Doja Cat - Planet HER (Official Live Performances) | Vevo

0:00 - Intro
0:10 - "Love To Dream"
4:03 - "Ain't Shit"
7:17 - "Need To Know"

Spend time roaming ‘Planet Her’ and you’ll know that Doja Cat’s artistic vision never sleeps. The singer’s desire to develop rich musical and visual environments for her fans is job one, and her third album, coming after ‘Amala’ and ‘Hot Pink,’ is her most fully-realized statement yet - surely one of the reasons the singer's career exploded in the last year. Doja has told interviewers that she wanted to take chances, try new approaches, and create “otherworldly” sounds. Job done. The same goes for these new Official Live Performances. After meeting with the singer and her creative team, our production crew got to work in a canyon outside of LA. There, assuring that “otherworldly” request was appropriately fleshed out, we built a 48’ stage in the center of a rocky crag. Doja, banking on a combo of skills, artistry, and perseverance, did the rest. Check it out this three-song performance of "Need To Know," "Love To Dream," and "Ain't Shit."

Watch music videos by Doja Cat: http://bit.ly/3azELOl

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Creative Director: Micah Bickham
Executive Producer: Micah Bickham
Executive Producer: Ed Walker
Executive Producer: JP Evangelista
Exceutive Producer, Contrast Films: Jordy Wax
Directed By: Kyle Goldberg
Producer: Maddy Schmidt
Producer: Haley Sliger
Producer: Cole Brian
Produced By: Contrast Films
Director Of Photography: Franklin Ricart
Production Design: Wes Dogan
Special Effects: Sean Joesph
Audio: Casey Graham & Pavan Grewall
Camera Operator: Connor O’Brien
Crane Tech: Will Pipkins & Shawn Fossen
Crane Operator: Bogdan Iofciulescu
1st AC: Eric Gauntt
2nd AC: Ethan Sterling
1st AD: Derek Jaeschke
2nd AD: Joe Battaglia
Gaffer: Dimitrios Christoforidis
Best Boy Electric: Connor Burns
Electrician: Hayden Klemes & Julian Tuzzeo
Key Grip: Stu Brumbaugh
Best Boy Grip: Anthony Sandalena
Grip: Daymon Scott
Grip: Nick Lundstrom
Grip: Coda Abatti
Grip: Randy Newman
DIT: Zach Ballantine
Location Manager: Terry Wong
Location Assistant: Jeremy Fortin
Production Assistant: Johnny Baez
Production Assistant: Matthew Sliger
Production Assistant: Isabel Eyre
Production Assistant: Ryan Frizelle
Production Assistant: Andrea Nguyen
Post Production Supervisor: Mike Colman & Dominic Siri
Motion Design: Sydney Emery
Design: Sydney Emery
Design: Dominique Falcone
Design: Keith Wright
Editor: Kevin Rose
Colorist: Justin Roberts
Talent & Label Team: Annie Shapiro & Jordan Ferree

#DojaCat #AintShit #DojaCatLive #PlanetHer

http://vevo.ly/AGNIdD

Billie Eilish - Your Power (Official Live Performance) | Vevo

Billie Eilish's trademark whisper has gained more and more emotional power in the last four years. The secret-sharing sense of intimacy contained in the pop phenom's voice brims with the kind of textural qualities that pull fans deep into the story she's telling in any given song. Sometimes dreamy, sometimes fierce, always fetching. The three songs Billie's shared from her upcoming 'Happier Than Ever' album have all used her signature sound to great advantage, and our Official Live Performance of "Your Power" is a great example. Flanked by her brother Finneas on acoustic guitar, she blends that rich coo into an eloquent indictment of those who "take advantage" of others. The visual setting, designed after brainstorming creative sessions between the singer and our production team, is simple but rich in texture, too - just like Billie's voice. Spend some time absorbing how the siblings compliment each other on "Your Power," and hang close: there are more exclusive performances on their way.

Watch the rest of Billie Eilish's Official Live Performances: https://bit.ly/3rPGs45
Listen to the new album, “Happier Than Ever”, out now: https://BillieEilish.lnk.to/HappierTh...

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The official ‘Your Power’ music video: https://www.youtube.com/watch?v=fzeWc3zh01g&t=0s
Watch more Billie Eilish music videos: https://bit.ly/3ioVVUr

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Executive Producer: Micah Bickham
Executive Producer: JP Evangelista
Director: Kyle Goldberg
Director of Photography: Mack Fisher
Producer: Maddy Schmidt
Producer: Haley Sliger
Producer: Cole Brian
1st AD: Derek Jaeschke
Steadicam: Renard Cheren
B Unit: Sykler Brown
Produced By: Contrast Films
Production Design: Tyler Jensen
Design: Keith Wright, Dominique Falcone, Sydney Emery
Audio: Casey Graham
Editor: Austin Prahl
Post Supervisor: Michael Colman
Colorist: Joseph Bicknell
Music and Talent: Parul Chokshi & Gabby Prisciandaro
Stills Photographer: Lauren Dunn

#BillieEilish #YourPower #Vevo

Lyrics:
Try not to abuse your power
I know we didn't choose to change
You might not wanna lose your power
But having it's so strange

She said you were a hero, you played the part
But you ruined her in a year, don't act like it was hard
And you swear you didn't know (didn't know)
No wonder why you didn't ask
She was sleeping in your clothes (in your clothes)
But now she's got to get to class

How dare you?
And how could you?
Will you only feel bad when they find out?
If you could take it all back, would you?

Try not to abuse your power
I know we didn't choose to change
You might not wanna lose your power
But having it's so strange

I thought that I was special, you made me feel
Like it was my fault you were the devil, lost your appeal
Does it keep you in control? (In control)
For you to keep her in a cage?
And you swear you didn't know (didn't know)
You said you thought she was your age

How dare you?
And how could you?
Will you only feel bad if it turns out
That they kill your contract?
Would you?

Try not to abuse your power
I know we didn't choose to change
You might not wanna lose your power
But power isn't pain

Mmm
Ooh-ooh-ooh-ooh
Ooh-ooh-ooh-ooh, hmm

http://vevo.ly/4C1kG8

Ayra Starr - Commas. An exclusive live performance for Vevo.

Ayra Starr fulfills past promises and pushes Afrobeats forward on her spectacular sophomore album, ‘The Year I Turned 21.’ In many ways - including its age-centric title and lyrical candor - it's an extension of ‘19 & Dangerous,’ the Beninese Nigerian’s star-making 2021 debut. That project played a big part in Vevo naming Starr to our DSCVR Artists To Watch program; her “Rush” performance, in fact, is one of our most popular in recent memory. Nowadays, she’s a wildly successful young twenty-something. You could forgive the newly mint zillenial for reveling in designer clothes as she hangs out with the rich and the hot. Well-earned, of course. But ‘The Year I Turned 21’ is preoccupied with money in a different way. “I’m trying to figure out a way to stay the same,” she rues on “21.” She recently told Apple Music that the track, in which she ticks off the years of her life (“19 I got a big bag”), freed her from writer’s block. “Commas” is poised to be another level up. It’s deeply spiritual, restless, and ambitious. Her faith in God and allergy to “isokuso” will invariably lead to more commas. We believe that the views-counter for this performance will end up with a few commas, too.

