arts_13956737":{"type":"posts","id":"arts_13956737","meta":{"index":"posts_1591205157","site":"arts","id":"13956737","score":null,"sort":[1714411424000]},"guestAuthors":[],"slug":"contestant-documentary-a-life-in-prizes-japan-reality-show-1990s","title":"Documentary Focuses on Man Behind a Cruelly Bizarre 1990s Japanese Reality Show","publishDate":1714411424,"format":"standard","headTitle":"Documentary Focuses on Man Behind a Cruelly Bizarre 1990s Japanese Reality Show | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Naked and frail, a shaggy-haired man films himself as he endures solitude in a tiny room for months, and months more.\u003c/p>\n\u003cp>\u003cem>The Contestant\u003c/em>, directed by Clair Titley, explores the story behind the late 1990s hit reality TV show from Japan, \u003cem>A Life in Prizes\u003c/em>, in which a comedian nicknamed Nasubi is forced to survive on whatever he can redeem from mail-in coupons, as he is denied contact with the outside world.\u003c/p>\n\u003cp>[aside postid='arts_13955948']The film premiered at the Toronto International Film Festival in 2023 and will stream on Hulu from May 2.\u003c/p>\n\u003cp>Tomoaki Hamatsu — whose nickname “Nasubi,” meaning eggplant in Japanese, refers jokingly to his long chin — never manages to clothe himself and remains naked throughout the show. But he dances to celebrate the things he does obtain, especially food, even if it’s just a pot of kimchi.\u003c/p>\n\u003cp>Canada’s \u003cem>National Post\u003c/em>, in a review of Titley’s documentary, described the TV show as “\u003cem>The Truman Show\u003c/em> meets \u003cem>OldBoy\u003c/em>,” referring to the 1998 American film starring Jim Carrey about a man who unwittingly stars in a reality TV show about his own life and the 2003 Cannes-winning Korean film about an imprisoned man.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The British director Titley said she chanced upon the reality show and reached out to Nasubi because she felt no one had ever told his side of the story.\u003c/p>\n\u003cp>“I felt that they were kind of dismissive and even derogatory to an extent about, you know, look at those crazy Japanese. And I really wanted to know Nasubi’s story. I really wanted to know what had happened to him, why he’d stayed in there,” she said in a recent Zoom interview with The Associated Press.\u003c/p>\n\u003cp>[aside postid='arts_13951078']What makes her documentary more than a just-for-laughs, big-in-Japan satire are the interviews Titley conducts with Hamatsu’s mother, sister and friend, who express outrage, sorrow, pride and a mix of other emotions as the show grew into a prime-time hit. They said they felt sorry for what he endured, including his nudity.\u003c/p>\n\u003cp>The film also explores Hamatsu’s childhood experience of being bullied because of his long chin and how he turned to laughter to protect himself.\u003c/p>\n\u003cp>Hamatsu says the hardest part of the show was the solitude, although being without clothing — and very little food — for a year and three months also took a toll on him. The comedian was moved to tears when he received a standing ovation at a New York screening of the documentary.\u003c/p>\n\u003cp>“I feel I was able to relay a positive message through the documentary,” he said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wSJWxOn2pi0\u003c/p>\n\u003cp>\u003cem>The Contestant\u003c/em> raises serious questions about how far society might go for entertainment, and the big audiences and money it represents.\u003c/p>\n\u003cp>The show’s producer said in the documentary he just wanted to “capture the moment” and did not mention any reservations about producing the show.\u003c/p>\n\u003cp>“I think to an extent we are all complicit in these narratives. I think that’s something to be aware of. It’s very easy to stand back and look at all of this, and sort of think, ‘Oh, look at what those producers did.’ But, you know, as viewers we need to take some responsibility,” Titley said.\u003c/p>\n\u003cp>The film explores the various emotions of being trapped in different ways, including in relationships, hardships or just feelings of meaninglessness.\u003c/p>\n\u003cp>[aside postid='arts_13954702']Hamatsu is from Fukushima in northeastern Japan, which was hit by the March 2011 triple disaster, when a giant tsunami followed a 9.0 magnitude quake and devastated the coastline, setting off the world’s worst nuclear disaster since Chernobyl.\u003c/p>\n\u003cp>Hamatsu, who still works as an actor, also devotes his time to the reconstruction of Fukushima and raising awareness about the region.\u003c/p>\n\u003cp>“I want everyone to know the people of Fukushima are working hard,” he said.\u003c/p>\n\u003cp>“Life is gradually returning to what used to be in the exclusion zones. Of course, I realize the road to decommissioning the nuclear plants is still a long battle. But I would like people to know the Fukushima of today, feel hope by visiting Fukushima and watch Fukushima rebuild.”\u003c/p>\n\u003cp>In a vindication of sorts at the end of the documentary, Hamatsu becomes a climber and conquers Mount Everest, a feat he dedicates to Fukushima.\u003c/p>\n\u003cp>Many people think the famous show 25 years ago was the high point of Hamatsu’s life, since he is not on TV much anymore, he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“But it’s just the opposite. That was the worst point in my life. I overcame that. And now I am free to do what I want.”\u003c/p>\n\n","blocks":[],"excerpt":"Hulu film ‘The Contestant’ explores the story behind ‘A Life in Prizes,’ a show in which one naked man had to survive off coupons.","status":"publish","parent":0,"modified":1714411424,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":814},"headData":{"title":"‘The Contestant’ Review: New Hulu Doc Explores ‘A Life in Prizes’ | KQED","description":"Hulu film ‘The Contestant’ explores the story behind ‘A Life in Prizes,’ a show in which one naked man had to survive off coupons.","ogTitle":"Documentary Focuses on Man Behind a Cruelly Bizarre 1990s Japanese Reality Show","ogDescription":"","ogImgId":"","twTitle":"Documentary Focuses on Man Behind a Cruelly Bizarre 1990s Japanese Reality Show","twDescription":"","twImgId":"","socialTitle":"‘The Contestant’ Review: New Hulu Doc Explores ‘A Life in Prizes’ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Documentary Focuses on Man Behind a Cruelly Bizarre 1990s Japanese Reality Show","datePublished":"2024-04-29T17:23:44.000Z","dateModified":"2024-04-29T17:23:44.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Yuri Kageyama, Associated Press","nprStoryId":"kqed-13956737","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956737/contestant-documentary-a-life-in-prizes-japan-reality-show-1990s","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Naked and frail, a shaggy-haired man films himself as he endures solitude in a tiny room for months, and months more.\u003c/p>\n\u003cp>\u003cem>The Contestant\u003c/em>, directed by Clair Titley, explores the story behind the late 1990s hit reality TV show from Japan, \u003cem>A Life in Prizes\u003c/em>, in which a comedian nicknamed Nasubi is forced to survive on whatever he can redeem from mail-in coupons, as he is denied contact with the outside world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955948","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The film premiered at the Toronto International Film Festival in 2023 and will stream on Hulu from May 2.\u003c/p>\n\u003cp>Tomoaki Hamatsu — whose nickname “Nasubi,” meaning eggplant in Japanese, refers jokingly to his long chin — never manages to clothe himself and remains naked throughout the show. But he dances to celebrate the things he does obtain, especially food, even if it’s just a pot of kimchi.\u003c/p>\n\u003cp>Canada’s \u003cem>National Post\u003c/em>, in a review of Titley’s documentary, described the TV show as “\u003cem>The Truman Show\u003c/em> meets \u003cem>OldBoy\u003c/em>,” referring to the 1998 American film starring Jim Carrey about a man who unwittingly stars in a reality TV show about his own life and the 2003 Cannes-winning Korean film about an imprisoned man.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The British director Titley said she chanced upon the reality show and reached out to Nasubi because she felt no one had ever told his side of the story.\u003c/p>\n\u003cp>“I felt that they were kind of dismissive and even derogatory to an extent about, you know, look at those crazy Japanese. And I really wanted to know Nasubi’s story. I really wanted to know what had happened to him, why he’d stayed in there,” she said in a recent Zoom interview with The Associated Press.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951078","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>What makes her documentary more than a just-for-laughs, big-in-Japan satire are the interviews Titley conducts with Hamatsu’s mother, sister and friend, who express outrage, sorrow, pride and a mix of other emotions as the show grew into a prime-time hit. They said they felt sorry for what he endured, including his nudity.\u003c/p>\n\u003cp>The film also explores Hamatsu’s childhood experience of being bullied because of his long chin and how he turned to laughter to protect himself.\u003c/p>\n\u003cp>Hamatsu says the hardest part of the show was the solitude, although being without clothing — and very little food — for a year and three months also took a toll on him. The comedian was moved to tears when he received a standing ovation at a New York screening of the documentary.\u003c/p>\n\u003cp>“I feel I was able to relay a positive message through the documentary,” he said.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wSJWxOn2pi0'\n title='//www.youtube.com/embed/wSJWxOn2pi0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Contestant\u003c/em> raises serious questions about how far society might go for entertainment, and the big audiences and money it represents.\u003c/p>\n\u003cp>The show’s producer said in the documentary he just wanted to “capture the moment” and did not mention any reservations about producing the show.\u003c/p>\n\u003cp>“I think to an extent we are all complicit in these narratives. I think that’s something to be aware of. It’s very easy to stand back and look at all of this, and sort of think, ‘Oh, look at what those producers did.’ But, you know, as viewers we need to take some responsibility,” Titley said.\u003c/p>\n\u003cp>The film explores the various emotions of being trapped in different ways, including in relationships, hardships or just feelings of meaninglessness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954702","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Hamatsu is from Fukushima in northeastern Japan, which was hit by the March 2011 triple disaster, when a giant tsunami followed a 9.0 magnitude quake and devastated the coastline, setting off the world’s worst nuclear disaster since Chernobyl.