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Ha! A couple years ago I ranted about Emily Hanford's Sold a Story podcast, which I thought perpetuated some misleading myths about how science works even though she was probably at least partially right about some problems with American reading education. Now Hanford is back with a three part followup series. I feel vindicated.

In my previous essay I questioned why we didn't see a magical school bucking the educational winds, where they used the science of reading and every student was an expert reader. Even if Hanford were wrong, I argued, one would typically expect outliers. Here Hanford shows us a school bucking educational trends and every student is an expert reader- and it doesn't exactly use the science of reading!

The premise of the new miniseries is that there is a school in a poor district of Ohio that has consistently delivered far better reading test scores than would be expected- nearly every student in this school district can read. And yet! Ohio state law changes inspired by Hanford's podcast were threatening to force this school district to make changes that might disrupt its educational model.

The Ohio school district's main innovations seem to me, based on Hanford's descriptions, to not actually be about the pedagogy, because I've been insisting since the beginning that probably the pedagogy is not the most determinative factor and nobody has convinced me otherwise. Hanford of course disagrees with me. She claims that it is things like an emphasis on teaching students lots of verbal language at an early age, and giving them significant time to practice. But while discussing these strategies and others, she plays recordings of the teachers and what their strategies seem to have in common is that they are extremely high touch, they are being implemented in classrooms with small class sizes, and the teachers are enthusiastic and engaged. My entirely unbacked by science intuition is that these factors matter more than pedagogy. This is why I've always referred to schools like this (ironically) as magic. These are of course the most expensive and difficult strategies to scale, so it's like saying, we've figured out the way to get every student to learn to read! Get more engaged teachers and don't overwhelm them with too many students! But this school district actually does have some clever ideas about the economics of teaching reading, such as enlisting gym teachers and music teachers as auxiliary reading teachers and giving them training, to allow the school to teach reading in small classes without having to add additional reading teachers. And also putting resources into solving problems of truancy so that you aren't wasting teacher time while students aren't there to benefit.

Hanford's starting point in the first series is that the science of reading says that three cuing is harmful and phonetic decoding is helpful, but this time around her theme is that implementation matters, not pedagogical theory, and again I must repeat that I am not an expert on teaching reading and I am talking without any authority, but I am so here for the new Hanford. She spends a lot of time on the intersection of new educational ideas and government's limitations, like the fact that federal law actually prohibits the Department of Education from endorsing specific programs, for fear of government overreach, putting schools in a funny position where they're required to meet specifications in laws like NCLB that can't actually be communicated, pushing them towards unreliable private organizations with unclear ideological objectives for guidance.

The whole thing was way more satisfying than the original series, and since I much prefer praising things to criticizing them, I had to note the improvement.
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I know [personal profile] lirazel is a big fan of Mark Oppenheimer, but I hadn't listened to any of his work until I stumbled on Dara Horn's promo for his podcast Gatecrashers, which sounded very up my alley. It's about the 'secret Jewish history of the Ivy League', which is to say, the secret history of the non-Jews running the Ivies trying desperately to keep their schools from being overrun by Jews. I did not personally attend an Ivy, but I spent Shabbos at the Hillel of every Ivy except Cornell in the early 2000s, and I formed definite opinions about the Jewish character of these schools.

I really liked Oppenheimer's presentation of the facts. There's a definite Jewish trauma around the Ivy quotas and the history, and it would be easy to present a simple story about the hateful goyim running the show (and this tends to be Dara Horn's presentation of these facts, fwiw), but the reality is a lot more complicated and Jews are a lot more culpable for our participation in the system than the simple story would suggest. Oppenheimer gets that. He gets how the Jews who got in felt differently than the Jews who didn't, he gets how the Jews were not always sympathetic to Asian-Americans and African-Americans faced with similar systems, or how many Jews regarded the inability of POCs to work around the system in the same way the Jews did as a failure of intellect or discipline. He gets how the social dynamics after the fall of the quota system were not always to the credit of Jewish students. I really appreciate the way he balanced these debilities against the constant way the Ivies reminded Jews that they didn't really belong.

