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"title": "Rob Reiner said he was 'never, ever too busy' for his son",
"excerpt": "In 2015, Reiner collaborated with his son, Nick Reiner, on \u003cem>Being Charlie,\u003c/em> a story about addiction, loosely based on Nick's experiences. Rob Reiner talked about the film with \u003cem>Fresh Air \u003c/em>in September.",
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"content": "\u003cp>When Rob Reiner spoke with \u003ca href=\"https://www.npr.org/2025/09/09/nx-s1-5527051/spinal-tap-rob-reiner\" target=\"_blank\">\u003cem>Fresh Air\u003c/em> in September\u003c/a> to promote \u003cem>Spinal Tap II: The End Continues\u003c/em>, Terry Gross asked him about \u003cem>Being Charlie, \u003c/em>a 2015 film he collaborated on with his son Nick Reiner. The film was a semiautobiographical story of addiction and homelessness, based on Nick's \u003ca href=\"https://www.npr.org/2025/12/16/nx-s1-5645110/rob-reiners-son-nick-arrested\" target=\"_blank\">own experiences.\u003c/a>\u003c/p>\u003cp>Nick Reiner was \u003ca href=\"https://www.npr.org/2025/12/15/g-s1-102262/rob-reiner-wife-found-dead-in-los-angeles\" target=\"_blank\">arrested Sunday evening\u003c/a> after Rob and Michele Reiner were found dead inside their California home.\u003c/p>\u003cp>The father character in\u003cem> Being Charlie\u003c/em> feels a lot of tension between his own career aspirations and his son's addiction — but Reiner said that wasn't how it was for him and Nick.\u003c/p>\u003cp>\"I was never, ever too busy,\" Reiner told \u003cem>Fresh Air\u003c/em>. \"I mean, if anything, I was the other way, you know, I was more hands-on and trying to do whatever I thought I could do to help. I'm sure I made mistakes and, you know, I've talked about that with him since.\"\u003c/p>\u003cp>At the time, Reiner said he believed Nick was doing well. \"He's been great … hasn't been doing drugs for over six years,\" Reiner said. \"He's in a really good place.\"\u003c/p>\u003cp>Reiner starred in the 1970s sitcom, \u003cem>All in the Family \u003c/em>and directed\u003ca href=\"https://www.npr.org/2011/08/06/139025610/stand-by-me-a-love-letter-to-childhood-innocence\" target=\"_blank\"> \u003cem>Stand By Me\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://www.npr.org/2017/10/04/555080513/after-30-years-the-princess-bride-abides\" target=\"_blank\">\u003cem>The Princess Bride\u003c/em>\u003c/a>\u003cem>, When Harry Met Sally \u003c/em>and \u003cem>A Few Good Men. Spinal Tap II: The End Continues \u003c/em>is a sequel to his groundbreaking 1984 mockumentary \u003cem>This Is Spinal Tap.\u003c/em>\u003c/p>\u003cp>\"After 15 years of not working together, we came back and started looking at this and seeing if we could come up with an idea, and we started schnadling right away,\" Reiner recalled. \"It was like falling right back in with friends that you hadn't talked to in a long time. It's like jazz musicians, you just fall in and do what you do.\"\u003c/p>\u003cp>Below are some more highlights from that interview.\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>Interview Highlights\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On looking up to his dad, director \u003c/strong>\u003ca href=\"https://www.npr.org/2020/07/03/886564021/fresh-air-remembers-carl-reiner-a-legendary-writer-producer-and-performer\" target=\"_blank\">\u003cstrong>Carl Reiner\u003c/strong>\u003c/a>\u003cstrong>, and growing up surrounded by comedy legends \u003c/strong>\u003c/p>\u003cp>When I was a little boy, my parents said that I came up to them and I said, \"I want to change my name.\" I was about 8 years old ... They were all, \"My god, this poor kid. He's worried about being in the shadow of this famous guy and living up to all this.\" And they say, \"Well, what do you want to change your name to?\" And I said, \"Carl.\" I loved him so much, I just wanted to be like him and I wanted to do what he did and I just looked up to him so much. ...\u003c/p>\u003cp>[When] I was 19 … I was sitting with him in the backyard and he said to me, \"I'm not worried about you. You're gonna be great at whatever you do.\" He lives in my head all the time. I had two great guides in my life. I had my dad, and then \u003ca href=\"https://www.npr.org/2023/12/06/334890639/norman-lear-who-made-funny-sitcoms-about-serious-topics-dies-at-101\" target=\"_blank\">Norman Lear\u003c/a> was like a second father. They're both gone, but they're with me always. ...\u003c/p>\u003cp>There's a picture in my office of all the writers who wrote for \u003ca href=\"https://www.npr.org/2013/07/10/200755247/sid-caesar-who-got-laughs-without-politics-or-putdowns-dies-at-91\" target=\"_blank\">Sid Caesar\u003c/a> and [\u003cem>Your\u003c/em>] \u003cem>Show of Shows\u003c/em> over the nine years, I guess, that they were on. And, when you look at that picture, you're basically looking at everything you ever laughed at in the first half of the 20th century. I mean there's \u003ca href=\"https://www.npr.org/2021/12/07/1061836388/mel-brooks-all-about-me\" target=\"_blank\">Mel Brooks\u003c/a>, there's my dad, there is\u003ca href=\"https://www.npr.org/2018/08/26/462786018/neil-simon-preeminent-and-prolific-playwright-and-screenwriter-has-died\" target=\"_blank\"> Neil Simon\u003c/a>, there is \u003ca href=\"https://www.npr.org/2015/07/29/426827865/at-79-woody-allen-says-theres-still-time-to-do-his-best-work\" target=\"_blank\">Woody Allen\u003c/a>, there is \u003ca href=\"https://www.npr.org/2009/09/18/112930160/larry-gelbart-writing-for-laughs\" target=\"_blank\">Larry Gelbart\u003c/a>, Joe Stein who wrote\u003cem> Fiddler on the Roof\u003c/em>, Aaron Ruben who created \u003cem>The Andy Griffith Show\u003c/em>. Anything you ever laughed at is represented by those people. So these are the people I look up to, and these are people that were around me as a kid growing up.