Watch music videos by Ayra Starr: https://www.youtube.com/channe....l/UCK7oVw_ftuBIwiipi

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Executive Producer: Chris Pereira
Director: Skyler Brown
Creative Director, Production: Liz Hart
Director, Line Production: Yanina Molina
Producer: Stacey Branson
Producer: Gitory Bartell
Director of Photography: Jake Vriezelaar
Steadicam: Ryan Tousseing
AC: Kyle Isler
Gaffer: Sophia Chambers
A1: Sam Palumbo
A2: Jeremy Nakamura
Production Assistant: Arthur Joseph
Senior Manager, Post Production: Dominic Siri
Editor: Andrew Ros
Music & Talent: Alexa Balint + Cynthia Todd + Sam Mackoff

#AyraStarr #Commas #Vevo

Music video by Ayra Starr performing Commas (Live Performance) | Vevo. © 2024 Mavin Global Holdings Ltd, distributed by Republic Records and UMG Commercial Services

http://vevo.ly/2baoCp

Doja Cat - Streets - Live Performance (Vevo LIFT Live Sessions)

Welcome to the world of Doja Cat. Born and raised in L.A., the 24-year-old self-taught singer-rapper is a vet of sorts. The arts were central to her upbringing, and she started sharing her music on Soundcloud back in 2013. A year later she dropped her much-buzzed-about ‘Purrr!’ EP. Ever since, she’s nurtured an ever-growing array of feverish fans who revere her for combining a radiant charisma with unique flow and tongue-in-cheek lyrics (see: the irresistible“MOOO!”). Seems like Doja has designed her version of alt-R&B to take off in any direction she chooses. Tours with Lizzo and Theophilius London led right into 2018’s impressive ‘Amala,’ her debut proper, followed by last year’s ‘Hot Pink.’ That album’s “Say So” is currently clocking big numbers. Arresting visuals help. Her videos for both her radio juggernaut and "Rules" are wildly fun. When the Vevo production team united with the feline phenom to figure out performance ideas, the creative juices were flowing. The goal? Put the “cat” in Doja Cat - a decision that resulted in what’s probably our most ambitious studio build to date for a LIFT performance. For her “Streets” performance, we built Doja a massive bowl of 2%, where she was clearly in her element. And if that isn’t peak, then the human-sized scratching house is. Dressed in full cat-ear regalia, she pawed her way through the two-story structure, purring the lyrics to her R&B throwback jam “Say So.”

Watch music videos by Doja Cat: http://bit.ly/3azELOl

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Director: Priya Minhas
Producer: Sacha Noelle
Producer: Maddy Schmidt
Producer: Ben Fuqua
Production Company: Contrast Films
Director of Photography: David Okolo
Editor: Austin Prahl
Design & VFX: Sydney Emery
Music & Talent: Annie Shapiro & Jordan Ferree
Executive Producer: Micah Bickham

#DojaCat #Streets #VevoLIFT #HotPink


http://vevo.ly/83XvDH

Givēon - Give Or Take (Live Performance) | Vevo LIFT

Givēon's last two years are a lot like the early-00s Lakers: wins after wins after wins. First was that feature on Drake’s “Chicago Freestyle.” Then he dropped his ‘Take Time’ and ‘When It’s All Said and Done’ EPs, collectively clocking a 100 million streams. That was enough to earn him a Vevo DSCVR Artists To Watch 2021 invite. Next, “Heartbreak Anniversary” topped the R&B charts. If you didn’t know him by then, his feature on Biebs' “Peaches” did the trick - to the tune of more than a billion streams. Now the 27-year-old is our latest LIFT artist. Last month we linked up with the baritone singer just a few LA freeway exits north of his Long Beach hometown. Together we shot a few incredible performances of tracks from his ‘Give or Take’ album, which arrived to cheers. Now sit back and watch all three - "Make You Mine," "Lie Again," and "For Tonight."

Watch Givēon’s entire ‘Give or Take’ LIFT series: https://bit.ly/3OlfVGd

Listen to ‘Give or Take’ in its entirety: https://www.youtube.com/playli....st?list=PL9tY0BWXOZF

Watch music videos by Givēon: https://www.youtube.com/channe....l/UCkIgbcsXIHz0DW2lq

Givēon
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Executive Producer: JP Evangelista
Executive Producer: Micah Bickham
Executive Producer, Contrast Films: Jordy Wax
Director: Kyle Goldberg
Director Of Photography: Skyler Brown
Senior Line Producer: Jen Bates
Line Producer: Maddy Schmidt
Line Producer, Contrast Films: Cole Brian
Producer: Haley Sliger
Coordinating Producer: Averi Smith
Production Designer: Tyler Jensen
Art Director: Danny Erb
Leadperson: Hunter Kist
On Set Dresser: Jordan Pelzl
Photographer: Alex Harper
Production Coordinator: Cole Emery
1st AD: Dereck Jaeschke
2nd AD: Kyle Hardy
Director’s Assistant: Seth Halter
Production Assistant: Matt Callahan
Production Assistant: Jordan Dominguez
Production Assistant: Samantha Newman
Production Assistant: Mario Arita
Production Assistant: Bryon Torres
Produced By: Contrast Films
1st AC: Ben Steen
2nd AC: Melisa Kirchhoff
Steadicam Operator: Renard Cheren
Key Grip: Julien Janigo
Grip: Erik Covarrubias
Grip: Daniel Duenez
Grip: Rob Richards
Grip: Carlos Chavez
Best Boy Grip: Jason Gray
Gaffer: Nghia Khuu
Best Boy Electric: Victoria Chenoweth
Electrician: Matthew Boda
Electrician: Xavier Lopez
Electrician: Doug Houston
A1: Jake Bolles
A2: Parker Morris
VFX Supervisor: Sydney Emery
VFX/Compositing Artists: Sydney Emery & Austin Prahl
Titles/Motion Design: Sydney Emery
Design: Nick Resnicow + Dominique Falcone
Editor: Kevin Rose
Colorist: Jacob McKee
Post Production Supervisor: Mike Colman
Project Manager: Dominic Siri
Music + Talent: Cynthia Todd + David McTiernan

#Giveon #GiveOr Take #Givēon

http://vevo.ly/fPQ3z9

FLO - Not My Job - Live Performance | Vevo DSCVR Artists To Watch 2023

“I knew from the moment [we met] we were about to start something big.” That’s Jorja Douglas recalling her first connection with fellow FLO mates Stella Quaresma and Renée Downer. Seems like Jorja’s intuition was correct. Released last spring, FLO’s debut track “Cardboard Box'' immediately went crazy viral, and threw the 20-year-olds into the middle of the conversation about the current wave of nostalgic-leaning R&B. Comparisons to fellow UK girl groups Spice Girls and Sugababes arrived quickly. Debut EP ‘The Edge’ reinforces the trio’s commitment to the bedazzled fun of throwback pop-R&B. Check how the languid chimes that set the vibe for Ashanti and Usher at the turn of the millennium mark the punchy verses and harmonized choruses of FLO’s “Feature Me.” Indeed, one could easily be convinced that Missy Elliot and Darkchild lent the drum machine they used on Destiny Child’s ‘The Writing’s on the Wall’ to the trio’s producers for “Summertime.” As effortless as they make it seem, Stella, Renée and Jorja spent two years honing their craft before dropping any tracks. That timespan included finding the right teammates, such as “Cardboard Box” producer MNEK, who also has credits with Dua Lipa and Beyoncé. “We had so much fun arranging and recording our Vevo session earlier this year,” they said about their summer visit to our DSCVR studio. Things have changed in the months between: we’ve made a gorgeous upgrade to our space, and FLO has more songs out and ready to perform, like the harmony-tastic "Not My Job." This girl group’s vision is strong, and just like Jorja, we have a really good feeling about it.

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Vevo Executive Producer: Nick Calafato
Vevo Producer: Yomi Ogunsola
Vevo Music & Talent: Carl Young
Vevo Design Lead: Charlee Twigg
Vevo Senior Editor Helena Duque
Vevo Post-Production Coordinator: Scott Robson
Director: Jim Wilmot
Director of Photography: Ben Coughlan
Steadicam Operator: Beau Pritchard-James
1st AD: Kimane Erskine
1st AC / Focus Puller: Jim Mclean
2nd AC / Loader: Asia Rose Kilgallon
Gaffer: Yeh Htoo Love
Light Operator: Ben Houghton
Production Designer: Tyler Jensen
Stills: Aron Klein
Sound Engineer: Alex Archer
Sound Assist: Matt Facey
Sound Mix/Master: Alex Archer
Runner: Dominic Foster
Runner: Poppy Christie

MD: Kojo Samuel
Band: Steve Nti
Band: Emmanuel Mitchell
Band: Jeffery Osei-Asibey
Band: Aleksey Lopez
MONS: Tyreece Laurence
Playback/Broadcast: Fraser Latimer

Stylist: Kirsty Stewart
Stylist Assistant: Catie Oladapo
Choreographer: Kash Powell
Vocal Coach: Joshua Alamu
MUA: Saba Khan
MUA: Jasmine Hamilton
MUA: Moomal Moghul
Hair: Aaliyah Willoughby Haynes
Hair: Naarah Santos