I do wish he spent some more time acknowledging that while this trauma is real, it was nowhere near as high on the radar of most Jews as the actual violent traumas that have been experienced. And I am sure Oppenheimer could have found incidences of anti-Semitic violence or threats of violence on Ivy campuses, to the point where the show's emphasis on the effects of quotas and micro-aggressions and the occasional slur starts to seem trivializing.
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If you liked my Hunt teammate Justin's ridiculously over-detailed discussion of the amazing work he did as art director of the 2022 MIT Mystery Hunt, you may enjoy his awesome new podcast, the Extraction.

https://theextraction.justinladia.com/


He's trying to dig deep into the details of Hunt style puzzles and how they're created and what makes them interesting and fun, by interviewing puzzle creators and doing a close examination of one particular puzzle per episode. I think they're really good, and I would guess that they are accessible even to people who don't know puzzles that well. Puzzling is such a weird interdisciplinary art and the first two episodes do an amazing job of providing context to the way puzzles force all these different skills to come together, both in the creation and in the solving. The first episode, with the co-creator of a high production value puzzle hunt, has a lot of great discussion about how project management and logistics intersect with art and design. The second, interviewing a Singaporean puzzle designer, talks a lot about the weird intricacies of language and how puzzles can reveal them.
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The West Wing Weekly: Tomorrow and The Good Place The Podcast: Series Forking Finale Parts 1 and 2

Two podcasts wrapped up last week with massive final episodes- The West Wing Weekly's three year journey through The West Wing finished with an over two hour episode featuring several dozen guests from the cast and crew, notably including the return of Aaron Sorkin and Tommy Schlamme.

I think it wasn't as meaty a delve into the episode as some past episodes of the podcast have been, the overcrowded nature of the guest cast meant it was necessarily somewhat shallower, but it was still profoundly satisfying as a wrapup, full of new behind the scenes stories and interesting perspectives on what The West Wing meant.

Meanwhile, the final episode of The Good Place was accompanied by an over two hour conversation between Marc Evan Jackson and Mike Schur and Drew Goddard, though Schur does a lot more talking than Goddard. I liked the Good Place finale before listening to the podcast, but it covers so much ground and ties up so many arcs that I found myself at something of an emotional remove from some of it, but listening to Schur unpack the show for two hours helped me find my emotional connection to the meaning of the story, its bridges between Eastern and Western philosophy and its wonder about the awe-inspiring nature of the world we live in. And appreciate many of the jokes I'd missed.


They're both long investments of time, longer than the episodes they're about, but they're both well worth if if you are a fan of the underlying media.



Birds of Prey

Jews dance in this film. (If Harley Quinn is Jewish, which she is. She shoplifted Stella D'oro cookies, come on now!)


Superstore Season 5

To be fair, this season has been perfectly funny in the same way as previous seasons, sharp and realistic about the petty cruelties of work at a big box store and keenly observant of the surreality of reality. The union storyline has been brutally funny, various episodic storylines have been hilarious, but... the Mateo of it all has been something of a letdown only because last season's finale hinted at the possibility an even more powerful and complicated show that Superstore could become. Instead, Mateo's storyline has been restored to the conventional by means of all the sitcom trickery that the S4 finale was so notable for avoiding.

Jerry and Sandra's wedding has been a brilliant storyline, though, and the trope of their relationship is that feels funnier to me because I haven't seen it anywhere else that I can remember. Two people who are perfect for each other because of how bland and uninteresting they are... It's amazing how much humor they've wrung from that seemingly terrible premise. Garrett's wedding toast was beautiful.