\u003c/p>\n\u003cp>Hamatsu, who still works as an actor, also devotes his time to the reconstruction of Fukushima and raising awareness about the region.\u003c/p>\n\u003cp>“I want everyone to know the people of Fukushima are working hard,” he said.\u003c/p>\n\u003cp>“Life is gradually returning to what used to be in the exclusion zones. Of course, I realize the road to decommissioning the nuclear plants is still a long battle. But I would like people to know the Fukushima of today, feel hope by visiting Fukushima and watch Fukushima rebuild.”\u003c/p>\n\u003cp>In a vindication of sorts at the end of the documentary, Hamatsu becomes a climber and conquers Mount Everest, a feat he dedicates to Fukushima.\u003c/p>\n\u003cp>Many people think the famous show 25 years ago was the high point of Hamatsu’s life, since he is not on TV much anymore, he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“But it’s just the opposite. That was the worst point in my life. I overcame that. And now I am free to do what I want.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956737/contestant-documentary-a-life-in-prizes-japan-reality-show-1990s","authors":["byline_arts_13956737"],"programs":["arts_140"],"categories":["arts_1","arts_75","arts_990"],"tags":["arts_8054","arts_13672","arts_5234","arts_2627","arts_21952","arts_769","arts_585"],"featImg":"arts_13956743","label":"arts_140"},"arts_13956676":{"type":"posts","id":"arts_13956676","meta":{"index":"posts_1591205157","site":"arts","id":"13956676","score":null,"sort":[1714081090000]},"guestAuthors":[],"slug":"baby-reindeer-netflix-review-problematic-abuse-lgbt-queerness","title":"Netflix’s ‘Baby Reindeer’: A Dark, Haunting Story Bungles its Depiction of Queerness","publishDate":1714081090,"format":"standard","headTitle":"Netflix’s ‘Baby Reindeer’: A Dark, Haunting Story Bungles its Depiction of Queerness | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>\u003cem>Note: You can’t really talk about this series without discussing a major revelation that occurs in episode four of its seven-episode season. So be warned: Spoilers ahead. \u003c/em>\u003c/p>\n\u003cp>There’s a reason that the first scene in the first episode of \u003cem>Baby Reindeer,\u003c/em> now streaming on Netflix, plays like it’s a classic setup to a joke: \u003cem>Woman walks into a bar.\u003c/em>\u003c/p>\n\u003cp>Creator and star Richard Gadd is setting our expectations exactly where he wants them set; he needs us to think that the story he’ll tell us over the next seven episodes will conform to the narrative contours of dark comedy.\u003c/p>\n\u003cp>[aside postid='arts_13955549']He’s already tipped us off that the comedy in question will be dark indeed, via a framing device that opens the show: We see his character Donny Dunn filing a police report that he’s being stalked by a woman named Martha (Jessica Gunning).\u003c/p>\n\u003cp>Cut to six months earlier: Martha enters the pub where Donny tends bar. Everything that follows is meant to place us inside Donny’s head. As he tells us about her, we can’t help but see her as he does: A sad, fat, pitiable middle-aged woman who’s clearly lying about her life. She’s not the high-powered lawyer she says she is — if she were, surely she could afford to buy a drink. And why would she spend all those potentially billable hours bellied up at Donny’s bar whenever he’s working a shift? And why would she proceed to send him thousands of unhinged text messages and stalk him, his girlfriend, and his family?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Right, we think. We know what we’re in for: \u003cem>Baby Reindeer \u003c/em>is the story of one hapless young man getting cruelly stalked by a mentally ill woman, who, it turns out, has a history, and a criminal record, for doing so.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eafm1gB6SCM\u003c/p>\n\u003cp>Moreover, it’s a true story. True-ish, anyway, as \u003cem>Baby Reindee\u003c/em>r is based on Gadd’s autobiographical one-man show.\u003c/p>\n\u003cp>[aside postid='arts_13954225']But Gadd soon complicates our understanding of events. It turns out Donny is a struggling would-be comedian; we watch a series of his cringeworthy sets before sparse, stone-faced audiences. He seems depressed and friendless — his work colleagues at the bar are hostile louts; he’s living with his ex-girlfriend’s mother on the outskirts of London.\u003c/p>\n\u003cp>Plus there’s the nagging fact that while Donny may not actively \u003cem>encourage \u003c/em>Martha’s fawning attention, he is awfully passive about shutting down her determination that they could get together, even as she grows more insistent, and more threatening.\u003c/p>\n\u003cp>Also, as the cop asks him at the start of the first episode. Why did he let it all go on for six months before filing a formal complaint?\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/25/br_101_unit_00683_rt.jpg-br_101_unit_00683_rt-1--9d5299c1b3002fe7610a6ea4c77f371792b6bd3f.jpg?s=1200&c=75&f=jpeg\" alt=\"A smiling white woman sits at the edge of a pub bar.\" width=\"1200\" height=\"900\">\u003cfigcaption class=\"wp-caption-text\">Jessica Gunning as Martha.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003ch3>The rug-pull\u003c/h3>\n\u003cp>The answer to that question is what \u003cem>Baby Reindeer \u003c/em>is truly about. It’s where the conventional and familiar trappings of dark comedy and psychological thriller fall away to reveal the show’s true, beating heart: Sexual abuse, and its lingering aftermath.\u003c/p>\n\u003cp>It isn’t until episode four that we learn that five years before Martha entered his life, Donny met a successful television writer named Darrien (Tom Goodman-Hill) who gave him career advice, promised to set him up with opportunities, and supplied him with drugs. During those sessions, while Donny was helpless to stop him, Darrien would sexually abuse him.\u003c/p>\n\u003cp>[aside postid='arts_13954702']This, the series proceeds to argue — far too tidily — is the answer to everything. It’s why Donny became the depressed, self-loathing man we’ve come to know. It’s why his comedy career stalled. It’s why he’s since chosen to degrade himself by having meaningless sex with both men and women, doing more drugs, and by developing an interest in “extreme” pornography.\u003c/p>\n\u003cp>It’s also, of course — or so the show would have us believe — why he was so disarmed and flattered by the attention Martha gave him, which seems (compared to the drug-filled sexual cesspits he once frequented) pure and wholesome and, not for nothing, reassuringly straight. At one point Donny guiltily admits to us that, at his very lowest point, he even started to find Martha — imagine that! a \u003cem>fat \u003c/em>woman! — sexually arousing.\u003c/p>\n\u003cblockquote class=\"npr-pull-quote\">\n\u003ch2>The series repeatedly and clumsily conflates the horror of abuse with the simple fact of queer sexuality.\u003c/h2>\n\u003c/blockquote>\n\u003cp>It’s this aspect of \u003cem>Baby Reindeer\u003c/em> — Gadd/Donny’s ultimate willingness to confront his abuse and explore its aftereffects — which has earned the show its most fulsome praise from critics and audiences. But in practice, the series repeatedly and clumsily conflates the horror of abuse with the simple fact of queer sexuality. Purely for dramatic purposes, \u003cem>Baby Reindeer\u003c/em> implies that Donny’s sexuality conforms to the laws of cause (the abuse) and effect (queerness). Worse, it does so in a way that seems specifically designed to reassure those audiences who believe queerness is something that happens \u003cem>to \u003c/em>people, something that can be triggered from the outside.\u003c/p>\n\u003ch3>Catching queerness like a cold\u003c/h3>\n\u003cp>Let me be clear: \u003cem>Baby Reindeer\u003c/em> is not making any kind of broad sexual/political case that same-sex abuse leads its victims to experience same-sex desire. Neither is it saying that all putatively straight men who get sexually abused by other men will henceforth be attracted to trans women.\u003c/p>\n\u003cp>[aside postid='arts_13953601']But it does want us to believe — in fact it entirely \u003cem>depends \u003c/em>upon us believing — that \u003cem>Donny\u003c/em>, for one, experienced same-sex desire only after his abuse — desire it goes out of its way to depict as filthy and degrading. It does, too, want us to believe that \u003cem>Donny \u003c/em>failed to make any romantic connections with women or men after his abuse — until he met Teri (Nava Mau) on a trans dating site.\u003c/p>\n\u003cp>Gadd himself identifies as bisexual, which makes it all the more puzzling and frustrating that, again and again, the series takes absurd pains to present Donny as someone who is not at all like the kinds of queer folk who (shudder!) willingly have sex with each other and (shock horror!) use recreational drugs and (gasp!) watch porn.\u003c/p>\n\u003cp>Rest assured, straight audiences: Donny’s queer sexuality was something forced upon him — a fact that his stoic father (Mark Lewis Jones) understands and underscores because, as he tearfully explains to his son, “I grew up in the Catholic Church.”\u003c/p>\n\u003cp>It’s a jaw-dropping scene, but not for the reason it wants to be. It’s meant as a moment of startling honesty and searing empathy between father and son.\u003c/p>\n\u003cp>It plays like a tasteless, homophobic joke.\u003c/p>\n\u003ch3>Sticking the dismount\u003c/h3>\n\u003cp>For all its queasy discomfort with, and prissy diffidence about queer sexuality, there is one thing \u003cem>Baby Reindee\u003c/em>r gets absolutely, hauntingly right: Its ending.\u003c/p>\n\u003cp>As the series concludes, Martha has been jailed for stalking Donny. In a thinner, less resonant series, our hero would take this as an unalloyed victory, as vindication. But smartly, Gadd shows us a Donny who has acknowledged his abuse but has only begun to effectively deal with it.\u003c/p>\n\u003cp>Donny, instead, wallows. He walks the streets, playing Martha’s tender/terrifying voicemails in his headphones. He sets out to confront his abuser, only to cave and accept a job working for him. He shambles through his life alone, until he enters a pub (\u003cem>Man walks into a bar\u003c/em>) and realizes he can’t pay for his drink. The handsome bartender comps him out of pity, just as Donny did to Martha in the first episode. The end.\u003c/p>\n\u003cp>… OK, that pity-drink callback at the very end is a bit on-the-nose, but the series’ refusal to afford Donny a clear, uncomplicated, once-and-for-all victory is a smart one. Had the series ended with a sense of triumph and finality, it would have been dramatically satisfying but emotionally dishonest. Human psychology is more complex than that, and the damage done by abuse more insidious.