#FLO #NotMyJob #DSCVRATW2023

Music video by FLO performing Not My Job (Live / Vevo DSCVR Artists To Watch 2023). An Island Records recording; © 2022 Universal Music Operations Limited

http://vevo.ly/oNOHxo

Olivia Rodrigo - favorite crime (Official Live Performance) | Vevo

Acting isn’t the only thing that Olivia Rodrigo is great at. When the ‘High School Musical: The Musical: The Series’ star dropped her “drivers license” video back at the start of the year, the overwhelming response made it clear that she had a way of deeply communicating with listeners not only as an actor, but as an artist. Views-wise, it crossed the 200-million mark in just four months. Pretty impressive for someone who had never put out an album on her own. Rodrigo, who proved “drivers license” was no fluke when “deja vu” also hit a home run upon release last month, is fixing that. Her ‘Sour’ debut arrives on May 21, and by the time it gets here, she will have performed at both the BRIT Awards and Saturday Night Live. Billboard reports that the 18-year-old pop phenom is the “first artist to send her first two proper singles straight into the Hot 100’s top 10.” The SoCal native, who wrote “driver’s license” with her pal Dan Nigro, recently told the press that she was obsessed with emotions, and loved her jobs as both actor and musician because they allow her to be so expressive. We’re thrilled that we got to work with Olivia on designing our exclusive LIFT content. A few weeks ago we hit L.A., connected with Team Rodrigo, and came home with the kind of pieces that will give fans a revealing look into the singer’s personality: two unique performances and an exclusive interview portrait. ‘favorite crime’ captures that feeling of letting your thoughts drift while at home in your teenage bedroom. “These pieces look amazing on film,” says Rodrigo. “It captures the tone of my work in a really powerful way.” Hang tight, there’s more Olivia on the way.

Watch Olivia Rodrigo videos: https://www.youtube.com/channe....l/UCy3zgWom-5AGypGX_

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Executive Producer: Micah Bickham
Director: Priya Minhas
Producer: Maddy Schmidt
Director of Photography: Tehillah De Castro
Editor: Kevin Rose
Music & Talent: Gabby Prisciandaro & David McTiernan

#OliviaRodrigo #OliviaRodrigoLive #favoritecrime #favoritecrimeLive

http://vevo.ly/5Q26tO

Eva - À moi. An exclusive performance for Vevo.

Nouvel album « Page blanche » sorti le 03.05, toujours dispo : https://eva.lnk.to/PageBlanche

Abonne toi à la chaine : @iam_evaqueen

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Director: Eleanor Hann
Vevo Executive Producer: Nick Calafato
Vevo Senior Producer: Yomi Ogunsola
Vevo Production Coordinator: Nancy Loud
Vevo Music & Talent: Lyva Corvo
Vevo Editorial: Léa Saiz
Vevo Senior Editor: Helena Duque
Vevo Post-Production Associate Manager/Editor: Scott Robson
Vevo Design Director: Charlee Twigg
1st AD: Ismah Ansari
Director of Photography: Ben Coughlan
Steadicam Operator: Beau Pritchard-James
1st AC / Focus Puller: Jim Mclean
2nd AC / Loader: Evangeline Perkins
Gaffer: Giovanni Mattei
Light Director: Ben Mansfield
Stills: Aaran Thoofe
Sound Engineer: Alex Archer
Sound Assistant: Matt Facey
Runner: Elizabeth Playle
Runner: Samad Olukunle

Demi Lovato - 29 (Official Live Performance)

Demi Lovato’s ‘HOLY FVCK’ is a pure distillation of the superstar’s creative ethos: they’ve spent the bulk of their career emphasizing honesty, and their eighth studio album walks the same path. It arrives as the incredibly successful pop singer turns the page on their twenties and launches into their thirties. So it makes sense they would turn to a new sound, too. ‘HOLY FVCK’ is a rock album. The genre choice makes sense considering the project is designed as a bright stage, one on which main character Demi wrestles with some of life’s overwhelming challenges. For all to see. At 15 years old, Demi said that metal music fascinated them. Armed with well-earned creative freedom, they have the greenlight to accelerate full throttle into this not-so-pop genre that’s alway intrigued them. ‘29’ - a raw interrogation of men who prey on younger women - has kicked off a social media conversation for others to share similar experiences. It’s the right place to begin our collab with Demi, and we can’t wait to share more.

Watch Demi Lovato videos: https://www.youtube.com/playli....st?list=PL9tY0BWXOZF

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Executive Producer: JP Evangelista
Executive Producer: Micah Bickham
Executive Producer, Contrast Films: Jordy Wax

Director: Micah Bickham
Creative Director: Chris Pereira
Director of Photography: Nyk Allen
Senior Line Producer: Jen Bates
Line Producer: Maddy Schmidt
Senior Producer: Luis G. Santos
Producer, Contrast Films: Cole Brian
Producer, Contrast Films: Haley Sliger
Associate Producer, Contrast Films: Cole Emery

Production Designer: Tyler Jensen
Art Director: Daniel Erb
Art Dept. PA: Alex Mendez
Art Dept. PA: Fletcher McCall
1st AD: Derek Jaeschke
2nd AD: Delaney Archer

1st AC: Q Rodriguez
1st AC: Joe Tomcufcik
2nd AC: Kate Ruthenbeck
Jib/Crane Op: Scott Acosta
Jib/Crane Op: Jesse Williams
Crane Tech: Joel Fletcher
Steadicam Op: Colin MacDonnell
DIT: Kohl Bass

Production Assistant: Mario Arita
Production Assistant: Dilllon Weidler
Production Assistant: Matt Callahan
Production Assistant: Hanna Rosenbaum
Production Assistant: Zoe Thomsonn
Production Assistant: Ben Venegas

On Set Dresser: Eric Moore
On Set Dresser: Jordan Pelzl
On Set Dresser: Jason Smith
On Set Dresser: Michael Coursey

Lighting Designer: Josh Beard
CLT: Jonathan Woelfel
Key Grip: Alex Picasso
Best Boy Grip: Sam Satossky
Grip: Eddie Apodaca

Motion Design: Sydney Emery
Motion Design: Eryn Hsu
Design: Sydney Emery
Design: Hannah Damico
Photographer: Ragan Henderson
Audio: Jake Bolles

Editor: Austin Prahl
Color: Forager
Colorist: Jacob McKee
Post Production Supervisor: Michael Colman
Project Manager, Post Production: Dominic Siri
Music + Talent: Annie Shapiro + Gabby Prisciandaro + Sam Mackoff

#DemiLovato #HOLYFVCK #29

Music video by Demi Lovato performing 29 (Official Live Performance / Vevo). © 2022 Island Records, a division of UMG Recordings, Inc.

http://vevo.ly/OFuJdb

Eva - À moi. An exclusive performance for Vevo.

Nouvel album « Page blanche » sorti le 03.05, toujours dispo : https://eva.lnk.to/PageBlanche

Abonne toi à la chaine : @iam_evaqueen

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Director: Eleanor Hann
Vevo Executive Producer: Nick Calafato
Vevo Senior Producer: Yomi Ogunsola
Vevo Production Coordinator: Nancy Loud
Vevo Music & Talent: Lyva Corvo
Vevo Editorial: Léa Saiz
Vevo Senior Editor: Helena Duque
Vevo Post-Production Associate Manager/Editor: Scott Robson
Vevo Design Director: Charlee Twigg
1st AD: Ismah Ansari
Director of Photography: Ben Coughlan
Steadicam Operator: Beau Pritchard-James
1st AC / Focus Puller: Jim Mclean
2nd AC / Loader: Evangeline Perkins
Gaffer: Giovanni Mattei
Light Director: Ben Mansfield
Stills: Aaran Thoofe
Sound Engineer: Alex Archer
Sound Assistant: Matt Facey
Runner: Elizabeth Playle
Runner: Samad Olukunle

Eva - Joli. An exclusive performance for Vevo.