\u003c/p>\u003cp>\u003cstrong>On directing the famous diner scene in \u003cem>When Harry Met Sally\u003c/em>\u003c/strong>\u003c/p>\u003cp>We knew we were gonna do a scene where \u003ca href=\"https://www.npr.org/2023/11/03/1210400843/meg-ryan-what-happens-later-movie-david-duchovny\" target=\"_blank\">Meg [Ryan] \u003c/a>was gonna fake an orgasm in an incongruous place like a deli, and \u003ca href=\"https://www.npr.org/2013/10/17/234823373/billy-crystal-finds-fun-in-growing-old-but-still-cant-find-his-keys\" target=\"_blank\">Billy [Crystal]\u003c/a> came up with the line, \"I'll have what she's having.\" ... I said, we need to find somebody, an older Jewish woman, who could deliver that line, which would seem incongruous. I thought of my mother because my mother had done a couple of little [movie] things ... So I asked her if she wanted to do it and she said sure. I said, \"Now listen mom, hopefully that'll be the topper of the scene. It'll get the big laugh, and if it doesn't, I may have to cut it out.\" ... She said, \"That's fine. I just want to spend the day with you. I'll go to Katz's. I'll get a hot dog.\" ...\u003c/p>\u003cp>When we did the scene the first couple of times through Meg was kind of tepid about it. She didn't give it her all. ... She was nervous. She's in front of the crew and there's extras and people. ... And at one point, I get in there and I said, \"Meg, let me show you what I meant.\" And I sat opposite Billy, and I'm acting it out, and I'm pounding the table and I'm going, \"Yes, yes, yes!\" ... I turned to Billy and I say, \"This is embarrassing ... I just had an orgasm in front of my mother.\" But then Meg came in and she did it obviously way better than I could do it.\u003c/p>\u003cp>\u003cstrong>On differentiating himself from his father with \u003cem>Stand By Me (1986) \u003c/em>\u003c/strong>\u003c/p>\u003cp>I never said specifically I want to be a film director. I never said that. And I never really thought that way. I just knew I wanted to act, direct, and do things, be in the world that he was in. And it wasn't until I did \u003cem>Stand By Me\u003c/em> that I really started to feel very separate and apart from my father. Because the first film I did was, \u003cem>This Is Spinal Tap\u003c/em>, which is a satire. And my father had trafficked in satire with Sid Caesar for many years. And then the second film I did was a film called \u003cem>The Sure Thing\u003c/em>, which was a romantic comedy for young people, and my father had done romantic comedy. \u003cem>The [Dick] Van Dyke Show\u003c/em> is a romantic comedy, a series.\u003c/p>\u003cp>But when I did \u003cem>Stand By Me\u003c/em>, it was the one that was closest to me because ...\u003cstrong> \u003c/strong>I felt that my father didn't love me or understand me, and it was the character of Gordie that expressed those things. And the film was a combination of nostalgia, emotion and a lot of humor. And it was a real reflection of my personality. It was an extension, really, of my sensibility. And when it became successful, I said, oh, OK. I can go in the direction that I want to go in and not feel like I have to mirror everything my father's done up till then.\u003c/p>\u003cp>\u003cstrong>On starting his own production company (Castle Rock) and how the business has changed\u003c/strong>\u003c/p>\u003cp>We started it so I could have some kind of autonomy because I knew that the kinds of films I wanted to make people didn't wanna make. I mean, I very famously went and talked to Dawn Steel, who was the head of Paramount at the time. ... And she says to me, \"What do you wanna make? What's your next film?\" And I said, \"Well, you know, I got a film, but I don't think you're going to want to do it.\" … I'm going to make a movie out of \u003cem>The Princess Bride\u003c/em>. And she said, \"Anything but that.\" So I knew that I needed to have some way of financing my own films, which I did for the longest time. ...\u003c/p>\u003cp>It's tough now. And it's beyond corporate. I mean, it used to be there was \"show\" and \"business.\" They were equal — the size of the word \"show\" and \"business.\" Now, you can barely see the word \"show,\" and it's all \"business.\" And the only things that they look at [are] how many followers, how many likes, what the algorithms are. They're not thinking about telling a story. … I still wanna tell stories. And I'm sure there's a lot of young filmmakers — even Scorsese is still doing it, older ones too — that wanna tell a story. And I think people still wanna hear stories and they wanna see stories. \u003cdiv class=\"fullattribution\">Copyright 2025 NPR\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Rob Reiner spoke with \u003ca href=\"https://www.npr.org/2025/09/09/nx-s1-5527051/spinal-tap-rob-reiner\" target=\"_blank\">\u003cem>Fresh Air\u003c/em> in September\u003c/a> to promote \u003cem>Spinal Tap II: The End Continues\u003c/em>, Terry Gross asked him about \u003cem>Being Charlie, \u003c/em>a 2015 film he collaborated on with his son Nick Reiner. The film was a semiautobiographical story of addiction and homelessness, based on Nick's \u003ca href=\"https://www.npr.org/2025/12/16/nx-s1-5645110/rob-reiners-son-nick-arrested\" target=\"_blank\">own experiences.\u003c/a>\u003c/p>\u003cp>Nick Reiner was \u003ca href=\"https://www.npr.org/2025/12/15/g-s1-102262/rob-reiner-wife-found-dead-in-los-angeles\" target=\"_blank\">arrested Sunday evening\u003c/a> after Rob and Michele Reiner were found dead inside their California home.\u003c/p>\u003cp>The father character in\u003cem> Being Charlie\u003c/em> feels a lot of tension between his own career aspirations and his son's addiction — but Reiner said that wasn't how it was for him and Nick.\u003c/p>\u003cp>\"I was never, ever too busy,\" Reiner told \u003cem>Fresh Air\u003c/em>. \"I mean, if anything, I was the other way, you know, I was more hands-on and trying to do whatever I thought I could do to help. I'm sure I made mistakes and, you know, I've talked about that with him since.\"\u003c/p>\u003cp>At the time, Reiner said he believed Nick was doing well. \"He's been great … hasn't been doing drugs for over six years,\" Reiner said. \"He's in a really good place.