\u003c/p>\n\u003cp>[aside postid='arts_13953497']When we leave him, Donny is still trapped by his past, because he hasn’t yet done the work he needs to do. He still believes he deserves to be trapped, defined, by what happened to him.\u003c/p>\n\u003cp>But the series plants the seeds for the change that we know is coming: When he’s alone in that room of his, he’s turning his experience into the one-man show that will become \u003cem>Baby Reindeer\u003c/em>. It’s that process of transmutation and creation that will ultimately allow him to process his abuse and turn it into something that engages with the wider world, and grant him the ability, finally, to heal.\u003c/p>\n\u003cp>Maybe, in the process, he will manage to move past finding other queer folk and fat people disgusting. \u003cem>Baby Reindeer\u003c/em> suggests that Richard Gadd hasn’t quite managed to do that, yet.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But I’m holding out hope for Donny.\u003c/p>\n\n","blocks":[],"excerpt":"The new series, based on creator Richard Gadd's one-man show, depicts queer sexuality as something that happens TO people.","status":"publish","parent":0,"modified":1714671360,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":1560},"headData":{"title":"A Queer Analysis of Dark Netflix Series, ‘Baby Reindeer’ | KQED","description":"The new series, based on creator Richard Gadd's one-man show, depicts queer sexuality as something that happens TO people.","ogTitle":"Netflix’s ‘Baby Reindeer’: A Dark, Haunting Story Bungles its Depiction of Queerness","ogDescription":"","ogImgId":"","twTitle":"Netflix’s ‘Baby Reindeer’: A Dark, Haunting Story Bungles its Depiction of Queerness","twDescription":"","twImgId":"","socialTitle":"A Queer Analysis of Dark Netflix Series, ‘Baby Reindeer’ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Netflix’s ‘Baby Reindeer’: A Dark, Haunting Story Bungles its Depiction of Queerness","datePublished":"2024-04-25T21:38:10.000Z","dateModified":"2024-05-02T17:36:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Glen Weldon, NPR","nprStoryId":"1247130712","nprHtmlLink":"https://www.npr.org/2024/04/25/1247130712/baby-reindeer-review-netflix","nprRetrievedStory":"1","nprPubDate":"2024-04-25T11:32:00-04:00","nprStoryDate":"2024-04-25T11:32:00-04:00","nprLastModifiedDate":"2024-04-25T11:32:00-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956676/baby-reindeer-netflix-review-problematic-abuse-lgbt-queerness","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Note: You can’t really talk about this series without discussing a major revelation that occurs in episode four of its seven-episode season. So be warned: Spoilers ahead. \u003c/em>\u003c/p>\n\u003cp>There’s a reason that the first scene in the first episode of \u003cem>Baby Reindeer,\u003c/em> now streaming on Netflix, plays like it’s a classic setup to a joke: \u003cem>Woman walks into a bar.\u003c/em>\u003c/p>\n\u003cp>Creator and star Richard Gadd is setting our expectations exactly where he wants them set; he needs us to think that the story he’ll tell us over the next seven episodes will conform to the narrative contours of dark comedy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955549","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>He’s already tipped us off that the comedy in question will be dark indeed, via a framing device that opens the show: We see his character Donny Dunn filing a police report that he’s being stalked by a woman named Martha (Jessica Gunning).\u003c/p>\n\u003cp>Cut to six months earlier: Martha enters the pub where Donny tends bar. Everything that follows is meant to place us inside Donny’s head. As he tells us about her, we can’t help but see her as he does: A sad, fat, pitiable middle-aged woman who’s clearly lying about her life. She’s not the high-powered lawyer she says she is — if she were, surely she could afford to buy a drink. And why would she spend all those potentially billable hours bellied up at Donny’s bar whenever he’s working a shift? And why would she proceed to send him thousands of unhinged text messages and stalk him, his girlfriend, and his family?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Right, we think. We know what we’re in for: \u003cem>Baby Reindeer \u003c/em>is the story of one hapless young man getting cruelly stalked by a mentally ill woman, who, it turns out, has a history, and a criminal record, for doing so.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eafm1gB6SCM'\n title='//www.youtube.com/embed/eafm1gB6SCM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Moreover, it’s a true story. True-ish, anyway, as \u003cem>Baby Reindee\u003c/em>r is based on Gadd’s autobiographical one-man show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954225","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But Gadd soon complicates our understanding of events. It turns out Donny is a struggling would-be comedian; we watch a series of his cringeworthy sets before sparse, stone-faced audiences. He seems depressed and friendless — his work colleagues at the bar are hostile louts; he’s living with his ex-girlfriend’s mother on the outskirts of London.\u003c/p>\n\u003cp>Plus there’s the nagging fact that while Donny may not actively \u003cem>encourage \u003c/em>Martha’s fawning attention, he is awfully passive about shutting down her determination that they could get together, even as she grows more insistent, and more threatening.\u003c/p>\n\u003cp>Also, as the cop asks him at the start of the first episode. Why did he let it all go on for six months before filing a formal complaint?\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/25/br_101_unit_00683_rt.jpg-br_101_unit_00683_rt-1--9d5299c1b3002fe7610a6ea4c77f371792b6bd3f.jpg?s=1200&c=75&f=jpeg\" alt=\"A smiling white woman sits at the edge of a pub bar.\" width=\"1200\" height=\"900\">\u003cfigcaption class=\"wp-caption-text\">Jessica Gunning as Martha.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003ch3>The rug-pull\u003c/h3>\n\u003cp>The answer to that question is what \u003cem>Baby Reindeer \u003c/em>is truly about. It’s where the conventional and familiar trappings of dark comedy and psychological thriller fall away to reveal the show’s true, beating heart: Sexual abuse, and its lingering aftermath.\u003c/p>\n\u003cp>It isn’t until episode four that we learn that five years before Martha entered his life, Donny met a successful television writer named Darrien (Tom Goodman-Hill) who gave him career advice, promised to set him up with opportunities, and supplied him with drugs. During those sessions, while Donny was helpless to stop him, Darrien would sexually abuse him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954702","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>This, the series proceeds to argue — far too tidily — is the answer to everything. It’s why Donny became the depressed, self-loathing man we’ve come to know. It’s why his comedy career stalled. It’s why he’s since chosen to degrade himself by having meaningless sex with both men and women, doing more drugs, and by developing an interest in “extreme” pornography.\u003c/p>\n\u003cp>It’s also, of course — or so the show would have us believe — why he was so disarmed and flattered by the attention Martha gave him, which seems (compared to the drug-filled sexual cesspits he once frequented) pure and wholesome and, not for nothing, reassuringly straight. At one point Donny guiltily admits to us that, at his very lowest point, he even started to find Martha — imagine that! a \u003cem>fat \u003c/em>woman! — sexually arousing.\u003c/p>\n\u003cblockquote class=\"npr-pull-quote\">\n\u003ch2>The series repeatedly and clumsily conflates the horror of abuse with the simple fact of queer sexuality.\u003c/h2>\n\u003c/blockquote>\n\u003cp>It’s this aspect of \u003cem>Baby Reindeer\u003c/em> — Gadd/Donny’s ultimate willingness to confront his abuse and explore its aftereffects — which has earned the show its most fulsome praise from critics and audiences. But in practice, the series repeatedly and clumsily conflates the horror of abuse with the simple fact of queer sexuality. Purely for dramatic purposes, \u003cem>Baby Reindeer\u003c/em> implies that Donny’s sexuality conforms to the laws of cause (the abuse) and effect (queerness). Worse, it does so in a way that seems specifically designed to reassure those audiences who believe queerness is something that happens \u003cem>to \u003c/em>people, something that can be triggered from the outside.\u003c/p>\n\u003ch3>Catching queerness like a cold\u003c/h3>\n\u003cp>Let me be clear: \u003cem>Baby Reindeer\u003c/em> is not making any kind of broad sexual/political case that same-sex abuse leads its victims to experience same-sex desire. Neither is it saying that all putatively straight men who get sexually abused by other men will henceforth be attracted to trans women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953601","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But it does want us to believe — in fact it entirely \u003cem>depends \u003c/em>upon us believing — that \u003cem>Donny\u003c/em>, for one, experienced same-sex desire only after his abuse — desire it goes out of its way to depict as filthy and degrading. It does, too, want us to believe that \u003cem>Donny \u003c/em>failed to make any romantic connections with women or men after his abuse — until he met Teri (Nava Mau) on a trans dating site.\u003c/p>\n\u003cp>Gadd himself identifies as bisexual, which makes it all the more puzzling and frustrating that, again and again, the series takes absurd pains to present Donny as someone who is not at all like the kinds of queer folk who (shudder!) willingly have sex with each other and (shock horror!) use recreational drugs and (gasp!) watch porn.\u003c/p>\n\u003cp>Rest assured, straight audiences: Donny’s queer sexuality was something forced upon him — a fact that his stoic father (Mark Lewis Jones) understands and underscores because, as he tearfully explains to his son, “I grew up in the Catholic Church.”\u003c/p>\n\u003cp>It’s a jaw-dropping scene, but not for the reason it wants to be. It’s meant as a moment of startling honesty and searing empathy between father and son.\u003c/p>\n\u003cp>It plays like a tasteless, homophobic joke.\u003c/p>\n\u003ch3>Sticking the dismount\u003c/h3>\n\u003cp>For all its queasy discomfort with, and prissy diffidence about queer sexuality, there is one thing \u003cem>Baby Reindee\u003c/em>r gets absolutely, hauntingly right: Its ending.\u003c/p>\n\u003cp>As the series concludes, Martha has been jailed for stalking Donny. In a thinner, less resonant series, our hero would take this as an unalloyed victory, as vindication. But smartly, Gadd shows us a Donny who has acknowledged his abuse but has only begun to effectively deal with it.