Nouvel album « Page blanche » sorti le 03.05, toujours dispo : https://eva.lnk.to/PageBlanche

Abonne toi à la chaine : @iam_evaqueen

► Follow Eva :
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Director: Eleanor Hann
Vevo Executive Producer: Nick Calafato
Vevo Senior Producer: Yomi Ogunsola
Vevo Production Coordinator: Nancy Loud
Vevo Music & Talent: Lyva Corvo
Vevo Editorial: Léa Saiz
Vevo Senior Editor: Helena Duque
Vevo Post-Production Associate Manager/Editor: Scott Robson
Vevo Design Director: Charlee Twigg
1st AD: Ismah Ansari
Director of Photography: Ben Coughlan
Steadicam Operator: Beau Pritchard-James
1st AC / Focus Puller: Jim Mclean
2nd AC / Loader: Evangeline Perkins
Gaffer: Giovanni Mattei
Light Director: Ben Mansfield
Stills: Aaran Thoofe
Sound Engineer: Alex Archer
Sound Assistant: Matt Facey
Runner: Elizabeth Playle
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From 2020, Scott Pelley’s look at a project in Siberia that is attempting to recreate an Ice Age ecosystem. From 2018, Bill Whitaker’s ride on one of the last enduring symbols of the Old West, a Wyoming cattle drive that travels the same route pioneered 125 years ago. Also from 2018, Whitaker’s visit to South Africa to see how scientists are looking for living organisms deep within the earth. And from 2022, Jon Wertheim’s visit to Fogo Island, off the coast of Newfoundland.

#news #60minutes #interesting

"60 Minutes" is the most successful television broadcast in history. Offering hard-hitting investigative reports, interviews, feature segments and profiles of people in the news, the broadcast began in 1968 and is still a hit, over 50 seasons later, regularly making Nielsen's Top 10.

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0:00 Intro
0:11 Pleistocene Park
14:00 The Green River Drift
27:58 Ultra Deep
41:44 An Island Off an Island

From 2021, Anderson Cooper's story on Emperor Caligula's gardens in Rome. From 2023, Jon Wertheim's report on Sealand, the world’s smallest state. Also from 2023, Lesley Stahl's visit to Cayo Santiago, also known as Monkey Island, where scientists have rare access to more than six decades of biological and behavioral data. And from 2019, Scott Pelley's look at Lalibela, a holy site with 11 churches that the Ethiopian Orthodox Church says were built by angels.

#news #travel #world

"60 Minutes" is the most successful television broadcast in history. Offering hard-hitting investigative reports, interviews, feature segments and profiles of people in the news, the broadcast began in 1968 and is still a hit, over 50 seasons later, regularly making Nielsen's Top 10.

Subscribe to the "60 Minutes" YouTube channel: https://youtube.com/60minutes
Watch full episodes: https://cbsn.ws/1Qkjo1F
Get more "60 Minutes" from "60 Minutes: Overtime": https://cbsnews.com/60-minutes/overtime/
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0:00 Intro
0:11 Caligula's Gardens
13:27 Sealand
26:38 Monkey Island
39:56 Built by Angels

From February 2022, Lesley Stahl’s report on Americans wrongfully imprisoned abroad. From June of this year, Scott Pelley’s interview with dissidents of Vladimir Putin living in Lithuania after fleeing Russia. From June 2022, Bill Whitaker’s story on corrupt Russian money that's infiltrated the British economy. And from March 2022, Sharyn Alfonsi’s story on the strategy behind the economic sanctions against Russia.

#news #russia #worldnews

"60 Minutes" is the most successful television broadcast in history. Offering hard-hitting investigative reports, interviews, feature segments and profiles of people in the news, the broadcast began in 1968 and is still a hit, over 50 seasons later, regularly making Nielsen's Top 10.

Subscribe to the "60 Minutes" YouTube channel: https://youtube.com/60minutes
Watch full episodes: https://cbsn.ws/1Qkjo1F
Get more "60 Minutes" from "60 Minutes: Overtime": https://cbsnews.com/60-minutes/overtime/
Follow "60 Minutes" on Instagram: https://instagram.com/60minutes/
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0:00 Intro
0:11 Wrongful Detainees
13:29 The Capital of Free Russia
27:02 Londongrad
40:15 Economic Shock and Awe

The enduring story of the battle of Fallujah, told by the people who lived through it.

This journalism is made possible by viewers like you. Support your local PBS station here: http://www.pbs.org/donate​.

With this spring marking the 20-year anniversary of the U.S.-led invasion of Iraq, “Once Upon a Time in Iraq: Fallujah” tells the story of the battle to retake the key city of Fallujah from a violent insurgency that was taking root across Iraq after the U.S. ousted Saddam Hussein.

In this documentary from filmmaker James Bluemel (“Once Upon a Time in Iraq,” “Exodus”), U.S. Marines, journalists and ordinary Iraqis share their experiences of what would become the bloodiest battle of the Iraq War, and how its consequences have reverberated for two decades.

“Once Upon a Time in Iraq: Fallujah” is a Keo Films Ltd. production for GBH/FRONTLINE and BBC. Produced and directed by James Bluemel. The series producer is Jo Abel. The producers are Gus Palmer, Stewart Armstrong and Sally Brindle. The senior producer is Dan Edge. The executive producers for Keo Films are Andrew Palmer and Will Anderson. The editor-in-chief and executive producer for FRONTLINE is Raney Aronson-Rath.

Explore additional reporting on "Once Upon a Time in Iraq: Fallujah" on our website:
https://www.pbs.org/wgbh/front....line/documentary/onc

#Documentary #IraqWar #Fallujah #USMarines

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FRONTLINE is produced at GBH in Boston and is broadcast nationwide on PBS. Funding for FRONTLINE is provided through the support of PBS viewers and by the Corporation for Public Broadcasting. Additional funding is provided by the Abrams Foundation; Park Foundation; the John D. and Catherine T. MacArthur Foundation; and the FRONTLINE Journalism Fund with major support from Jon and Jo Ann Hagler on behalf of the Jon L. Hagler Foundation, and additional support from Koo and Patricia Yuen.

CHAPTERS:
Prologue - 00:00
U.S. Marines in Fallujah, Iraq, in November 2004 - 1:12
A U.S. Marine’s Family - 6:20
U.S. Marines’ Rules of Engagement in Fallujah - 12:30
What Happened to an Iraqi Family in the Battle of Fallujah - 23:20
Journalists Embedded with U.S. Marines in Fallujah - 29:15
Legacy of the Battle of Fallujah for Two Families — Iraqi and American - 44:56
Credits - 52:00

Have efforts to solve the plastic pollution problem made it worse? Go inside the battle over plastics, recycling and what’s at stake.

This journalism is made possible by viewers like you. Support your local PBS station here: http://www.pbs.org/donate

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#RecyclingDocumentary #PlasticWars #frontlinePBS

Despite efforts spreading across America to reduce the use of plastic and the crisis of ocean pollution growing, the plastics industry is rapidly scaling up new production and promoting a familiar solution: recycling. But it’s estimated that no more than 10% of plastic produced has ever been recycled. The documentary “Plastic Wars,” from FRONTLINE and NPR, reveals how plastic makers for decades have publicly promoted recycling, despite privately expressing doubts that widespread plastic recycling would ever be economically viable.

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FRONTLINE is streaming more than 200 documentaries online, for free, here: http://to.pbs.org/hxRvQP

Funding for FRONTLINE is provided through the support of PBS viewers and by the Corporation for Public Broadcasting. Major funding for FRONTLINE is provided by the John D. and Catherine T. MacArthur Foundation and the Ford Foundation. Additional funding is provided by the Abrams Foundation, the Park Foundation, The John and Helen Glessner Family Trust, the Heising-Simons Foundation, and the FRONTLINE Journalism Fund with major support from Jon and Jo Ann Hagler on behalf of the Jon L. Hagler Foundation.

FRONTLINE tells the inside story of the U.S. government’s massive and controversial secret surveillance program that began in the wake of September 11 -- and the lengths they went to trying to keep it hidden from the public. (Aired 2014)

This journalism is made possible by viewers like you. Support your local PBS station here: http://www.pbs.org/donate​.

From the investigative team behind FRONTLINE’s award-winning “Money, Power & Wall Street,” comes the definitive history of domestic surveillance in a post-9/11 world. In part one of this two part series, FRONTLINE filmmaker Michael Kirk pieces together the secret political history of “The Program,” which began in the wake of Sept. 11 and continues today — even after the revelations of its existence by Edward Snowden.