\"\u003c/p>\u003cp>Reiner starred in the 1970s sitcom, \u003cem>All in the Family \u003c/em>and directed\u003ca href=\"https://www.npr.org/2011/08/06/139025610/stand-by-me-a-love-letter-to-childhood-innocence\" target=\"_blank\"> \u003cem>Stand By Me\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://www.npr.org/2017/10/04/555080513/after-30-years-the-princess-bride-abides\" target=\"_blank\">\u003cem>The Princess Bride\u003c/em>\u003c/a>\u003cem>, When Harry Met Sally \u003c/em>and \u003cem>A Few Good Men. Spinal Tap II: The End Continues \u003c/em>is a sequel to his groundbreaking 1984 mockumentary \u003cem>This Is Spinal Tap.\u003c/em>\u003c/p>\u003cp>\"After 15 years of not working together, we came back and started looking at this and seeing if we could come up with an idea, and we started schnadling right away,\" Reiner recalled. \"It was like falling right back in with friends that you hadn't talked to in a long time. It's like jazz musicians, you just fall in and do what you do.\"\u003c/p>\u003cp>Below are some more highlights from that interview.\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>Interview Highlights\u003c/h3>\u003c/p>\u003cp>\u003cstrong>On looking up to his dad, director \u003c/strong>\u003ca href=\"https://www.npr.org/2020/07/03/886564021/fresh-air-remembers-carl-reiner-a-legendary-writer-producer-and-performer\" target=\"_blank\">\u003cstrong>Carl Reiner\u003c/strong>\u003c/a>\u003cstrong>, and growing up surrounded by comedy legends \u003c/strong>\u003c/p>\u003cp>When I was a little boy, my parents said that I came up to them and I said, \"I want to change my name.\" I was about 8 years old ... They were all, \"My god, this poor kid. He's worried about being in the shadow of this famous guy and living up to all this.\" And they say, \"Well, what do you want to change your name to?\" And I said, \"Carl.\" I loved him so much, I just wanted to be like him and I wanted to do what he did and I just looked up to him so much. ...\u003c/p>\u003cp>[When] I was 19 … I was sitting with him in the backyard and he said to me, \"I'm not worried about you. You're gonna be great at whatever you do.\" He lives in my head all the time. I had two great guides in my life. I had my dad, and then \u003ca href=\"https://www.npr.org/2023/12/06/334890639/norman-lear-who-made-funny-sitcoms-about-serious-topics-dies-at-101\" target=\"_blank\">Norman Lear\u003c/a> was like a second father. They're both gone, but they're with me always. ...\u003c/p>\u003cp>There's a picture in my office of all the writers who wrote for \u003ca href=\"https://www.npr.org/2013/07/10/200755247/sid-caesar-who-got-laughs-without-politics-or-putdowns-dies-at-91\" target=\"_blank\">Sid Caesar\u003c/a> and [\u003cem>Your\u003c/em>] \u003cem>Show of Shows\u003c/em> over the nine years, I guess, that they were on. And, when you look at that picture, you're basically looking at everything you ever laughed at in the first half of the 20th century. I mean there's \u003ca href=\"https://www.npr.org/2021/12/07/1061836388/mel-brooks-all-about-me\" target=\"_blank\">Mel Brooks\u003c/a>, there's my dad, there is\u003ca href=\"https://www.npr.org/2018/08/26/462786018/neil-simon-preeminent-and-prolific-playwright-and-screenwriter-has-died\" target=\"_blank\"> Neil Simon\u003c/a>, there is \u003ca href=\"https://www.npr.org/2015/07/29/426827865/at-79-woody-allen-says-theres-still-time-to-do-his-best-work\" target=\"_blank\">Woody Allen\u003c/a>, there is \u003ca href=\"https://www.npr.org/2009/09/18/112930160/larry-gelbart-writing-for-laughs\" target=\"_blank\">Larry Gelbart\u003c/a>, Joe Stein who wrote\u003cem> Fiddler on the Roof\u003c/em>, Aaron Ruben who created \u003cem>The Andy Griffith Show\u003c/em>. Anything you ever laughed at is represented by those people. So these are the people I look up to, and these are people that were around me as a kid growing up.\u003c/p>\u003cp>\u003cstrong>On directing the famous diner scene in \u003cem>When Harry Met Sally\u003c/em>\u003c/strong>\u003c/p>\u003cp>We knew we were gonna do a scene where \u003ca href=\"https://www.npr.org/2023/11/03/1210400843/meg-ryan-what-happens-later-movie-david-duchovny\" target=\"_blank\">Meg [Ryan] \u003c/a>was gonna fake an orgasm in an incongruous place like a deli, and \u003ca href=\"https://www.npr.org/2013/10/17/234823373/billy-crystal-finds-fun-in-growing-old-but-still-cant-find-his-keys\" target=\"_blank\">Billy [Crystal]\u003c/a> came up with the line, \"I'll have what she's having.\" ... I said, we need to find somebody, an older Jewish woman, who could deliver that line, which would seem incongruous. I thought of my mother because my mother had done a couple of little [movie] things ... So I asked her if she wanted to do it and she said sure. I said, \"Now listen mom, hopefully that'll be the topper of the scene. It'll get the big laugh, and if it doesn't, I may have to cut it out.\" ... She said, \"That's fine. I just want to spend the day with you. I'll go to Katz's. I'll get a hot dog.\" ...\u003c/p>\u003cp>When we did the scene the first couple of times through Meg was kind of tepid about it. She didn't give it her all. ... She was nervous. She's in front of the crew and there's extras and people. ... And at one point, I get in there and I said, \"Meg, let me show you what I meant.\" And I sat opposite Billy, and I'm acting it out, and I'm pounding the table and I'm going, \"Yes, yes, yes!\" ... I turned to Billy and I say, \"This is embarrassing ... I just had an orgasm in front of my mother.\" But then Meg came in and she did it obviously way better than I could do it.