\u003c/p>\n\u003cp>Donny, instead, wallows. He walks the streets, playing Martha’s tender/terrifying voicemails in his headphones. He sets out to confront his abuser, only to cave and accept a job working for him. He shambles through his life alone, until he enters a pub (\u003cem>Man walks into a bar\u003c/em>) and realizes he can’t pay for his drink. The handsome bartender comps him out of pity, just as Donny did to Martha in the first episode. The end.\u003c/p>\n\u003cp>… OK, that pity-drink callback at the very end is a bit on-the-nose, but the series’ refusal to afford Donny a clear, uncomplicated, once-and-for-all victory is a smart one. Had the series ended with a sense of triumph and finality, it would have been dramatically satisfying but emotionally dishonest. Human psychology is more complex than that, and the damage done by abuse more insidious.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953497","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>When we leave him, Donny is still trapped by his past, because he hasn’t yet done the work he needs to do. He still believes he deserves to be trapped, defined, by what happened to him.\u003c/p>\n\u003cp>But the series plants the seeds for the change that we know is coming: When he’s alone in that room of his, he’s turning his experience into the one-man show that will become \u003cem>Baby Reindeer\u003c/em>. It’s that process of transmutation and creation that will ultimately allow him to process his abuse and turn it into something that engages with the wider world, and grant him the ability, finally, to heal.\u003c/p>\n\u003cp>Maybe, in the process, he will manage to move past finding other queer folk and fat people disgusting. \u003cem>Baby Reindeer\u003c/em> suggests that Richard Gadd hasn’t quite managed to do that, yet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But I’m holding out hope for Donny.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956676/baby-reindeer-netflix-review-problematic-abuse-lgbt-queerness","authors":["byline_arts_13956676"],"categories":["arts_1","arts_75","arts_990"],"tags":["arts_3226","arts_3324","arts_769"],"affiliates":["arts_137"],"featImg":"arts_13956677","label":"arts_137"},"arts_13956374":{"type":"posts","id":"arts_13956374","meta":{"index":"posts_1591205157","site":"arts","id":"13956374","score":null,"sort":[1713893938000]},"guestAuthors":[],"slug":"new-the-jinx-part-two-hbo-max-review-robert-durst-confession","title":"So Far, the Biggest Mystery of the New ‘Jinx’ Is: What’s the Mystery?","publishDate":1713893938,"format":"standard","headTitle":"So Far, the Biggest Mystery of the New ‘Jinx’ Is: What’s the Mystery? | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>HBO’s \u003ca href=\"https://www.npr.org/2015/03/18/376989647/the-jinx-and-the-challenges-of-public-curiosity\">\u003cem>The Jinx\u003c/em>,\u003c/a> which aired in 2015 (yes, nine years ago), was a huge contributor to the true-crime boom in television and audio. It came out the same year as Netflix’s \u003ca href=\"https://www.npr.org/2016/01/05/461908092/over-10-years-two-filmmakers-documented-the-making-a-murderer\">\u003cem>Making a Murderer\u003c/em> \u003c/a>and only a few months after the first season of the podcast \u003ca href=\"https://www.npr.org/2014/12/18/371636304/sarah-koenig-on-serial-i-think-something-went-wrong-with-this-case\">\u003cem>Serial\u003c/em>\u003c/a>. Few later attempts have been as successful, though, because they lack \u003cem>The Jinx\u003c/em>‘s secret weapon: the participation of the extraordinarily strange, compulsively talkative, and now deceased subject, Robert Durst.\u003c/p>\n\u003cp>The story of the docuseries goes like this: Durst had long been suspected in both the disappearance of his wife, Kathie, in 1982 and the shooting death of his best friend, Susan Berman, in 2000. He had admitted shooting his neighbor, Morris Black, in 2001 but was acquitted by a jury on a theory of self-defense. For reasons known only to himself, Durst chose to live out his life as an ultrawealthy real estate tycoon, but also to sit for long interviews with director Andrew Jarecki for \u003cem>The Jinx \u003c/em>to discuss the alleged crimes.\u003c/p>\n\u003cp>[aside postid='arts_11299066']These interviews were what made \u003cem>The Jinx \u003c/em>so compelling. Durst could not stop himself from talking, even when staying silent was obviously in his best interests. This extended to a hot-mic incident that Jarecki treated as a bombshell confession, even though it turned out to be a \u003ca href=\"https://www.nytimes.com/2019/04/24/arts/television/robert-durst-the-jinx.html\">bit more complicated than that\u003c/a>. The day before the finale aired, Durst was arrested for the murder of Berman, based in part on evidence that the documentarians had uncovered and provided to law enforcement. This follow-up series essentially covers his trial and the time leading up to it. But it, too, lacks the punch that Durst’s presence offered the original.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ShYl5K8Nlq8\u003c/p>\n\u003cp>There are some things about the self-referential nature of this second chapter that are a little unpleasant. \u003cem>The Jinx \u003c/em>is now part of the story of Durst’s life after his arrest. The filmmakers show some footage of the series finale viewing party they held in 2015 for (among others) the family of the disappeared first wife Durst is suspected of having killed. We watch their (apparent) relief and gratitude when the “confession” is played. Not shown: the incident \u003ca href=\"https://www.nytimes.com/2019/04/24/arts/television/robert-durst-the-jinx.html\">reported in \u003cem>The New York Times\u003c/em>\u003c/a> in which another guest at the same party (Rosie O’Donnell, for whatever reason) immediately demanded to know why the filmmakers would have withheld this evidence from law enforcement to use it as the kicker to the show, a question that played out in the press as well, along with some \u003ca href=\"https://www.npr.org/2015/03/18/376989647/the-jinx-and-the-challenges-of-public-curiosity\">other tough questions about the making of\u003c/a> \u003cem>The Jinx\u003c/em>. But the way the viewing party is shown in \u003cem>Part Two\u003c/em>, nobody felt anything but vindicated and thankful.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It seems questionable to set up a viewing party for a putative victim’s family and film their reaction to your big reveal about her murder, and a bit sketchy to omit parts where people weren’t sure you were doing the good deed you think you were doing.\u003c/p>\n\u003cp>Ethically, those things raise some questions. But as television, the biggest problem with the episodes HBO provided to critics (four out of what will eventually be six) is that they’re pretty boring. Without Durst’s involvement (it seems that he finally stopped participating in documentary-making after he was arrested and died shortly after his conviction), the series often seems to be grasping for revelations. It’s also heavily reliant on reenactments, which aren’t particularly visually interesting and look a lot like every other true-crime reenactment on TV.\u003c/p>\n\u003cp>[aside postid='arts_13955854']The third episode is the best of the four; without spoiling it, it sheds a bit of additional light on the back story, if you’re still looking for it. But what \u003cem>The Jinx — Part Two\u003c/em> reveals is that \u003cem>The Jinx \u003c/em>was interesting because while Durst might be a murderer, he was also a gruesomely fascinating interview subject. While there’s tape here of phone calls from when he was incarcerated, and sometimes you get those “Bob being Bob” moments, the mesmerizing aspects of the original are not there.\u003c/p>\n\u003cp>There’s no telling what might come in the final two episodes; perhaps they have more to say, and that’s why they were held back from critics. The big revelations in \u003cem>The Jinx \u003c/em>came in the last two episodes, after all. But in the meantime, this feels like a mystery show in search of a mystery, a true crime series with limited truths to share.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=So+far%2C+the+biggest+mystery+of+the+new+%27Jinx%27+is%3A+What%27s+the+mystery%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Nine years ago, HBO’s ‘The Jinx’ played a role in the arrest of Robert Durst. Now its follow-up is grasping for revelations.","status":"publish","parent":0,"modified":1713893938,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":837},"headData":{"title":"Review: ‘The Jinx - Part Two’ Doesn’t Offer Much New Information | KQED","description":"Nine years ago, HBO’s ‘The Jinx’ played a role in the arrest of Robert Durst. Now its follow-up is grasping for revelations.","ogTitle":"So Far, the Biggest Mystery of the New ‘Jinx’ Is: What’s the Mystery?","ogDescription":"","ogImgId":"","twTitle":"So Far, the Biggest Mystery of the New ‘Jinx’ Is: What’s the Mystery?","twDescription":"","twImgId":"","socialTitle":"Review: ‘The Jinx - Part Two’ Doesn’t Offer Much New Information %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"So Far, the Biggest Mystery of the New ‘Jinx’ Is: What’s the Mystery?","datePublished":"2024-04-23T17:38:58.000Z","dateModified":"2024-04-23T17:38:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Linda Holmes","nprImageAgency":"HBO","nprStoryId":"1245787366","nprApiLink":"http://api.npr.org/query?id=1245787366&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/04/20/1245787366/the-jinx-part-two-review-robert-durst-murder?ft=nprml&f=1245787366","nprRetrievedStory":"1","nprPubDate":"Sat, 20 Apr 2024 07:01:00 -0400","nprStoryDate":"Sat, 20 Apr 2024 07:01:14 -0400","nprLastModifiedDate":"Sat, 20 Apr 2024 07:01:14 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956374/new-the-jinx-part-two-hbo-max-review-robert-durst-confession","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>HBO’s \u003ca href=\"https://www.npr.org/2015/03/18/376989647/the-jinx-and-the-challenges-of-public-curiosity\">\u003cem>The Jinx\u003c/em>,\u003c/a> which aired in 2015 (yes, nine years ago), was a huge contributor to the true-crime boom in television and audio. It came out the same year as Netflix’s \u003ca href=\"https://www.npr.org/2016/01/05/461908092/over-10-years-two-filmmakers-documented-the-making-a-murderer\">\u003cem>Making a Murderer\u003c/em> \u003c/a>and only a few months after the first season of the podcast \u003ca href=\"https://www.npr.org/2014/12/18/371636304/sarah-koenig-on-serial-i-think-something-went-wrong-with-this-case\">\u003cem>Serial\u003c/em>\u003c/a>. Few later attempts have been as successful, though, because they lack \u003cem>The Jinx\u003c/em>‘s secret weapon: the participation of the extraordinarily strange, compulsively talkative, and now deceased subject, Robert Durst.