Love FRONTLINE? Find us on the PBS Video App where there are more than 300 FRONTLINE documentaries available for you to watch any time: https://to.pbs.org/FLVideoApp​

#Documentary #UnitedStatesofSecrets

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Funding for FRONTLINE is provided through the support of PBS viewers and by the Corporation for Public Broadcasting. Major funding for FRONTLINE is provided by the Ford Foundation. Additional funding is provided by the Abrams Foundation; the John D. and Catherine T. MacArthur Foundation; Park Foundation; and the FRONTLINE Journalism Fund with major support from Jon and Jo Ann Hagler on behalf of the Jon L. Hagler Foundation, and additional support from Koo and Patricia Yuen.

FRONTLINE reveals the hidden story of the NFL and brain injuries.

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The National Football League presides over America's indisputable national pastime, but the league is under assault: Thousands of former players have claimed it tried to cover up how football inflicted their long-term brain injuries. What did the NFL know, and when did it know it?

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FRONTLINE is streaming more than 200 documentaries online, for free, here: http://to.pbs.org/hxRvQP

Funding for FRONTLINE is provided through the support of PBS viewers and by the Corporation for Public Broadcasting. Major funding for FRONTLINE is provided by the John D. and Catherine T. MacArthur Foundation and the Ford Foundation. Additional funding is provided by the Abrams Foundation, the Park Foundation, The John and Helen Glessner Family Trust, and the FRONTLINE Journalism Fund with major support from Jon and Jo Ann Hagler on behalf of the Jon L. Hagler Foundation.

FRONTLINE investigated how sweeping changes in the meat industry — making it vastly more centralized, high-tech and efficient — led to low prices, but also introduced new risks. (Aired 2002)

This journalism is made possible by viewers like you. Support your local PBS station here: http://www.pbs.org/donate​.

The hamburger is as American as apple pie. When this documentary aired, the average American ate three a week — and hamburgers had become the engine of a vastly changed meat industry. In “Modern Meat,” FRONTLINE investigated whether dramatic changes in the U.S. meat industry were compromising the safety of America’s beef supply — and examined why contaminated meat was getting through the system.

Explore additional reporting in connection with "Modern Meat" on our website:
https://www.pbs.org/wgbh/pages..../frontline/shows/mea

#Documentary #Meat #MeatIndustry

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FRONTLINE is produced at GBH in Boston and is broadcast nationwide on PBS. Funding for FRONTLINE is provided through the support of PBS viewers and by the Corporation for Public Broadcasting. Additional funding is provided by the Abrams Foundation; the John D. and Catherine T. MacArthur Foundation; Park Foundation; and the FRONTLINE Journalism Fund with major support from Jon and Jo Ann Hagler on behalf of the Jon L. Hagler Foundation.

CHAPTERS:
Prologue - 0:00
Food Poisoning and the Safety of America’s Meat Supply - 1:22
The 1993 Jack-in-the-Box Food Poisoning Outbreak - 5:31
Raising Cattle That Become Hamburgers - 8:39
The Dangers of Antibiotic Resistance - 14:09
Inside the Meat-Packing Business - 16:26
The USDA and the Debate Over Meat Safety Regulations - 24:06
Globalization and Food Safety - 39:34
The Meat Industry’s Safety Push - 47:48
Credits - 52:10

Deadly traffic accidents involving large trucks have surged over the past decade. FRONTLINE and ProPublica investigate one particularly gruesome kind of truck accident — underride crashes — and why they keep happening.

This journalism is made possible by viewers like you. Support your local PBS station here: http://www.pbs.org/donate​.

“These are crashes where a smaller vehicle gets caught under large trucks like 18-wheelers, often with devastating consequences,” says award-winning correspondent A.C. Thompson (“Documenting Hate,” “American Insurrection,” and “Law & Disorder”). “Our new investigation explores what the trucking industry and the government knew about these crashes, when they knew it, and their role in the fight over safety measures that could potentially save thousands of lives.”

America’s Dangerous Trucks is a FRONTLINE production with Midnight Films LLC in partnership with ProPublica. The director is Gabrielle Schonder. The producers are A.C. Thompson, Gabrielle Schonder and Karim Hajj. The correspondent is A.C. Thompson. The writers are A.C. Thompson and Gabrielle Schonder. The editor-in-chief and executive producer of FRONTLINE is Raney Aronson-Rath.

Explore additional reporting on "America’s Dangerous Trucks" on our website and ProPublica’s website:

https://www.pbs.org/wgbh/front....line/documentary/ame
https://www.propublica.org/

#Documentary #Trucks #Accidents #Crashes #Traffic

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FRONTLINE is produced at GBH in Boston and is broadcast nationwide on PBS. Funding for FRONTLINE is provided through the support of PBS viewers and by the Corporation for Public Broadcasting. Additional funding is provided by the Abrams Foundation; Park Foundation; the John D. and Catherine T. MacArthur Foundation; and the FRONTLINE Journalism Fund with major support from Jon and Jo Ann Hagler on behalf of the Jon L. Hagler Foundation, and additional support from Koo and Patricia Yuen.

CHAPTERS:
Prologue - 00:00
A 16-Year-Old Killed in a Truck Underride Crash - 00:34
What Are Underride Crashes — and Why Are They So Devastating? - 4:38
Jayne Mansfield’s 1967 Death Put Underride Crashes in Spotlight - 8:30
Dept. of Transportation’s Lead Agency on Underride Crashes: NHTSA - 9:52
Truck Rear Guards Met 1998 Federal Regulations But Mostly Failed Crash Tests - 12:26
The Truck Industry Lobby and NHTSA - 17:42
Sen. Gillibrand Seeks Stronger Regulations to Prevent Underride Crashes - 27:54
The Truck Industry’s Reaction to Proposed Underride Regulations - 30:49
Accident Reconstructionist Tests a New Kind of Truck Side Guard - 33:10
Why Is There a Lack of Reliable Data on Truck Underride Crashes and Fatalities? - 38:52
Department of Transportation Insider Speaks Out - 45:10
Credits - 51:58

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FRONTLINE and the Venezuelan news outlet Armando.info investigate Alex Saab, a shadowy figure at the heart of a corruption scandal spanning from Venezuela to the U.S., and explore what has happened to the journalists who helped uncover the scandal.

This journalism is made possible by viewers like you. Support your local PBS station here: https://www.pbs.org/donate/

In 2016, as Venezuela was in economic freefall, President Nicolás Maduro’s government responded with the CLAP program: a domestic aid initiative that was billed as providing high-quality, essential food items to Venezuelans impacted by the economic crisis. But as the FRONTLINE and Armando.info documentary shows, complaints about powdered milk in the CLAP boxes soon caught the attention of a team of journalists. Armando.info requested a chemical analysis of a few of the milk products, and a researcher they consulted noted some were so deficient in calcium and high in sodium they couldn’t be classified as milk at all.

Armando.info’s investigative journalist Roberto Deniz and his colleagues also uncovered that the CLAP initiative itself was enriching Saab, the biggest contractor for the food program and a close associate of Maduro’s. The Armando.info journalists’ reporting helped expose a vast corruption scandal, which ultimately made them targets of the Maduro government. Facing threats, harassment and possible jail time, Deniz made the difficult decision to flee Venezuela, and continued to follow the story from exile in Colombia.

As governments across the globe crack down on a free press and journalists face increased intimidation, “A Dangerous Assignment” is a stunning look at the price of journalism in Venezuela.

“A Dangerous Assignment: Uncovering Corruption in Maduro’s Venezuela” is an Assignment Film production for GBH/FRONTLINE in association with Armando.info. The director is Juan Ravell. The producer is Jeff Arak. The reporter is Roberto Deniz. The executive producer for Armando.info is Ewald Scharfenberg. The editor-in-chief and executive producer of FRONTLINE is Raney Aronson-Rath.

Explore additional reporting connected to “A Dangerous Assignment” on our website:
https://www.pbs.org/wgbh/front....line/documentary/a-d

#Documentary #Venezuela #PressFreedom #NicolasMaduro

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FRONTLINE is produced at GBH in Boston and is broadcast nationwide on PBS. Funding for FRONTLINE is provided through the support of PBS viewers and by the Corporation for Public Broadcasting. Additional support for FRONTLINE is provided by the Abrams Foundation, Park Foundation, John D. and Catherine T. MacArthur Foundation, the Heising-Simons Foundation, FRONTLINE Journalism Fund with major support from Jon and Jo Ann Hagler through the Jon L. Hagler Foundation and additional support from Koo and Patricia Yuen, and Corey David Sauer. Additional support for this program from Free Press Unlimited.