\u003c/p>\u003cp>\u003cstrong>On differentiating himself from his father with \u003cem>Stand By Me (1986) \u003c/em>\u003c/strong>\u003c/p>\u003cp>I never said specifically I want to be a film director. I never said that. And I never really thought that way. I just knew I wanted to act, direct, and do things, be in the world that he was in. And it wasn't until I did \u003cem>Stand By Me\u003c/em> that I really started to feel very separate and apart from my father. Because the first film I did was, \u003cem>This Is Spinal Tap\u003c/em>, which is a satire. And my father had trafficked in satire with Sid Caesar for many years. And then the second film I did was a film called \u003cem>The Sure Thing\u003c/em>, which was a romantic comedy for young people, and my father had done romantic comedy. \u003cem>The [Dick] Van Dyke Show\u003c/em> is a romantic comedy, a series.\u003c/p>\u003cp>But when I did \u003cem>Stand By Me\u003c/em>, it was the one that was closest to me because ...\u003cstrong> \u003c/strong>I felt that my father didn't love me or understand me, and it was the character of Gordie that expressed those things. And the film was a combination of nostalgia, emotion and a lot of humor. And it was a real reflection of my personality. It was an extension, really, of my sensibility. And when it became successful, I said, oh, OK. I can go in the direction that I want to go in and not feel like I have to mirror everything my father's done up till then.\u003c/p>\u003cp>\u003cstrong>On starting his own production company (Castle Rock) and how the business has changed\u003c/strong>\u003c/p>\u003cp>We started it so I could have some kind of autonomy because I knew that the kinds of films I wanted to make people didn't wanna make. I mean, I very famously went and talked to Dawn Steel, who was the head of Paramount at the time. ... And she says to me, \"What do you wanna make? What's your next film?\" And I said, \"Well, you know, I got a film, but I don't think you're going to want to do it.\" … I'm going to make a movie out of \u003cem>The Princess Bride\u003c/em>. And she said, \"Anything but that.\" So I knew that I needed to have some way of financing my own films, which I did for the longest time. ...\u003c/p>\u003cp>It's tough now. And it's beyond corporate. I mean, it used to be there was \"show\" and \"business.\" They were equal — the size of the word \"show\" and \"business.\" Now, you can barely see the word \"show,\" and it's all \"business.\" And the only things that they look at [are] how many followers, how many likes, what the algorithms are. They're not thinking about telling a story. … I still wanna tell stories. And I'm sure there's a lot of young filmmakers — even Scorsese is still doing it, older ones too — that wanna tell a story. And I think people still wanna hear stories and they wanna see stories. \u003cdiv class=\"fullattribution\">Copyright 2025 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>",
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"slug": "remembering-jazz-drummer-and-composer-jack-dejohnette",
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"title": "Remembering jazz drummer and composer Jack DeJohnette",
"excerpt": "Critic Martin Johnson says DeJohnette, who died Oct. 26, was one of the greatest jazz drummers of the past 60 years. He played with a range of musicians, including Miles Davis and Bill Evans.",
"publishDate": 1765821984,
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"content": "\u003cp> \u003cdiv class=\"fullattribution\">Copyright 2025 NPR\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003cdiv class=\"fullattribution\">Copyright 2025 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>",
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"slug": "zadie-smiths-heads-up-to-young-people-you-are-absolutely-going-to-become-old",
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"title": "Zadie Smith's heads up to young people: 'You are absolutely going to become old'",
"excerpt": "Smith was 25 in 2000 when she published her critically acclaimed first novel.\u003cem> \u003c/em>Now 50, her latest collection of essays, \u003cem>Dead and Alive,\u003c/em> reflects on middle age, climate change and generational gaps.",
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"content": "\u003cp>Whenever she encounters a new piece of writing or art or film, author Zadie Smith asks herself: \"Does this thing make me feel alive?\"\u003c/p>\u003cp>\"It sounds like a very childish question, but ... that's really what it's about for me,\" Smith says. \"Does it create some kind of flourishing within me?\"\u003c/p>\u003cp>Smith was 25 in 2000 when she published \u003cem>White Teeth,\u003c/em> her critically acclaimed first novel.\u003cem> \u003c/em>Now 50, her latest collection of essays, \u003cem>Dead and Alive,\u003c/em> reflects on middle age, climate change and generation gaps, particularly between millennials and her own Generation X.\u003c/p>\u003cp>Smith admits to being \"obsessed with time\" — perhaps because of the age gap that existed between her parents. (Smith's mother, a Black woman from Jamaica, was 30 years younger than\u003cstrong> \u003c/strong>Smith's father, a white English man.)\u003c/p>\u003cp>\"I'm the product of a completely inappropriate relationship for sure,\" she says. Her mother was someone \"who was only 20 years older than me, who'd come from a completely different world, a different island,\" while her father was someone \"who went to see \u003cem>Casablanca\u003c/em> in the cinema, who saw Ella Fitzgerald sing live.\"\u003c/p>\u003cp>Smith says she lives with melancholy — \"that's a permanent part of my way of being\" — but she doesn't have the overwhelming fear of death that she felt when she was younger: \"When I was in my 20s ... I was so terrified of death and all I wanted to do was live, live, live, live. Now given all my luck and the pleasure of the work that I've done, I'm less terrified and I feel like I've been given just about as much as I deserve. So everything else at this point is gravy.\"\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>Interview highlights \u003c/h3>\u003c/p>\u003cp>\u003cstrong>On the intensity of today's generational discourse\u003c/strong>\u003c/p>\u003cp>When I think of myself as a child and my mother's generation and my father's, obviously there are things in both that as a teenager you find absurd or you roll your eyes at, but ... I did not think of them as eating up my resources, ending the planet or making my future impossible. So that made it possible to look on their foibles — whether it was free love in the '60s or a certain kind of patriotism or whatever — with a gentle eye, because it wasn't existential.