\u003c/p>\n\u003cp>The story of the docuseries goes like this: Durst had long been suspected in both the disappearance of his wife, Kathie, in 1982 and the shooting death of his best friend, Susan Berman, in 2000. He had admitted shooting his neighbor, Morris Black, in 2001 but was acquitted by a jury on a theory of self-defense. For reasons known only to himself, Durst chose to live out his life as an ultrawealthy real estate tycoon, but also to sit for long interviews with director Andrew Jarecki for \u003cem>The Jinx \u003c/em>to discuss the alleged crimes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_11299066","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>These interviews were what made \u003cem>The Jinx \u003c/em>so compelling. Durst could not stop himself from talking, even when staying silent was obviously in his best interests. This extended to a hot-mic incident that Jarecki treated as a bombshell confession, even though it turned out to be a \u003ca href=\"https://www.nytimes.com/2019/04/24/arts/television/robert-durst-the-jinx.html\">bit more complicated than that\u003c/a>. The day before the finale aired, Durst was arrested for the murder of Berman, based in part on evidence that the documentarians had uncovered and provided to law enforcement. This follow-up series essentially covers his trial and the time leading up to it. But it, too, lacks the punch that Durst’s presence offered the original.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ShYl5K8Nlq8'\n title='//www.youtube.com/embed/ShYl5K8Nlq8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are some things about the self-referential nature of this second chapter that are a little unpleasant. \u003cem>The Jinx \u003c/em>is now part of the story of Durst’s life after his arrest. The filmmakers show some footage of the series finale viewing party they held in 2015 for (among others) the family of the disappeared first wife Durst is suspected of having killed. We watch their (apparent) relief and gratitude when the “confession” is played. Not shown: the incident \u003ca href=\"https://www.nytimes.com/2019/04/24/arts/television/robert-durst-the-jinx.html\">reported in \u003cem>The New York Times\u003c/em>\u003c/a> in which another guest at the same party (Rosie O’Donnell, for whatever reason) immediately demanded to know why the filmmakers would have withheld this evidence from law enforcement to use it as the kicker to the show, a question that played out in the press as well, along with some \u003ca href=\"https://www.npr.org/2015/03/18/376989647/the-jinx-and-the-challenges-of-public-curiosity\">other tough questions about the making of\u003c/a> \u003cem>The Jinx\u003c/em>. But the way the viewing party is shown in \u003cem>Part Two\u003c/em>, nobody felt anything but vindicated and thankful.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It seems questionable to set up a viewing party for a putative victim’s family and film their reaction to your big reveal about her murder, and a bit sketchy to omit parts where people weren’t sure you were doing the good deed you think you were doing.\u003c/p>\n\u003cp>Ethically, those things raise some questions. But as television, the biggest problem with the episodes HBO provided to critics (four out of what will eventually be six) is that they’re pretty boring. Without Durst’s involvement (it seems that he finally stopped participating in documentary-making after he was arrested and died shortly after his conviction), the series often seems to be grasping for revelations. It’s also heavily reliant on reenactments, which aren’t particularly visually interesting and look a lot like every other true-crime reenactment on TV.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955854","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The third episode is the best of the four; without spoiling it, it sheds a bit of additional light on the back story, if you’re still looking for it. But what \u003cem>The Jinx — Part Two\u003c/em> reveals is that \u003cem>The Jinx \u003c/em>was interesting because while Durst might be a murderer, he was also a gruesomely fascinating interview subject. While there’s tape here of phone calls from when he was incarcerated, and sometimes you get those “Bob being Bob” moments, the mesmerizing aspects of the original are not there.\u003c/p>\n\u003cp>There’s no telling what might come in the final two episodes; perhaps they have more to say, and that’s why they were held back from critics. The big revelations in \u003cem>The Jinx \u003c/em>came in the last two episodes, after all. But in the meantime, this feels like a mystery show in search of a mystery, a true crime series with limited truths to share.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=So+far%2C+the+biggest+mystery+of+the+new+%27Jinx%27+is%3A+What%27s+the+mystery%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956374/new-the-jinx-part-two-hbo-max-review-robert-durst-confession","authors":["byline_arts_13956374"],"programs":["arts_140"],"categories":["arts_1","arts_75","arts_990"],"tags":["arts_21958","arts_8350","arts_20624","arts_769","arts_585","arts_8366"],"affiliates":["arts_137"],"featImg":"arts_13956375","label":"arts_140"},"arts_13956040":{"type":"posts","id":"arts_13956040","meta":{"index":"posts_1591205157","site":"arts","id":"13956040","score":null,"sort":[1713287716000]},"guestAuthors":[],"slug":"tickets-presale-code-kevin-hart-paramount-theatre-oakland","title":"Ticket Alert: Kevin Hart at the Paramount Theatre in Oakland","publishDate":1713287716,"format":"standard","headTitle":"Ticket Alert: Kevin Hart at the Paramount Theatre in Oakland | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Comedian Kevin Hart usually plays arenas. Sometimes he even \u003ca href=\"https://thecomicscomic.com/2015/08/31/kevin-hart-plays-to-53000-at-philadelphia-stadium-for-new-stand-up-concert-film-what-now-tour/\">headlines stadiums for over 50,000 people\u003c/a>.\u003c/p>\n\u003cp>So when tickets go on sale for the star comedian’s Oct. 25 show at the Paramount Theatre in Oakland — with just 3,000 seats — expect them to sell out quickly.\u003c/p>\n\u003cp>Fortunately, you can get \u003ca href=\"https://www.ticketmaster.com/event/1C00608BD32A5816\">presale tickets\u003c/a> on Wednesday, April 17, at 10 a.m. using the presale code COMEDY. Tickets go on sale to the general public two days later, on Friday, April 19, at 10 a.m.\u003c/p>\n\u003cp>[aside postID='arts_13955679']Playing smaller venues on this tour was a deliberate decision by the comedian. “I wanted to change things up by creating a more intimate environment,” Hart said in a statement. “This hour is about connecting with the audience and feeding off the crowd’s energy and laughter.”\u003c/p>\n\u003cp>At the ornate art-deco Paramount Theatre in Oakland, that energy should be especially evident. Be quick with the click for tickets \u003ca href=\"https://www.ticketmaster.com/event/1C00608BD32A5816\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The star comedian's Oct. 25 show at the Paramount Theatre in Oakland is sure to sell out quickly. ","status":"publish","parent":0,"modified":1713287716,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":168},"headData":{"title":"Kevin Hart Presale Code for Tickets at the Paramount Theatre in Oakland | KQED","description":"The star comedian's Oct. 25 show at the Paramount Theatre in Oakland is sure to sell out quickly. ","ogTitle":"Ticket Alert: Kevin Hart at the Paramount Theatre in Oakland","ogDescription":"","ogImgId":"","twTitle":"Ticket Alert: Kevin Hart at the Paramount Theatre in Oakland","twDescription":"","twImgId":"","socialTitle":"Kevin Hart Presale Code for Tickets at the Paramount Theatre in Oakland %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Ticket Alert: Kevin Hart at the Paramount Theatre in Oakland","datePublished":"2024-04-16T17:15:16.000Z","dateModified":"2024-04-16T17:15:16.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956040/tickets-presale-code-kevin-hart-paramount-theatre-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian Kevin Hart usually plays arenas. Sometimes he even \u003ca href=\"https://thecomicscomic.com/2015/08/31/kevin-hart-plays-to-53000-at-philadelphia-stadium-for-new-stand-up-concert-film-what-now-tour/\">headlines stadiums for over 50,000 people\u003c/a>.\u003c/p>\n\u003cp>So when tickets go on sale for the star comedian’s Oct. 25 show at the Paramount Theatre in Oakland — with just 3,000 seats — expect them to sell out quickly.\u003c/p>\n\u003cp>Fortunately, you can get \u003ca href=\"https://www.ticketmaster.com/event/1C00608BD32A5816\">presale tickets\u003c/a> on Wednesday, April 17, at 10 a.m. using the presale code COMEDY. Tickets go on sale to the general public two days later, on Friday, April 19, at 10 a.m.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955679","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Playing smaller venues on this tour was a deliberate decision by the comedian. “I wanted to change things up by creating a more intimate environment,” Hart said in a statement. “This hour is about connecting with the audience and feeding off the crowd’s energy and laughter.”\u003c/p>\n\u003cp>At the ornate art-deco Paramount Theatre in Oakland, that energy should be especially evident. Be quick with the click for tickets \u003ca href=\"https://www.ticketmaster.com/event/1C00608BD32A5816\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956040/tickets-presale-code-kevin-hart-paramount-theatre-oakland","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_968","arts_74","arts_990"],"tags":["arts_1143","arts_21734","arts_700","arts_4798"],"featImg":"arts_12832319","label":"arts_140"},"arts_13955948":{"type":"posts","id":"arts_13955948","meta":{"index":"posts_1591205157","site":"arts","id":"13955948","score":null,"sort":[1713190768000]},"guestAuthors":[],"slug":"best-new-documentaries-netflix-hbo-streaming","title":"Three Eye-Opening Documentaries You Can Stream Right Now","publishDate":1713190768,"format":"standard","headTitle":"Three Eye-Opening Documentaries You Can Stream Right Now | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>True crime docs, scammer docs, serious docs … one of the most notable developments of the streaming era of television is that there are new documentary films and series coming out \u003cem>constantly\u003c/em>. The difficulty for someone who might want to check some of them out is that they go by in a blur, and a lot of them have similar-looking titles and promotion. There are still big-ticket entries — on April 21, HBO will premiere a follow-up series to its huge true-crime hit \u003cem>The Jinx\u003c/em> — but there are also a lot of lower-profile projects flying by, so let’s take a moment to check in with a few current ones.