CHAPTERS:
0:00:00 – Prologue
0:04:10 – Journalists Investigate Complaints About Powdered Milk in Venezuela’s CLAP Food Program
0:12:50 – Who is Alex Saab?
0:32:01 – ‘Operación Alacrán’ / ‘Operation Scorpion’ and Its Impact on Venezuela’s Political Opposition
0:38:15 – How the U.S. Government Tracked Down Alex Saab
0:46:30 – A Campaign to Free Alex Saab Takes Hold in Venezuela and Other Countries
0:55:05 – Alex Saab Extradited to the U.S.
0:59:18 – Alex Saab’s Pre-Trial Hearing in Miami
1:02:30 – Court Documents Reveal Alex Saab’s Cooperation With the U.S. Drug Enforcement Administration
1:11:20 – Alex Saab is Freed as Part of a Prisoner Swap Deal Between the U.S. and Venezuela
1:21:58 – Credits

A 2016 report from inside the war-torn city of Benghazi — the birthplace of Libya’s 2011 uprising, later besieged by ISIS and warring militias. (Aired 2016)

This journalism is made possible by viewers like you. Support your local PBS station here: https://www.pbs.org/donate​

While making this 2016 documentary in Benghazi, reporter Feras Kilani gained rare access to Libyan forces fighting for control of the city against ISIS and other extremist groups. By that point, the battle had been going on for over 18 months, with more than 100,000 residents displaced by the fighting, and Libya was ISIS’ biggest base outside Syria and Iraq. In “Benghazi in Crisis,” Kilani followed Libyan fighters battling for a central point in the city, filmed the stories of displaced civilians and offered a rare and grim look inside a city in turmoil.

Explore additional reporting on "Benghazi in Crisis" on our website:
https://www.pbs.org/wgbh/front....line/documentary/ben

#Documentary #Libya #Benghazi

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FRONTLINE is produced at GBH in Boston and is broadcast nationwide on PBS. Funding for FRONTLINE is provided through the support of PBS viewers and by the Corporation for Public Broadcasting. Additional support for FRONTLINE is provided by the Abrams Foundation, Park Foundation, the John D. and Catherine T. MacArthur Foundation, the Heising-Simons Foundation, and the FRONTLINE Journalism Fund, with major support from Jon and Jo Ann Hagler on behalf of the Jon L. Hagler Foundation, and additional support from Koo and Patricia Yuen.

CHAPTERS:
00:12 - The Fight Against ISIS in Benghazi, Libya, in 2015-16
11:05 - Libyans Displaced by the Fight Against ISIS in Benghazi
16:23 - Credits

An inside look into the controversy over the Wal-Mart way of doing business, investigating whether the retail giant changed the American economy. (Aired 2004)

This journalism is made possible by viewers like you. Support your local PBS station here: http://www.pbs.org/donate​.

In "Is Wal-Mart Good for America?," FRONTLINE offered two starkly contrasting images: one of empty storefronts in Circleville, Ohio, where the local TV manufacturing plant had closed down; the other, a sea of high rises in the South China boomtown of Shenzhen. The connection between American job losses and soaring Chinese exports? Wal-Mart. Through interviews with retail executives, product manufacturers, economists and trade experts, correspondent Hedrick Smith does a deep dive into the company’s business practices.

Explore additional reporting on "Is Wal-Mart Good for America?" on our website: https://www.pbs.org/wgbh/front....line/film/showswalma

#Documentary #Walmart

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FRONTLINE is produced at GBH in Boston and is broadcast nationwide on PBS. Funding for FRONTLINE is provided through the support of PBS viewers and by the Corporation for Public Broadcasting. Additional funding is provided by the Abrams Foundation; the John D. and Catherine T. MacArthur Foundation; Park Foundation; the Heising-Simons Foundation; and the FRONTLINE Journalism Fund with major support from Jon and Jo Ann Hagler on behalf of the Jon L. Hagler Foundation, and additional support from Koo and Patricia Yuen.

CHAPTERS:
Prologue - 00:00
Wal-Mart’s Retail Power - 01:17
Muscling Manufacturers - 11:41
What’s Behind Wal-Mart’s Low Prices - 18:57
The Rise of “Made in China” - 28:26
Losing Jobs in U.S. Manufacturing - 40:11
Credits - 53:12

Part one of a two-part docuseries: FRONTLINE and Forbidden Films investigate Pegasus, a powerful spyware sold to governments around the world by the Israeli company NSO Group.

This journalism is made possible by viewers like you. Support your local PBS station here: http://www.pbs.org/donate​.

In 2020, the journalism nonprofit Forbidden Stories and Amnesty International gained access to a leaked list of more than 50,000 phone numbers. They suspected it contained numbers selected for potential surveillance with Pegasus. The Pegasus Project reporting consortium — which was led by Forbidden Stories and included 16 other media organizations, FRONTLINE among them — found that the spyware had been used on journalists, human rights activists, the wife and fiancée of the murdered Saudi columnist Jamal Khashoggi, and others.

Over two nights, this docuseries reveals the inside story of an investigation that prompted probes by governments and institutions around the world and sparked calls for an international treaty to govern the largely unregulated spyware industry.

NSO, which has disputed some of the Pegasus Project’s reporting, says that its technology was not associated in any way with Khashoggi’s murder and that it sells Pegasus to vetted governments for “the sole purpose of preventing and investigating terror and serious crime.”

Surveillance technologies like Pegasus are “a military weapon used against civilians, and the civilians, they don’t have any mechanism to help them in seeking justice,” says Laurent Richard, founder of Forbidden Stories and Forbidden Films and one of the producers of the films.

Part two of “Global Spyware Scandal: Exposing Pegasus” premieres Tues., Jan. 10, 2023.

Learn more: https://www.pbs.org/wgbh/front....line/documentary/glo

#Documentary #Spyware #Surveillance

Find FRONTLINE on the PBS App, where more than 300 of our documentaries are available to watch any time: https://to.pbs.org/FLVideoApp
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“Global Spyware Scandal: Exposing Pegasus” is a FRONTLINE production with Forbidden Films. It is a film by Anne Poiret and Arthur Bouvart. The director is Anne Poiret. The producers are Laurent Richard and Sandrine Rigaud. The senior producers are Eamonn Matthews and Dan Edge. The editor-in-chief and executive producer of FRONTLINE is Raney Aronson-Rath.

FRONTLINE is produced at GBH in Boston and is broadcast nationwide on PBS. Funding for FRONTLINE is provided through the support of PBS viewers and by the Corporation for Public Broadcasting. Additional support for FRONTLINE is provided by the Abrams Foundation, the John D. and Catherine T. MacArthur Foundation, Park Foundation, the Heising-Simons Foundation, and the FRONTLINE Journalism Fund, with major support from Jon and Jo Ann Hagler on behalf of the Jon L. Hagler Foundation, and additional support from Laura DeBonis.

CHAPTERS:
Prologue - 00:00
Spyware That Turns Phones Into Surveillance Devices - 00:49
What Pegasus Spyware Does - 03:15
The Pegasus Project Begins - 09:57
Jamal Khashoggi’s Wife and Fiancée’s Phones Targeted With Pegasus - 13:38
Prominent Mexican Journalist On Being a Pegasus Spyware Target - 25:26
An Investigative Journalist Finds Out Her Phone Was Infected by Pegasus Spyware - 35:16
Pegasus Spyware: “A Military Weapon Used Against Civilians” - 50:26
Credits - 51:54

Ahead of the 2022 midterms, FRONTLINE’s two-hour season premiere investigates political leaders and choices they made at key points that have undermined and threatened American democracy.

This journalism is made possible by viewers like you. Support your local PBS station here: http://www.pbs.org/donate.

In “Lies, Politics and Democracy,” FRONTLINE examines how officials fed the public lies about the 2020 presidential election and embraced rhetoric that led to political violence.