\u003c/p>\u003cp>So, to me, it makes complete sense that the discussions feel more angry or violent now, because they should [be]. If you are young and feel like you cannot rent an apartment, you cannot make your life, you cannot buy a house, you cannot start an apprenticeship, you cannot get a job — why would you not look above you and say \"F- you\"? That makes complete sense to me.\u003c/p>\u003cp>\u003cstrong>On the trouble with the binary of young and old\u003c/strong>\u003c/p>\u003cp>If you are young, you are absolutely going to become old. So it would seem to me not really worth making an absolutely vicious discourse out of something that you are about to enter literally before you know it, right? That's the one thing that I know now that I didn't know at 20 is that you become 50 in the blink of an eye. … There's no reason for anyone who's 20 to know that — I didn't know it. But it is true. And so that means, to me, that a certain amount of care around the issue of age should be practiced on both sides because it's one of those deep delusions that you don't realize you're in until it's too late.\u003c/p>\u003cp>\u003cstrong>On watching hours of TV every day as a child\u003c/strong>\u003c/p>\u003cp>I was, I guess, a bit of a latchkey kid 'cause my parents were working ... I watched a tremendous amount. ... I just loved it. … When you're in a household of two such peculiarly different individuals out of two alien histories, and then thirdly you're in a country which you know is your home, but many people in it don't seem to think it's your home, you're kind of looking for clues. ... I think for me TV, it was like a clue. ... I used to play, like a lot of people of my generation, spot the Black person. I was watching TV to try and find us anywhere and [was] always completely thrilled to find anybody. So that also involved a lot of old movies, a lot of American television. It was just a way of situating myself in the world.\u003c/p>\u003cp>\u003cstrong>On the tensions between waves of feminism \u003c/strong>\u003c/p>\u003cp>My daughter would say I'm very judgmental. I know I am. I come from a judgmental school of feminism, passed down from my mother. Like, I still have never written the word \"Mrs.\" on any document in my life. \"Ms.\" is burned into my brain since I was about 5 years old. With all these things, I try to say to myself, \"I am the way I am because of the way I was raised, because of the ideas I was raised around.\" Once I know that, then I know it's relational\u003cstrong>. \u003c/strong>\u003c/p>\u003cp>I just don't believe in that kind of neoliberal idea of progress builds on progress. I think each group of people has to figure it out themselves and your job, if you've already been through it, is to offer support. … But enforcement, as you learn as a parent pretty quickly, doesn't work. People will just go in the other direction.\u003c/p>\u003cp>\u003cstrong>On how she thinks about aging now that she's 50\u003c/strong>\u003c/p>\u003cp>I mean there's decrepitude. ... I'm speaking to you with an eye patch on because I've got macular degeneration, so I had an operation on my right eye. So there's that feeling of vulnerability. I've been so lucky, again, I'm rarely ill, rarely having any physical difficulties. So there's that shock of like, oh yeah, here it comes, this reminder of your human weakness. So there's that. Trying to work out what kind of a sick person you're gonna be. Are you gonna be the kind who talks about it endlessly on the radio? Or are you gonna be the kind who just soldiers on bravely and barely mentions it? I don't know. You find out. I always love that line of \u003ca href=\"https://www.npr.org/2024/04/16/1244847366/salman-rushdie-knife\" target=\"_blank\">Salman Rushdie\u003c/a> who says, \"Our lives teach us who we are.\" That's how it is. Like you can have all kinds of ideas about who you are, but your life shows you.\u003c/p>\u003cp>\u003cem>Thea Chaloner and Susan Nyakundi produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.\u003c/em> \u003cdiv class=\"fullattribution\">Copyright 2025 NPR\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whenever she encounters a new piece of writing or art or film, author Zadie Smith asks herself: \"Does this thing make me feel alive?\"\u003c/p>\u003cp>\"It sounds like a very childish question, but ... that's really what it's about for me,\" Smith says. \"Does it create some kind of flourishing within me?\"\u003c/p>\u003cp>Smith was 25 in 2000 when she published \u003cem>White Teeth,\u003c/em> her critically acclaimed first novel.\u003cem> \u003c/em>Now 50, her latest collection of essays, \u003cem>Dead and Alive,\u003c/em> reflects on middle age, climate change and generation gaps, particularly between millennials and her own Generation X.\u003c/p>\u003cp>Smith admits to being \"obsessed with time\" — perhaps because of the age gap that existed between her parents. (Smith's mother, a Black woman from Jamaica, was 30 years younger than\u003cstrong> \u003c/strong>Smith's father, a white English man.)\u003c/p>\u003cp>\"I'm the product of a completely inappropriate relationship for sure,\" she says. Her mother was someone \"who was only 20 years older than me, who'd come from a completely different world, a different island,\" while her father was someone \"who went to see \u003cem>Casablanca\u003c/em> in the cinema, who saw Ella Fitzgerald sing live.\"\u003c/p>\u003cp>Smith says she lives with melancholy — \"that's a permanent part of my way of being\" — but she doesn't have the overwhelming fear of death that she felt when she was younger: \"When I was in my 20s ... I was so terrified of death and all I wanted to do was live, live, live, live. Now given all my luck and the pleasure of the work that I've done, I'm less terrified and I feel like I've been given just about as much as I deserve. So everything else at this point is gravy.