\u003c/p>\n\u003ch3>‘\u003ca href=\"https://www.netflix.com/watch/81586385\">What Jennifer Did\u003c/a>’\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=M-ppnYEAqSE\u003c/p>\n\u003cp>A feature-length film about a 2010 home invasion that killed a woman and left her husband in a coma, \u003cem>What Jennifer Did \u003c/em>is mostly told from the point of view of the police who gradually zeroed in on the couple’s daughter, who was home at the time.\u003c/p>\n\u003cp>Police-side crime documentaries tend to be the least interesting to me, and in this case, it feels like there’s a tremendous amount of context missing about the family in favor of a fairly simple “she wanted to be with her boyfriend” narrative. But I say that in part because I have read \u003ca href=\"https://torontolife.com/city/jennifer-pan-revenge/\">the 2015 piece by Karen Ho\u003c/a> in \u003cem>Toronto Life\u003c/em> that considers more broadly what led to this bizarre act.\u003c/p>\n\u003cp>\u003cem>Netflix, available now.\u003c/em>\u003c/p>\n\u003ch3>‘\u003ca href=\"https://play.max.com/video/watch/f0ec4d4e-1b22-431e-8f3d-229103287d3a/511cde7d-1801-4af3-b2dc-d372eaf84791\">Brandy Hellville & the Cult of Fast Fashion\u003c/a>’\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=p1pONvsrBEo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I can honestly tell you I was not very familiar with the Brandy Melville brand before I watched this film, which tells the story of how social media helped make a juggernaut out of a whole lot of nondescript tiny shirts. (It’s more complicated than that, and … also not.)\u003c/p>\n\u003cp>The story of the gross in-store culture (which reminded me a \u003cem>lot\u003c/em> of parts of \u003ca href=\"https://www.netflix.com/title/81323741\">the Netflix film \u003cem>White Hot\u003c/em>, about Abercrombie & Fitch\u003c/a>) is interesting and pretty lively, but I would have preferred a little more time spent on the fast-fashion element, which I do think is ripe for more documentary work.\u003c/p>\n\u003cp>\u003cem>Max, available now.\u003c/em>\u003c/p>\n\u003ch3>‘\u003ca href=\"https://play.max.com/show/a27b5e0a-68eb-48e2-baa6-2b0f01d5b8be\">The Synanon Fix\u003c/a>’\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=Y8Z8xMmly1M\u003c/p>\n\u003cp>Sometimes, it feels like documentaries are their own expanded universe. I was just watching \u003ca href=\"https://www.netflix.com/title/81579761\">an entirely different show\u003c/a> about the “troubled teen” industry and its dark history, and it mentioned how Synanon, which began in California as a program to treat addiction, influenced much of what became the “we will grab your badly behaved teenager from their bed, take them to some secluded location, allow them no contact with anybody, and turn them around” model.\u003c/p>\n\u003cp>And now, Synanon has its own docuseries, which considers whether and when Synanon turned into what you would call a cult. (Was it the head-shaving? The mass weddings? The dictates about reproduction?) But what stands out the most is the consideration of how a program and a community can change shape, and it takes a while for people inside and outside it to register those changes.\u003c/p>\n\u003cp>\u003cem>Max, airing now.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13954796']We’re only scratching the surface of what’s out there — Netflix’s #1 show as I write this is their \u003ca href=\"https://www.netflix.com/browse?jbv=81476420\">\u003cem>\u003cstrong>Unlocked: A Jail Experiment\u003c/strong>\u003c/em>\u003c/a>, about a “program” that gives incarcerated men more freedom. And I am 100% committed to finding time before it expires on April 20 to watch \u003ca href=\"https://www.pbs.org/video/menus-plaisirs-les-troisgros-rbfnou/\">\u003cem>\u003cstrong>Menus-Plaisirs — Les Troisgros\u003c/strong>\u003c/em>\u003c/a>, the latest from the great documentarian Frederick Wiseman, which is available on PBS.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Three+eye-opening+documentaries+you+can+stream+right+now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"It can be hard keeping track of all the new docs out there. Three currently on Netflix and Max are stand outs.","status":"publish","parent":0,"modified":1713162028,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":683},"headData":{"title":"Best New True Crime Documentaries to Stream | KQED","description":"It can be hard keeping track of all the new docs out there. Three currently on Netflix and Max are stand outs.","ogTitle":"Three Eye-Opening Documentaries You Can Stream Right Now","ogDescription":"","ogImgId":"","twTitle":"Three Eye-Opening Documentaries You Can Stream Right Now","twDescription":"","twImgId":"","socialTitle":"Best New True Crime Documentaries to Stream%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Three Eye-Opening Documentaries You Can Stream Right Now","datePublished":"2024-04-15T14:19:28.000Z","dateModified":"2024-04-15T06:20:28.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Linda Holmes","nprImageAgency":"HBO","nprStoryId":"1244355654","nprApiLink":"http://api.npr.org/query?id=1244355654&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/04/14/1244355654/what-to-watch-documentary-netflix-hbo-max?ft=nprml&f=1244355654","nprRetrievedStory":"1","nprPubDate":"Sun, 14 Apr 2024 07:00:00 -0400","nprStoryDate":"Sun, 14 Apr 2024 07:00:40 -0400","nprLastModifiedDate":"Sun, 14 Apr 2024 07:00:40 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13955948/best-new-documentaries-netflix-hbo-streaming","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>True crime docs, scammer docs, serious docs … one of the most notable developments of the streaming era of television is that there are new documentary films and series coming out \u003cem>constantly\u003c/em>. The difficulty for someone who might want to check some of them out is that they go by in a blur, and a lot of them have similar-looking titles and promotion. There are still big-ticket entries — on April 21, HBO will premiere a follow-up series to its huge true-crime hit \u003cem>The Jinx\u003c/em> — but there are also a lot of lower-profile projects flying by, so let’s take a moment to check in with a few current ones.\u003c/p>\n\u003ch3>‘\u003ca href=\"https://www.netflix.com/watch/81586385\">What Jennifer Did\u003c/a>’\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/M-ppnYEAqSE'\n title='//www.youtube.com/embed/M-ppnYEAqSE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A feature-length film about a 2010 home invasion that killed a woman and left her husband in a coma, \u003cem>What Jennifer Did \u003c/em>is mostly told from the point of view of the police who gradually zeroed in on the couple’s daughter, who was home at the time.\u003c/p>\n\u003cp>Police-side crime documentaries tend to be the least interesting to me, and in this case, it feels like there’s a tremendous amount of context missing about the family in favor of a fairly simple “she wanted to be with her boyfriend” narrative. But I say that in part because I have read \u003ca href=\"https://torontolife.com/city/jennifer-pan-revenge/\">the 2015 piece by Karen Ho\u003c/a> in \u003cem>Toronto Life\u003c/em> that considers more broadly what led to this bizarre act.\u003c/p>\n\u003cp>\u003cem>Netflix, available now.\u003c/em>\u003c/p>\n\u003ch3>‘\u003ca href=\"https://play.max.com/video/watch/f0ec4d4e-1b22-431e-8f3d-229103287d3a/511cde7d-1801-4af3-b2dc-d372eaf84791\">Brandy Hellville & the Cult of Fast Fashion\u003c/a>’\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/p1pONvsrBEo'\n title='//www.youtube.com/embed/p1pONvsrBEo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I can honestly tell you I was not very familiar with the Brandy Melville brand before I watched this film, which tells the story of how social media helped make a juggernaut out of a whole lot of nondescript tiny shirts. (It’s more complicated than that, and … also not.)\u003c/p>\n\u003cp>The story of the gross in-store culture (which reminded me a \u003cem>lot\u003c/em> of parts of \u003ca href=\"https://www.netflix.com/title/81323741\">the Netflix film \u003cem>White Hot\u003c/em>, about Abercrombie & Fitch\u003c/a>) is interesting and pretty lively, but I would have preferred a little more time spent on the fast-fashion element, which I do think is ripe for more documentary work.\u003c/p>\n\u003cp>\u003cem>Max, available now.\u003c/em>\u003c/p>\n\u003ch3>‘\u003ca href=\"https://play.max.com/show/a27b5e0a-68eb-48e2-baa6-2b0f01d5b8be\">The Synanon Fix\u003c/a>’\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Y8Z8xMmly1M'\n title='//www.youtube.com/embed/Y8Z8xMmly1M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sometimes, it feels like documentaries are their own expanded universe. I was just watching \u003ca href=\"https://www.netflix.com/title/81579761\">an entirely different show\u003c/a> about the “troubled teen” industry and its dark history, and it mentioned how Synanon, which began in California as a program to treat addiction, influenced much of what became the “we will grab your badly behaved teenager from their bed, take them to some secluded location, allow them no contact with anybody, and turn them around” model.\u003c/p>\n\u003cp>And now, Synanon has its own docuseries, which considers whether and when Synanon turned into what you would call a cult. (Was it the head-shaving? The mass weddings? The dictates about reproduction?) But what stands out the most is the consideration of how a program and a community can change shape, and it takes a while for people inside and outside it to register those changes.\u003c/p>\n\u003cp>\u003cem>Max, airing now.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954796","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>We’re only scratching the surface of what’s out there — Netflix’s #1 show as I write this is their \u003ca href=\"https://www.netflix.com/browse?jbv=81476420\">\u003cem>\u003cstrong>Unlocked: A Jail Experiment\u003c/strong>\u003c/em>\u003c/a>, about a “program” that gives incarcerated men more freedom. And I am 100% committed to finding time before it expires on April 20 to watch \u003ca href=\"https://www.pbs.org/video/menus-plaisirs-les-troisgros-rbfnou/\">\u003cem>\u003cstrong>Menus-Plaisirs — Les Troisgros\u003c/strong>\u003c/em>\u003c/a>, the latest from the great documentarian Frederick Wiseman, which is available on PBS.