An epic examination of former President Donald Trump’s influence on the Republican Party, the documentary presents startling details from GOP insiders on how the indulgence of Trump’s authoritarian impulses and embrace of his rhetoric enabled his power over the American political system, leading the nation to a precarious moment in which most Republican voters now believe the lie that the 2020 election was stolen.

Told in part through the perspectives of key Republican players and party leaders, the two-hour special provides first-person accounts from those who sounded the alarm about Trump, and those whose warnings were minimized or silenced all along the way.

“Lies, Politics and Democracy” is supported by The WNET Group’s Preserving Democracy, a public media initiative. The film is a FRONTLINE production with the Kirk Documentary Group. The director is Michael Kirk. The producers are Michael Kirk, Mike Wiser and Vanessa Fica. The writers are Michael Kirk and Mike Wiser. The reporters are Vanessa Fica, Tim Alberta and Jelani Cobb. The editor-in-chief and executive producer of FRONTLINE is Raney Aronson-Rath.

#Democracy #Documentary #SeasonPremiere

Find FRONTLINE on the PBS Video App, where more than 300 of our documentaries available to watch any time: https://to.pbs.org/FLVideoApp

Subscribe on YouTube: http://bit.ly/1BycsJW
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FRONTLINE is produced at GBH in Boston and is broadcast nationwide on PBS. Funding for FRONTLINE is provided through the support of PBS viewers and by the Corporation for Public Broadcasting. Additional support for FRONTLINE is provided by the Abrams Foundation, the John D. and Catherine T. MacArthur Foundation, Park Foundation, and the FRONTLINE Journalism Fund, with major support from Jon and Jo Ann Hagler on behalf of the Jon L. Hagler Foundation, and additional support from Koo and Patricia Yuen. Funding for Lies, Politics and

Chapters:
Prologue - 00:00
Trump Falsely Claimed Ted Cruz 'Stole' Iowa Caucuses in 2016 - 00:37
Early Signs of Trump Embracing Authoritarian Behavior - 6:54
How Republican Leaders Responded to Trump in 2016 - 19:32
Trump’s Vision of President as Strongman - 26:07
Trump & the GOP’s Response to White Nationalists at Charlottesville - 28:50
Republicans Who Warned of Trump’s Threat to Democracy - 40:27
Democrats’ Push to Impeach Trump in 2019 - 50:26
Trump & the GOP’s Response to Black Lives Matter Protests - 58:49
The Big Lie About the 2020 Election - 1:04:52
Trump’s Plot to Overturn the Election - 1:19:40
The Republican Party After Jan. 6 & Trump’s Presidency - 1:34:35
The Damage of the Big Lie Continues - 1:46:53
Credits - 1:51:58

Donald Trump has announced his bid to become the Republican presidential nominee once again. FRONTLINE’s documentary, “Trump’s Takeover” goes inside his original high-stakes battle for control of the GOP. (Aired 2018)

This journalism is made possible by viewers like you. Support your local PBS station here: http://www.pbs.org/donate​.

FRONTLINE went inside former President Trump’s high-stakes battle for control of the GOP, examining how he attacked fellow Republicans and used inflammatory rhetoric that rallied his base and further divided the country in his first year as president. Through interviews with longtime Republican legislators like former Sen. Jeff Flake (R-Ariz.), House Freedom Caucus members including Rep. Jim Jordan (R-Ohio), former senior White House officials including Kellyanne Conway and Sean Spicer and other D.C. insiders, “Trump’s Takeover” examined how, years before the Jan. 6., 2021 U.S. Capitol attack, the president was remaking the GOP in his own image, counter-punching when criticized and publicly attacking those who defied him.

Explore additional reporting in connection with "Trump’s Takeover" on our website:
https://www.pbs.org/wgbh/front....line/documentary/tru

#Documentary #DonaldTrump #Trump

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FRONTLINE is produced at GBH in Boston and is broadcast nationwide on PBS. Funding for FRONTLINE is provided through the support of PBS viewers and by the Corporation for Public Broadcasting. Additional funding is provided by the Abrams Foundation; the John D. and Catherine T. MacArthur Foundation; Park Foundation; and the FRONTLINE Journalism Fund with major support from Jon and Jo Ann Hagler on behalf of the Jon L. Hagler Foundation, and additional support from Koo and Patricia Yuen.

FRONTLINE, The Associated Press and The Howard Centers for Investigative Journalism investigate deaths that occurred after police used tactics like prone restraint and other “less-lethal force.”

This journalism is made possible by viewers like you. Support your local PBS station here: https://www.pbs.org/donate​

Every day, police rely on common tactics that, unlike guns, are meant to stop people without killing them, such as physical holds, Tasers and body blows. But when misused, these tactics involving what police call “less-lethal force” can still end in death.

The federal government has struggled for years to count these types of deaths, and the little information it collects is often kept from the public and incomplete. This documentary is part of a multiplatform investigation from an AP-led team offering the most extensive accounting ever compiled of deaths following these kinds of encounters: 1,036 in the decade from 2012-21. Police say they are often responding to volatile and sometimes violent situations, and deaths are rare.
Drawing on police records, autopsy reports, witness accounts and body camera footage, the film is a powerful and nuanced examination of what an AP reporter calls “hidden deaths.”

Explore additional reporting connected to “Documenting Police Use of Force,” including the “Lethal Restraint” interactive story and database, on our website:
https://www.pbs.org/wgbh/front....line/documentary/doc

“Documenting Police Use of Force” is a FRONTLINE production with Trilogy Films and Sony Pictures Television – Nonfiction in association with The Associated Press. The writer, producer and director is Serginho Roosblad. The producer is Mike Shum. The AP journalists are editor Justin Pritchard and reporters Martha Bellisle, Ryan J. Foley, Kristin M. Hall, Aaron Morrison and Mitch Weiss. The senior producer is Nina Chaudry. The editor-in-chief and executive producer of FRONTLINE is Raney Aronson-Rath.

#Documentary #Police #Policing

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FRONTLINE is produced at GBH in Boston and is broadcast nationwide on PBS. Funding for FRONTLINE is provided through the support of PBS viewers and by the Corporation for Public Broadcasting. Additional support for FRONTLINE is provided by the Abrams Foundation, Park Foundation, the John D. and Catherine T. MacArthur Foundation, the Heising-Simons Foundation, and the FRONTLINE Journalism Fund, with major support from Jon and Jo Ann Hagler on behalf of the Jon L. Hagler Foundation, and additional support from Koo and Patricia Yuen, and the Charina Endowment Fund.

CHAPTERS:
0:00 – Prologue: Uncovering ‘Hidden Deaths’ Following Police Encounters
1:11 – What Happened to Austin Hunter Turner After 911 Was Called
8:05 – Investigating Deaths After Police Used ‘Less-Lethal Force’
17:14 – What Medical Examiners’ Rulings Can Mean for Police Accountability
19:05 – Jameek Lowry Called 911 For Help
23:56 – Why Police Often Have to Serve as ‘Frontline Social Workers’
25:21 – Examining Deaths After Police Used Prone Restraint
36:08 – Why Injecting Sedatives Into People Restrained by Police Has Come Under Scrutiny
38:36 – Taylor Ware Was Sedated While Restrained by Police
46:43 – Why Experts Say 'Excited Delirium,' Cited in Some Deaths Involving Police, Is a 'Flawed Concept'
51:57 – Credits

With May 2024 marking the 70th anniversary of the Supreme Court’s landmark Brown v. Board of Education decision declaring separate schools for Black and white children unconstitutional, revisit the 2014 FRONTLINE documentary, “Separate and Unequal,” an investigation into the resurgence of school segregation in America. (Aired 2014)

This journalism is made possible by viewers like you. Support your local PBS station here: https://www.pbs.org/donate​

In the 2014 documentary “Separate and Unequal,” FRONTLINE traveled to Baton Rouge, Louisiana, the site of one of the country’s longest battles over school integration, to examine the growing racial divide in schools and the legacy of Brown v. Board of Education.

As the documentary explored, in 1981, after a 25-year legal fight, the East Baton Rouge Parish School District was forced to desegregate its schools. But roughly 30 years later, frustrated over the district’s many low-performing schools, a group of mostly white, middle-class parents and business leaders tried to break away and form a new city, St. George, with its own separate schools. The film documented this controversial effort, which mirrored similar breakaway movements around the U.S. that proponents said would create more community-oriented schools and improve their childrens’ education and critics said would reverse hard-fought civil rights gains and leave schools less racially and economically diverse.