\"\u003c/p>\u003cp>\u003chr />\u003c/p>\u003cp>\u003ch3>Interview highlights \u003c/h3>\u003c/p>\u003cp>\u003cstrong>On the intensity of today's generational discourse\u003c/strong>\u003c/p>\u003cp>When I think of myself as a child and my mother's generation and my father's, obviously there are things in both that as a teenager you find absurd or you roll your eyes at, but ... I did not think of them as eating up my resources, ending the planet or making my future impossible. So that made it possible to look on their foibles — whether it was free love in the '60s or a certain kind of patriotism or whatever — with a gentle eye, because it wasn't existential.\u003c/p>\u003cp>So, to me, it makes complete sense that the discussions feel more angry or violent now, because they should [be]. If you are young and feel like you cannot rent an apartment, you cannot make your life, you cannot buy a house, you cannot start an apprenticeship, you cannot get a job — why would you not look above you and say \"F- you\"? That makes complete sense to me.\u003c/p>\u003cp>\u003cstrong>On the trouble with the binary of young and old\u003c/strong>\u003c/p>\u003cp>If you are young, you are absolutely going to become old. So it would seem to me not really worth making an absolutely vicious discourse out of something that you are about to enter literally before you know it, right? That's the one thing that I know now that I didn't know at 20 is that you become 50 in the blink of an eye. … There's no reason for anyone who's 20 to know that — I didn't know it. But it is true. And so that means, to me, that a certain amount of care around the issue of age should be practiced on both sides because it's one of those deep delusions that you don't realize you're in until it's too late.\u003c/p>\u003cp>\u003cstrong>On watching hours of TV every day as a child\u003c/strong>\u003c/p>\u003cp>I was, I guess, a bit of a latchkey kid 'cause my parents were working ... I watched a tremendous amount. ... I just loved it. … When you're in a household of two such peculiarly different individuals out of two alien histories, and then thirdly you're in a country which you know is your home, but many people in it don't seem to think it's your home, you're kind of looking for clues. ... I think for me TV, it was like a clue. ... I used to play, like a lot of people of my generation, spot the Black person. I was watching TV to try and find us anywhere and [was] always completely thrilled to find anybody. So that also involved a lot of old movies, a lot of American television. It was just a way of situating myself in the world.\u003c/p>\u003cp>\u003cstrong>On the tensions between waves of feminism \u003c/strong>\u003c/p>\u003cp>My daughter would say I'm very judgmental. I know I am. I come from a judgmental school of feminism, passed down from my mother. Like, I still have never written the word \"Mrs.\" on any document in my life. \"Ms.\" is burned into my brain since I was about 5 years old. With all these things, I try to say to myself, \"I am the way I am because of the way I was raised, because of the ideas I was raised around.\" Once I know that, then I know it's relational\u003cstrong>. \u003c/strong>\u003c/p>\u003cp>I just don't believe in that kind of neoliberal idea of progress builds on progress. I think each group of people has to figure it out themselves and your job, if you've already been through it, is to offer support. … But enforcement, as you learn as a parent pretty quickly, doesn't work. People will just go in the other direction.\u003c/p>\u003cp>\u003cstrong>On how she thinks about aging now that she's 50\u003c/strong>\u003c/p>\u003cp>I mean there's decrepitude. ... I'm speaking to you with an eye patch on because I've got macular degeneration, so I had an operation on my right eye. So there's that feeling of vulnerability. I've been so lucky, again, I'm rarely ill, rarely having any physical difficulties. So there's that shock of like, oh yeah, here it comes, this reminder of your human weakness. So there's that. Trying to work out what kind of a sick person you're gonna be. Are you gonna be the kind who talks about it endlessly on the radio? Or are you gonna be the kind who just soldiers on bravely and barely mentions it? I don't know. You find out. I always love that line of \u003ca href=\"https://www.npr.org/2024/04/16/1244847366/salman-rushdie-knife\" target=\"_blank\">Salman Rushdie\u003c/a> who says, \"Our lives teach us who we are.\" That's how it is. Like you can have all kinds of ideas about who you are, but your life shows you.\u003c/p>\u003cp>\u003cem>Thea Chaloner and Susan Nyakundi produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.\u003c/em> \u003cdiv class=\"fullattribution\">Copyright 2025 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>",
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"slug": "theres-a-dead-man-in-church-in-this-snarky-knives-out-mystery",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/specials/2025/12/20251212_specials_there_s_a_dead_man_in_church_in_this_snarky_knives_out_mystery.mp3?t=progseg&e=g-s1-101930&p=13&seg=2&d=554&size=8876662",
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"title": "There's a 'Dead Man' in church in this snarky 'Knives Out' mystery",
"excerpt": "A firebrand fundamentalist is stabbed to death at church in Rian Johnson's new film, \u003cem>Wake Up Dead Man.\u003c/em> This over-the-top whodunit uses mystery conventions to open up a spiritual inquiry.",