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Three+eye-opening+documentaries+you+can+stream+right+now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955948/best-new-documentaries-netflix-hbo-streaming","authors":["byline_arts_13955948"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75","arts_990"],"tags":["arts_13672","arts_20624","arts_3324","arts_769","arts_6427","arts_585","arts_8366"],"affiliates":["arts_137"],"featImg":"arts_13955949","label":"arts_140"},"arts_13955854":{"type":"posts","id":"arts_13955854","meta":{"index":"posts_1591205157","site":"arts","id":"13955854","score":null,"sort":[1712877559000]},"guestAuthors":[],"slug":"the-oj-simpson-saga-was-a-unique-american-moment-that-still-hasnt-left-us","title":"The OJ Simpson Saga Was a Unique American Moment That Still Hasn’t Left Us","publishDate":1712877559,"format":"standard","headTitle":"The OJ Simpson Saga Was a Unique American Moment That Still Hasn’t Left Us | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>A dog’s plaintive wail. A courtroom couplet-turned-cultural catchphrase about gloves. A judge and attorneys who became media darlings and villains. A slightly bewildered houseguest elevated, briefly, into a slightly bewildered celebrity. Troubling questions about race that echo still. The beginning of the Kardashian dynasty. An epic slow-motion highway chase. And, lest we forget, \u003ca href=\"https://www.kqed.org/pop/112365/everything-weve-learned-so-far-from-kim-goldmans-oj-simpson-podcast\">two people whose lives ended brutally\u003c/a>.\u003c/p>\n\u003cp>And a nation watched — a nation far different than today’s, where the ravenousness for reality television has multiplied. The spectator mentality of those jumbled days in 1994 and 1995, then novel, has since become an intrinsic part of the American fabric. Smack at the center of the national conversation was O.J. Simpson, one of the most curious cultural figures of recent U.S. history.\u003c/p>\n\u003cp>[aside postid='news_11982639']Simpson’s death Wednesday, almost exactly three decades after the killings that changed his reputation from football hero to suspect, summoned remembrances of an odd moment in time — no, let’s call it what it was, which was deeply weird — in which a smartphone-less country craned its neck toward clunky TVs to watch a Ford Bronco inch its way along a California freeway.\u003c/p>\n\u003cp>“It was an incredible moment in American history,” said Wolf Blitzer, anchoring coverage of Simpson’s death Thursday on CNN. What made it so — beyond, of course, tabloid culture and the fundamental news value of such a famous person accused in such brutal killings?\u003c/p>\n\u003cfigure id=\"attachment_13955855\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955855\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1221630947-scaled-e1712876528807.jpg\" alt=\"A photo of a tv screen showing cars lined up on a freeway. The caption says "ABC News Live Coverage. OJ Simpson's car."\" width=\"1920\" height=\"1293\">\u003cfigcaption class=\"wp-caption-text\">The infamous white Ford Bronco crawling along the freeway in 1994. \u003ccite>(Rick Maiman/ Sygma via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The saga anticipated 21st century media\u003c/h2>\n\u003cp>In an era when the internet as we know it was still being born, when “platform” was still just a place to board a train, Simpson was a unique breed of celebrity. He was truly transmedia, a harbinger of the digital age — a walking, talking crossover story for multiple audiences.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He was sports — the very pinnacle of football excellence. He was stardom, not only for his athletic prowess but for his Hertz-hawking run through airports on TV and his acting in movies like \u003cem>The Naked Gun\u003c/em>. He embodied societal questions about race, class and money long before Nicole Brown Simpson and Ronald Goldman were stabbed to death on June 12, 1994.\u003c/p>\n\u003cp>Then came the saga, beginning with the killings and ending — only technically — in a Los Angeles courtroom more than a year later. The most epic of American novels had nothing on this period of the mid-1990s. Americans watched. Americans talked about watching. Americans debated. Americans judged. And Americans watched some more.\u003c/p>\n\u003cp>The generations-old chasm between white Americans and Black Americans was not helped by \u003cem>Time\u003c/em> magazine’s decision to tactically darken Simpson’s mugshot on its cover for dramatic — and, many said, racist — effect. For those who lived through that period, it’s hard to remember much in the public sphere that wasn’t crowded out by the O.J. storyline and its many components, including the subsequent civil trial that found Simpson liable for the deaths. One newspaper even ran a series of possible endings to the storyline, written by mystery novelists.\u003c/p>\n\u003cp>Sure, people were saying different things. But it was, inarguably, a national conversation.\u003c/p>\n\u003cfigure id=\"attachment_13955856\" class=\"wp-caption aligncenter\" style=\"max-width: 1988px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955856\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107.jpg\" alt=\"A man in a shirt and tie talks on a 1990s-era phone while standing in front of a wall of televisions all showing the trial of OJ Simpson.\" width=\"1988\" height=\"1358\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107.jpg 1988w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-1536x1049.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-1920x1312.jpg 1920w\" sizes=\"(max-width: 1988px) 100vw, 1988px\">\u003cfigcaption class=\"wp-caption-text\">Salesman Neal McCarthy speaks to a customer on the phone, as the O.J. Simpson murder trial is tuned to most of his store’s TVs. \u003ccite>(Pat Greenhouse/ The Boston Globe via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The nation — and its media — are far more fragmented now. Rarely these days do Americans gather around the virtual campfire for a common experience; instead, small brush fires draw niche crowds in virtual corners for equally intense, but smaller, common experiences. This week’s eclipse was a rare exception.\u003c/p>\n\u003cp>In 1994, everyday real-time, wall-to-wall coverage was still emerging. Sure, we had Walter Cronkite during the Kennedy assassination and again during the chaotic 1968 Democratic National Convention. And the first Gulf War in 1991 firmly cemented live-TV expectations. But coverage of the Bronco chase and the trial fed the appetite in a way no other event did. Even now, such universal viewership is rare.\u003c/p>\n\u003cp>[aside postid='pop_112365']“The media we consume is much more diffuse now. It’s so rare that we’re all glued to the same spectacle,” said Danielle Lindemann, author of the 2022 book \u003cem>True Story: What Reality TV Says About Us\u003c/em>.\u003c/p>\n\u003cp>“In 1994 we were watching our television sets and following along with news coverage,” Lindemann, a professor of sociology at Lehigh University, said in an email. “But there wasn’t that parallel discourse happening via social media.”\u003c/p>\n\u003ch2>Connections between then and now\u003c/h2>\n\u003cp>The connections between the Simpson saga and today aren’t hard to find.\u003c/p>\n\u003cp>Judges and lawyers in high-profile cases are now regular fodder for the spotlight. One of Simpson’s attorneys, Robert Kardashian, paved the way for the next generation of his family to change the very face of how celebrity operates. A local Los Angeles TV reporter who covered the case, Harvey Levin, went on to establish TMZ, a luridly foundational pillar of modern multiplatform celebrity coverage — and the outlet that broke the news of Simpson’s death.\u003c/p>\n\u003cp>And of course, as with so many American stories, there is the question of race.\u003c/p>\n\u003cfigure id=\"attachment_13955857\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955857\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-600007422-scaled-e1712876970949.jpg\" alt='A Black man crouches next to a line of t shirts and hats for sale. All say \"Free OJ\" on them.' width=\"1920\" height=\"1289\">\u003cfigcaption class=\"wp-caption-text\">O.J. Simpson shirt and support mechandising outside the courthouse, during his trial in Los Angeles. \u003ccite>(Evan Hurd/ Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Simpson’s acquittal on murder charges revealed a fundamental fault line: Some Black people welcomed the verdict, while many white people were in disbelief. Simpson probably confused matters more over the years by saying, famously, “I’m not Black. I’m O.J.” But for many Black Americans who felt their interactions with police and the courts had produced unjust results, the acquittal was a notable exception.\u003c/p>\n\u003cp>“There was a sense that it’s only justice for a rich Black man to get off when a rich white man would,” said John Baick, a professor of history at Western New England University.\u003c/p>\n\u003cp>Three decades on, that conversation isn’t over — he’s certainly still discussing it with students. On Thursday, Baick invoked Simpson to talk about race, fame and wealth in class; only after it ended did he find out his subject had died.\u003c/p>\n\u003cp>[aside postid='arts_11665308']A generation has passed since these events were fresh. And after thousands of hours of video, millions of written words and countless talking heads weighing in, the O.J. Simpson case stands as two things: an American moment like no other, and an interlude that contained so much of what American culture is and was becoming.\u003c/p>\n\u003cp>From the old, weird America, it got the obsession with violent true crime and its quirky cast of film noir villains and heroes, not to mention the tragedy and the whodunit. And it was a teaser trailer of the emerging, fragmenting internet culture that would, in a few years, give us smartphones, social media, reality-TV saturation and live coverage of just about everything.\u003c/p>\n\u003cp>Was it, as so many said so loudly, “the trial of the century”? That’s subjective. But any culture is made up of small bits, and the Simpson case left many of those in its wake. This much is incontrovertibly true: After the slow-speed chase, American media culture got a whole lot faster really quickly. So fast, in fact, that many of the central questions around the case — about race, justice and how we consume murder and misery as just another set of consumer products — linger unanswered.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Where does this fit in? What do Americans think about this now?” Baick wonders. ”What you think about O.J. Simpson might be a litmus test for a long time still.”