Star Wars Episode 9 podcasts

I listened to a bunch of different podcast responses to the latest Star Wars movie including [personal profile] bessyboo's,which was all about emotional history with the Star Wars saga and how Episode IX engaged with that, and Fangirl Happy Hour, which used the word fuck a lot and was mostly about the construction of the plot and storybuilding and how shitty they are, and I listened to Our Opinions are Correct, which was all about the sociological place of fandom in society and how cultural investment in Star Wars has driven the response to this movie, and I listened to Nice Jewish Fangirls mostly talk about the experiential side of things, the excitement and joy of actually watching the movie.

It was a kind of nice reminder of all the different ways we experience art, and has helped me come to more peace with how frustrated I was with the movie.


Grey's Anatomy Season 16 Episode 12

An odd episode, in which the hospital doesn't appear at all and Meredith only appears in voiceover at beginning and end. There were two self-contained storylines, one about a disastrous dinner party hosted by Richard and Catherine, and the other about Levi and Nico dealing with the death of Nico's great-uncle.

The less said about the Richard and Catherine storyline the better. I hate the way they've been writing Catherine this season, they've been using her so much as an engine of plot and conflict that we haven't seen a sympathetic side to her in ages, and it made the story of Richard and Catherine's crumbling marriage hard to feel emotionally. There was some humor in the awkward dance of Jackson and Maggie and Vic, and a nicely cathartic ending to their tensions, but otherwise this storyline was just sad and unpleasant.

But Levi and Nico's story was so beautiful. We've already seen the importance of Jewish ritual to Levi in the scene when he calms a woman with severe anxiety by singing Shalom Rav to her. Here the Jewish ritual of watching the body of a Jew and washing it to prepare it for burial is giving a loving and emotional spotlight as the central transformative moment of the episode, where Levi's understanding of his relationship with both Nico and his family evolves as we watch him tend to his uncle's body.

I love so much that this is part of what Grey's Anatomy is, that faith and the ways that it intersects with medicine and life keeps coming up in different ways on this show.

Podcasts

Jul. 11th, 2019 09:38 am
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I had a lot of hours in the car this past weekend as I drove to Gloucester, MA for my cousin's wedding. I could've gone with my parents, but decided to go alone so I'd have my car, which was a good choice. It gave me the ability to jaunt back to Somerville to see [livejournal.com profile] speckled_llama and [livejournal.com profile] thefieldsbeyond, and just generally gave me a little more space from my parents, which I valued.


On the drive up I listened to the full season of "Running from Cops", a journalistic podcast about the way the TV show Cops is made and what its impact is on the way policing works in America. It was fascinating and I highly recommend it.

Needless to say, Cops presents a highly manipulated vision of police work. In the final episode, the reporter is given a copy of the unedited original footage from one ten minute scene from the show, a closely guarded piece of media that emerged in the discovery for a lawsuit against the police department involved. It's stunning to see what gets left out, how it gets reshaped, how it is forced to conform to a narrative that the producers know will sell.



On the drive home, I listened to most of the first season of "I Only Listen to the Mountain Goats", after [personal profile] brainwane has been pushing me to listen to it for ages. It's so good, I'm sorry I waited. I've already subsequently finished listening to season 1 and am a few episodes into Season 2.

It's a podcast where Joseph Fink, one of the writers of Night Vale, interviews John Darnielle from the Mountain Goats. Each episode focuses on just one song, and they discuss how the song works, what the process of creating it was like, and then tangent off in all directions talking about art and life. In the first season, which covered the classic Mountain Goats album "All Hail West Texas", each episode ended with a newly commissioned cover of the song. Many of these covers are stunning.

But beyond that, it's just a really enlightening series of conversations about what it is to make art. The co-hosts have great chemistry that deepens as the show progresses. Darnielle in particular is fascinating, the way he makes himself so vulnerable and seemingly transparent and yet continues to hide and obfuscate himself. The combination of interiority and exteriority that art requires is so fascinating to think about.



I also listened to one episode of "Everyone's a Critic", a podcast about, ahem, Reading the Comments on The Internet. It did not go on my list as a must-listen, but it entertained me well enough. People are amazing.

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