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"content": "\u003cp>When I was in my early teens, I was both a devout churchgoer and an avid reader of mysteries. One of my favorite writers was \u003ca href=\"https://www.npr.org/2014/12/01/367766895/p-d-james-believed-mysteries-were-made-of-clues-not-coincidences\" target=\"_blank\">P.D. James\u003c/a>, whose Anglican faith informed her fiction in subtle ways. For James, the plotting and solving of murder was a grisly yet profoundly moral undertaking. A detective story, she wrote, \"confirms our hope that, despite some evidence to the contrary, we live in a beneficent and moral universe in which problems can be solved by rational means.\"\u003c/p>\u003cp>The new movie \u003cem>Wake Up Dead Man\u003c/em>, \u003ca href=\"https://www.npr.org/2022/12/12/1142183112/glass-onion-knives-out-rian-johnson\" target=\"_blank\">Rian Johnson\u003c/a>'s latest whodunit after \u003ca href=\"https://www.npr.org/2019/11/27/782165138/knives-out-a-classic-comic-mystery-of-uncommon-sharpness\" target=\"_blank\">\u003cem>Knives Out\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2022/12/15/1143149795/we-spoil-glass-onion-a-knives-out-mystery\" target=\"_blank\">\u003cem>Glass Onion\u003c/em>\u003c/a>, is too funny and slyly over-the-top to feel like a P.D. James story; to my knowledge, James never incorporated body-dissolving acid or the old poisoned-beverage switcheroo trick. But in his own crafty way, Johnson is also using mystery conventions to open up a spiritual inquiry. \u003c/p>\u003cp>The story takes place in and around a Catholic church at a small town in upstate New York, where a junior priest named Jud Duplenticy, played by a terrific \u003ca href=\"https://www.npr.org/2025/10/25/nx-s1-5509945/josh-oconnor-talks-about-his-leading-role-in-the-art-heist-film-the-mastermind\" target=\"_blank\">Josh O'Connor\u003c/a>, has been assigned to serve. Unfortunately, he's forced to work under Monsignor Jefferson Wicks, whom \u003ca href=\"https://www.npr.org/2014/12/04/368236521/after-decades-acting-josh-brolin-still-wonders-if-hes-good-enough\" target=\"_blank\">Josh Brolin\u003c/a> plays as an angry fundamentalist firebrand, spewing hatred and contempt for gay people, single moms and the entire hell-bound secular world.\u003c/p>\u003cp>Although Wicks' behavior has reduced church attendance, he's surrounded himself with a small group of loyalists. The most devoted is Martha, who keeps the church running; she's played by an amusingly nosy \u003ca href=\"https://www.npr.org/2019/02/12/693974655/well-before-the-wife-glenn-close-was-ready-for-her-close-up\" target=\"_blank\">Glenn Close\u003c/a>. There's also \u003ca href=\"https://www.npr.org/2023/09/25/1201488524/kerry-washington-thicker-than-water-memoir\" target=\"_blank\">Kerry Washington\u003c/a> as a sharp-witted attorney and \u003ca href=\"https://www.npr.org/2023/03/27/1166178259/jeremy-renner-snow-plow-accident-update\" target=\"_blank\">Jeremy Renner\u003c/a> as a sad-sack alcoholic doctor. \u003ca href=\"https://www.npr.org/2024/08/25/nx-s1-5080549/cailee-spaeny-stars-in-the-new-instalment-of-the-alien-movies\" target=\"_blank\">Cailee Spaeny\u003c/a> plays a famous cellist who donates large sums to the church, in hopes that God will heal her chronic pain. Two characters feel like sharp, cynical jabs at American conservatism: One is a formerly liberal writer, played by \u003ca href=\"https://www.npr.org/2024/04/08/1243380181/ripley-netflix-andrew-scott\" target=\"_blank\">Andrew Scott\u003c/a>, who's since drifted rightward. The other is a failed young Republican politician turned aspiring YouTuber, played by Daryl McCormack.\u003c/p>\u003cp>With the best of intentions, Jud tries hard to break Wicks' hold on his flock and lead them into deeper faith in God. But he succeeds only in making an even greater enemy of the monsignor. And when Wicks is fatally stabbed in the church — and on Good Friday, no less — suspicion immediately falls on Jud. But Jud insists that he's innocent, and before long, the private investigator Benoit Blanc, played once again by \u003ca href=\"https://www.npr.org/2011/12/20/143970761/from-bond-to-blomkvist-daniel-craigs-next-big-role\" target=\"_blank\">Daniel Craig\u003c/a> with a courtly Southern drawl, comes knocking.\u003c/p>\u003cp>Blanc believes that Jud is innocent and enlists him to help solve the murder, which won't be easy. Wicks is the victim of what is known in detective fiction as an impossible crime, one that seems to defy rational explanation. At one point, Blanc gives Jud and the audience a crash course in the work of John Dickson Carr, the undisputed master of the impossible-crime novel. Since Carr is another of my favorite writers, Johnson's next-level genre geekery almost had me levitating out of my seat.\u003c/p>\u003cp>\u003cem>Wake Up Dead Man\u003c/em> may not be the best movie I've seen this year, but in some ways — and I don't often say this kind of thing — it feels like the movie that was made most \u003cem>for\u003c/em> me. That goes for its ideas as well as its genre trappings. Just as the first two \u003cem>Knives Out\u003c/em> movies skewered racism, classism, billionaires and tech bros, \u003cem>Wake Up Dead Man\u003c/em> takes sharp aim at what it sees as the intolerance and insularity of the Christian right. The political jabs aren't always subtle, and sometimes, the petty, ill-tempered parishioners sound too alike in their strident bickering. But that just makes Father Jud all the more appealing a character, as he sets out to humbly yet radically love his community.\u003c/p>\u003cp>Given how good O'Connor has been lately, in movies like \u003ca href=\"https://www.npr.org/2024/04/26/1247149132/challenges-review-zendaya-tennis\" target=\"_blank\">\u003cem>Challengers\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2025/10/28/nx-s1-5588480/the-mastermind-review-louvre-heist\" target=\"_blank\">\u003cem>The Mastermind\u003c/em>\u003c/a>, it's saying a lot that this is one of his best performances — and one that elevates this snarky, satirical murder farce to a genuinely contemplative plane. Even as tensions mount — there's more than one victim, and possibly more than one killer — the movie becomes a kind of theological debate, pitting Jud the earnest believer against Blanc the fierce skeptic. Who emerges the winner? Let's just say that with a puzzle as satisfyingly constructed as \u003cem>Wake Up Dead Man\u003c/em>, God really is in the details. \u003cdiv class=\"fullattribution\">Copyright 2025 NPR\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I was in my early teens, I was both a devout churchgoer and an avid reader of mysteries. One of my favorite writers was \u003ca href=\"https://www.npr.org/2014/12/01/367766895/p-d-james-believed-mysteries-were-made-of-clues-not-coincidences\" target=\"_blank\">P.D. James\u003c/a>, whose Anglican faith informed her fiction in subtle ways. For James, the plotting and solving of murder was a grisly yet profoundly moral undertaking. A detective story, she wrote, \"confirms our hope that, despite some evidence to the contrary, we live in a beneficent and moral universe in which problems can be solved by rational means.