\u003c/p>\n\n","blocks":[],"excerpt":"After that slow-speed chase, American media culture got a whole lot faster, really quickly.","status":"publish","parent":0,"modified":1712877893,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1344},"headData":{"title":"How the OJ Simpson Trial Impacted America in Permanent Ways | KQED","description":"After that slow-speed chase, American media culture got a whole lot faster, really quickly.","ogTitle":"The OJ Simpson Saga Was a Unique American Moment That Still Hasn’t Left Us","ogDescription":"","ogImgId":"","twTitle":"The OJ Simpson Saga Was a Unique American Moment That Still Hasn’t Left Us","twDescription":"","twImgId":"","socialTitle":"How the OJ Simpson Trial Impacted America in Permanent Ways %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The OJ Simpson Saga Was a Unique American Moment That Still Hasn’t Left Us","datePublished":"2024-04-11T23:19:19.000Z","dateModified":"2024-04-11T23:24:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Ted Anthony, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13955854/the-oj-simpson-saga-was-a-unique-american-moment-that-still-hasnt-left-us","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A dog’s plaintive wail. A courtroom couplet-turned-cultural catchphrase about gloves. A judge and attorneys who became media darlings and villains. A slightly bewildered houseguest elevated, briefly, into a slightly bewildered celebrity. Troubling questions about race that echo still. The beginning of the Kardashian dynasty. An epic slow-motion highway chase. And, lest we forget, \u003ca href=\"https://www.kqed.org/pop/112365/everything-weve-learned-so-far-from-kim-goldmans-oj-simpson-podcast\">two people whose lives ended brutally\u003c/a>.\u003c/p>\n\u003cp>And a nation watched — a nation far different than today’s, where the ravenousness for reality television has multiplied. The spectator mentality of those jumbled days in 1994 and 1995, then novel, has since become an intrinsic part of the American fabric. Smack at the center of the national conversation was O.J. Simpson, one of the most curious cultural figures of recent U.S. history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11982639","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Simpson’s death Wednesday, almost exactly three decades after the killings that changed his reputation from football hero to suspect, summoned remembrances of an odd moment in time — no, let’s call it what it was, which was deeply weird — in which a smartphone-less country craned its neck toward clunky TVs to watch a Ford Bronco inch its way along a California freeway.\u003c/p>\n\u003cp>“It was an incredible moment in American history,” said Wolf Blitzer, anchoring coverage of Simpson’s death Thursday on CNN. What made it so — beyond, of course, tabloid culture and the fundamental news value of such a famous person accused in such brutal killings?\u003c/p>\n\u003cfigure id=\"attachment_13955855\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955855\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1221630947-scaled-e1712876528807.jpg\" alt=\"A photo of a tv screen showing cars lined up on a freeway. The caption says "ABC News Live Coverage. OJ Simpson's car."\" width=\"1920\" height=\"1293\">\u003cfigcaption class=\"wp-caption-text\">The infamous white Ford Bronco crawling along the freeway in 1994. \u003ccite>(Rick Maiman/ Sygma via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The saga anticipated 21st century media\u003c/h2>\n\u003cp>In an era when the internet as we know it was still being born, when “platform” was still just a place to board a train, Simpson was a unique breed of celebrity. He was truly transmedia, a harbinger of the digital age — a walking, talking crossover story for multiple audiences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He was sports — the very pinnacle of football excellence. He was stardom, not only for his athletic prowess but for his Hertz-hawking run through airports on TV and his acting in movies like \u003cem>The Naked Gun\u003c/em>. He embodied societal questions about race, class and money long before Nicole Brown Simpson and Ronald Goldman were stabbed to death on June 12, 1994.\u003c/p>\n\u003cp>Then came the saga, beginning with the killings and ending — only technically — in a Los Angeles courtroom more than a year later. The most epic of American novels had nothing on this period of the mid-1990s. Americans watched. Americans talked about watching. Americans debated. Americans judged. And Americans watched some more.\u003c/p>\n\u003cp>The generations-old chasm between white Americans and Black Americans was not helped by \u003cem>Time\u003c/em> magazine’s decision to tactically darken Simpson’s mugshot on its cover for dramatic — and, many said, racist — effect. For those who lived through that period, it’s hard to remember much in the public sphere that wasn’t crowded out by the O.J. storyline and its many components, including the subsequent civil trial that found Simpson liable for the deaths. One newspaper even ran a series of possible endings to the storyline, written by mystery novelists.\u003c/p>\n\u003cp>Sure, people were saying different things. But it was, inarguably, a national conversation.\u003c/p>\n\u003cfigure id=\"attachment_13955856\" class=\"wp-caption aligncenter\" style=\"max-width: 1988px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955856\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107.jpg\" alt=\"A man in a shirt and tie talks on a 1990s-era phone while standing in front of a wall of televisions all showing the trial of OJ Simpson.\" width=\"1988\" height=\"1358\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107.jpg 1988w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-1536x1049.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-2147058107-1920x1312.jpg 1920w\" sizes=\"(max-width: 1988px) 100vw, 1988px\">\u003cfigcaption class=\"wp-caption-text\">Salesman Neal McCarthy speaks to a customer on the phone, as the O.J. Simpson murder trial is tuned to most of his store’s TVs. \u003ccite>(Pat Greenhouse/ The Boston Globe via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The nation — and its media — are far more fragmented now. Rarely these days do Americans gather around the virtual campfire for a common experience; instead, small brush fires draw niche crowds in virtual corners for equally intense, but smaller, common experiences. This week’s eclipse was a rare exception.\u003c/p>\n\u003cp>In 1994, everyday real-time, wall-to-wall coverage was still emerging. Sure, we had Walter Cronkite during the Kennedy assassination and again during the chaotic 1968 Democratic National Convention. And the first Gulf War in 1991 firmly cemented live-TV expectations. But coverage of the Bronco chase and the trial fed the appetite in a way no other event did. Even now, such universal viewership is rare.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_112365","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“The media we consume is much more diffuse now. It’s so rare that we’re all glued to the same spectacle,” said Danielle Lindemann, author of the 2022 book \u003cem>True Story: What Reality TV Says About Us\u003c/em>.\u003c/p>\n\u003cp>“In 1994 we were watching our television sets and following along with news coverage,” Lindemann, a professor of sociology at Lehigh University, said in an email. “But there wasn’t that parallel discourse happening via social media.”\u003c/p>\n\u003ch2>Connections between then and now\u003c/h2>\n\u003cp>The connections between the Simpson saga and today aren’t hard to find.\u003c/p>\n\u003cp>Judges and lawyers in high-profile cases are now regular fodder for the spotlight. One of Simpson’s attorneys, Robert Kardashian, paved the way for the next generation of his family to change the very face of how celebrity operates. A local Los Angeles TV reporter who covered the case, Harvey Levin, went on to establish TMZ, a luridly foundational pillar of modern multiplatform celebrity coverage — and the outlet that broke the news of Simpson’s death.\u003c/p>\n\u003cp>And of course, as with so many American stories, there is the question of race.\u003c/p>\n\u003cfigure id=\"attachment_13955857\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955857\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-600007422-scaled-e1712876970949.jpg\" alt='A Black man crouches next to a line of t shirts and hats for sale. All say \"Free OJ\" on them.' width=\"1920\" height=\"1289\">\u003cfigcaption class=\"wp-caption-text\">O.J. Simpson shirt and support mechandising outside the courthouse, during his trial in Los Angeles. \u003ccite>(Evan Hurd/ Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Simpson’s acquittal on murder charges revealed a fundamental fault line: Some Black people welcomed the verdict, while many white people were in disbelief. Simpson probably confused matters more over the years by saying, famously, “I’m not Black. I’m O.J.” But for many Black Americans who felt their interactions with police and the courts had produced unjust results, the acquittal was a notable exception.\u003c/p>\n\u003cp>“There was a sense that it’s only justice for a rich Black man to get off when a rich white man would,” said John Baick, a professor of history at Western New England University.\u003c/p>\n\u003cp>Three decades on, that conversation isn’t over — he’s certainly still discussing it with students. On Thursday, Baick invoked Simpson to talk about race, fame and wealth in class; only after it ended did he find out his subject had died.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_11665308","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>A generation has passed since these events were fresh. And after thousands of hours of video, millions of written words and countless talking heads weighing in, the O.J. Simpson case stands as two things: an American moment like no other, and an interlude that contained so much of what American culture is and was becoming.\u003c/p>\n\u003cp>From the old, weird America, it got the obsession with violent true crime and its quirky cast of film noir villains and heroes, not to mention the tragedy and the whodunit. And it was a teaser trailer of the emerging, fragmenting internet culture that would, in a few years, give us smartphones, social media, reality-TV saturation and live coverage of just about everything.\u003c/p>\n\u003cp>Was it, as so many said so loudly, “the trial of the century”? That’s subjective. But any culture is made up of small bits, and the Simpson case left many of those in its wake. This much is incontrovertibly true: After the slow-speed chase, American media culture got a whole lot faster really quickly. So fast, in fact, that many of the central questions around the case — about race, justice and how we consume murder and misery as just another set of consumer products — linger unanswered.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Where does this fit in? What do Americans think about this now?” Baick wonders. ”What you think about O.J. Simpson might be a litmus test for a long time still.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955854/the-oj-simpson-saga-was-a-unique-american-moment-that-still-hasnt-left-us","authors":["byline_arts_13955854"],"categories":["arts_1","arts_2303","arts_835","arts_75","arts_990"],"tags":["arts_8054","arts_8366"],"featImg":"arts_13955858","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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