\"\u003c/p>\u003cp>The new movie \u003cem>Wake Up Dead Man\u003c/em>, \u003ca href=\"https://www.npr.org/2022/12/12/1142183112/glass-onion-knives-out-rian-johnson\" target=\"_blank\">Rian Johnson\u003c/a>'s latest whodunit after \u003ca href=\"https://www.npr.org/2019/11/27/782165138/knives-out-a-classic-comic-mystery-of-uncommon-sharpness\" target=\"_blank\">\u003cem>Knives Out\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2022/12/15/1143149795/we-spoil-glass-onion-a-knives-out-mystery\" target=\"_blank\">\u003cem>Glass Onion\u003c/em>\u003c/a>, is too funny and slyly over-the-top to feel like a P.D. James story; to my knowledge, James never incorporated body-dissolving acid or the old poisoned-beverage switcheroo trick. But in his own crafty way, Johnson is also using mystery conventions to open up a spiritual inquiry. \u003c/p>\u003cp>The story takes place in and around a Catholic church at a small town in upstate New York, where a junior priest named Jud Duplenticy, played by a terrific \u003ca href=\"https://www.npr.org/2025/10/25/nx-s1-5509945/josh-oconnor-talks-about-his-leading-role-in-the-art-heist-film-the-mastermind\" target=\"_blank\">Josh O'Connor\u003c/a>, has been assigned to serve. Unfortunately, he's forced to work under Monsignor Jefferson Wicks, whom \u003ca href=\"https://www.npr.org/2014/12/04/368236521/after-decades-acting-josh-brolin-still-wonders-if-hes-good-enough\" target=\"_blank\">Josh Brolin\u003c/a> plays as an angry fundamentalist firebrand, spewing hatred and contempt for gay people, single moms and the entire hell-bound secular world.\u003c/p>\u003cp>Although Wicks' behavior has reduced church attendance, he's surrounded himself with a small group of loyalists. The most devoted is Martha, who keeps the church running; she's played by an amusingly nosy \u003ca href=\"https://www.npr.org/2019/02/12/693974655/well-before-the-wife-glenn-close-was-ready-for-her-close-up\" target=\"_blank\">Glenn Close\u003c/a>. There's also \u003ca href=\"https://www.npr.org/2023/09/25/1201488524/kerry-washington-thicker-than-water-memoir\" target=\"_blank\">Kerry Washington\u003c/a> as a sharp-witted attorney and \u003ca href=\"https://www.npr.org/2023/03/27/1166178259/jeremy-renner-snow-plow-accident-update\" target=\"_blank\">Jeremy Renner\u003c/a> as a sad-sack alcoholic doctor. \u003ca href=\"https://www.npr.org/2024/08/25/nx-s1-5080549/cailee-spaeny-stars-in-the-new-instalment-of-the-alien-movies\" target=\"_blank\">Cailee Spaeny\u003c/a> plays a famous cellist who donates large sums to the church, in hopes that God will heal her chronic pain. Two characters feel like sharp, cynical jabs at American conservatism: One is a formerly liberal writer, played by \u003ca href=\"https://www.npr.org/2024/04/08/1243380181/ripley-netflix-andrew-scott\" target=\"_blank\">Andrew Scott\u003c/a>, who's since drifted rightward. The other is a failed young Republican politician turned aspiring YouTuber, played by Daryl McCormack.\u003c/p>\u003cp>With the best of intentions, Jud tries hard to break Wicks' hold on his flock and lead them into deeper faith in God. But he succeeds only in making an even greater enemy of the monsignor. And when Wicks is fatally stabbed in the church — and on Good Friday, no less — suspicion immediately falls on Jud. But Jud insists that he's innocent, and before long, the private investigator Benoit Blanc, played once again by \u003ca href=\"https://www.npr.org/2011/12/20/143970761/from-bond-to-blomkvist-daniel-craigs-next-big-role\" target=\"_blank\">Daniel Craig\u003c/a> with a courtly Southern drawl, comes knocking.\u003c/p>\u003cp>Blanc believes that Jud is innocent and enlists him to help solve the murder, which won't be easy. Wicks is the victim of what is known in detective fiction as an impossible crime, one that seems to defy rational explanation. At one point, Blanc gives Jud and the audience a crash course in the work of John Dickson Carr, the undisputed master of the impossible-crime novel. Since Carr is another of my favorite writers, Johnson's next-level genre geekery almost had me levitating out of my seat.\u003c/p>\u003cp>\u003cem>Wake Up Dead Man\u003c/em> may not be the best movie I've seen this year, but in some ways — and I don't often say this kind of thing — it feels like the movie that was made most \u003cem>for\u003c/em> me. That goes for its ideas as well as its genre trappings. Just as the first two \u003cem>Knives Out\u003c/em> movies skewered racism, classism, billionaires and tech bros, \u003cem>Wake Up Dead Man\u003c/em> takes sharp aim at what it sees as the intolerance and insularity of the Christian right. The political jabs aren't always subtle, and sometimes, the petty, ill-tempered parishioners sound too alike in their strident bickering. 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Let's just say that with a puzzle as satisfyingly constructed as \u003cem>Wake Up Dead Man\u003c/em>, God really is in the details. \u003cdiv class=\"fullattribution\">Copyright 2025 NPR\u003c/div>\u003c/p>\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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},
"radiolab": {
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"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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