In April 2024, the Louisiana Supreme Court ruled that St. George could be incorporated as a city.

“Separate and Unequal” was a FRONTLINE co-production with Left/Right Docs. It was produced and directed by Mary Robertson and co-produced by Kyle Spencer. It was written by Frank Koughan and Mary Robertson. The deputy executive producer of FRONTLINE was Raney Aronson-Rath. The executive producer of FRONTLINE was David Fanning.

Explore additional reporting on “Separate and Unequal” on our website:
https://www.pbs.org/wgbh/front....line/documentary/sep

#Documentary #Education #SchoolSegregation #Louisiana

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FRONTLINE is produced at GBH in Boston and is broadcast nationwide on PBS. Funding for FRONTLINE is provided through the support of PBS viewers and by the Corporation for Public Broadcasting. Additional support for FRONTLINE is provided by the Abrams Foundation, Park Foundation, the John D. and Catherine T. MacArthur Foundation, the Heising-Simons Foundation, and the FRONTLINE Journalism Fund, with major support from Jon and Jo Ann Hagler on behalf of the Jon L. Hagler Foundation, and additional support from Koo and Patricia Yuen.

CHAPTERS:
00:00 - Prologue
02:24 - Some Baton Rouge Residents Plan to Form a New City With Its Own Schools
05:22 - Concerns About Deepening School Segregation in Baton Rouge, Louisiana, in 2014
09:47 - An Inside Look at Woodlawn High
18:38 - The History of Desegregation in Baton Rouge Schools
27:14 - End

As the U.S. began a new effort to secure victory in the Iraq War through a “surge” of troops, FRONTLINE investigated how strategic and tactical mistakes had brought Iraq to civil war. (Aired 2007)

This journalism is made possible by viewers like you. Support your local PBS station here: http://www.pbs.org/donate​.

In “Endgame,” filmmaker Michael Kirk and his team investigated how the early mandate to create the conditions for a quick exit of the American military from Iraq led to chaos, failure, and sectarian strife. The documentary traced why President George W. Bush decided to risk what military planners once warned could be the worst way to fight in Iraq — door-to-door — and assessed the likelihood of its success.

Explore additional reporting related to "Endgame" on our website:
https://www.pbs.org/wgbh/front....line/documentary/end

#Documentary #IraqWar #GeorgeWBushAdministration

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FRONTLINE is produced at GBH in Boston and is broadcast nationwide on PBS. Funding for FRONTLINE is provided through the support of PBS viewers and by the Corporation for Public Broadcasting. Additional funding is provided by the Abrams Foundation; Park Foundation; the John D. and Catherine T. MacArthur Foundation; and the FRONTLINE Journalism Fund with major support from Jon and Jo Ann Hagler on behalf of the Jon L. Hagler Foundation, and additional support from Koo and Patricia Yuen.

CHAPTERS:
Prologue - 00:00
After 2003 Iraq Invasion, U.S. Gov’t in ‘State of Denial’ About Insurgency - 01:11
In 2004, U.S. Implements New ‘Light Footprint’ Iraq War Strategy - 8:16
The Second Battle of Fallujah in 2004 - 16:49
Sunnis Boycott Iraq's 2005 Election -23:07
2006 Samarra Mosque Bombing and Sectarian Conflict in Iraq - 32:15
In 2006-07, Another U.S. Strategy Shift in Iraq - 41:08
Credits - 53:09

FRONTLINE, The Associated Press and The Howard Centers for Investigative Journalism investigate deaths that occurred after police used tactics like prone restraint and other “less-lethal force.”

This journalism is made possible by viewers like you. Support your local PBS station here: https://www.pbs.org/donate​

Every day, police rely on common tactics that, unlike guns, are meant to stop people without killing them, such as physical holds, Tasers and body blows. But when misused, these tactics involving what police call “less-lethal force” can still end in death.

The federal government has struggled for years to count these types of deaths, and the little information it collects is often kept from the public and incomplete. This documentary is part of a multiplatform investigation from an AP-led team offering the most extensive accounting ever compiled of deaths following these kinds of encounters: 1,036 in the decade from 2012-21. Police say they are often responding to volatile and sometimes violent situations, and deaths are rare.
Drawing on police records, autopsy reports, witness accounts and body camera footage, the film is a powerful and nuanced examination of what an AP reporter calls “hidden deaths.”

Explore additional reporting connected to “Documenting Police Use of Force,” including the “Lethal Restraint” interactive story and database, on our website:
https://www.pbs.org/wgbh/front....line/documentary/doc

“Documenting Police Use of Force” is a FRONTLINE production with Trilogy Films and Sony Pictures Television – Nonfiction in association with The Associated Press. The writer, producer and director is Serginho Roosblad. The producer is Mike Shum. The AP journalists are editor Justin Pritchard and reporters Martha Bellisle, Ryan J. Foley, Kristin M. Hall, Aaron Morrison and Mitch Weiss. The senior producer is Nina Chaudry. The editor-in-chief and executive producer of FRONTLINE is Raney Aronson-Rath.

#Documentary #Police #Policing

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FRONTLINE is produced at GBH in Boston and is broadcast nationwide on PBS. Funding for FRONTLINE is provided through the support of PBS viewers and by the Corporation for Public Broadcasting. Additional support for FRONTLINE is provided by the Abrams Foundation, Park Foundation, the John D. and Catherine T. MacArthur Foundation, the Heising-Simons Foundation, and the FRONTLINE Journalism Fund, with major support from Jon and Jo Ann Hagler on behalf of the Jon L. Hagler Foundation, and additional support from Koo and Patricia Yuen, and the Charina Endowment Fund.

CHAPTERS:
0:00 – Prologue: Uncovering ‘Hidden Deaths’ Following Police Encounters
1:11 – What Happened to Austin Hunter Turner After 911 Was Called
8:05 – Investigating Deaths After Police Used ‘Less-Lethal Force’
17:14 – What Medical Examiners’ Rulings Can Mean for Police Accountability
19:05 – Jameek Lowry Called 911 For Help
23:56 – Why Police Often Have to Serve as ‘Frontline Social Workers’
25:21 – Examining Deaths After Police Used Prone Restraint
36:08 – Why Injecting Sedatives Into People Restrained by Police Has Come Under Scrutiny
38:36 – Taylor Ware Was Sedated While Restrained by Police
46:43 – Why Experts Say 'Excited Delirium,' Cited in Some Deaths Involving Police, Is a 'Flawed Concept'
51:57 – Credits

FRONTLINE and ProPublica chronicled Dayton’s struggle to recover in the aftermath of recession and the economic and social forces shaping the lives of residents in a city where nearly 35% of people lived in poverty. (Aired 2018)

This journalism is made possible by viewers like you. Support your local PBS station here: https://www.pbs.org/donate/

When “Left Behind America” was released in 2018, the residents of Dayton, Ohio, were still fighting for economic revitalization a decade after the Great Recession. While many American cities and towns bounced back, economic recovery remained elusive for some small and mid-size cities like Dayton that were once hubs for innovation and manufacturing.

The film examined how part-time, low-wage work had become the new normal in Dayton rather than full-time work with benefits. As a result, many families struggled to survive. “The majority of people who come to our pantry work,” said Sunnie Lain, who helped run one of the city’s food pantries, in the documentary. And yet, she said, “we’ve got families watering down soup, and moms trying to figure out how to make a box of mac and cheese last two days.”

The documentary also explored how Dayton was hit hard by the opioid epidemic and how, despite the obstacles, many of its residents took matters into their own hands and focused not just on surviving, but thriving.

Left Behind America was a Middle America Productions Inc. film for WGBH/FRONTLINE in partnership with ProPublica. The producers were Paul Cadieux, Shimon Dotan and Nancy Guerin. The correspondent was Alec MacGillis. The senior producer was Frank Koughan. The executive producer of FRONTLINE was Raney Aronson-Rath.

Explore additional reporting on “Left Behind America” on our website:
https://www.pbs.org/wgbh/front....line/documentary/lef

#Documentary #Ohio #EconomicCrisis #IncomeInequality #OpioidEpidemic

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FRONTLINE is produced at GBH in Boston and is broadcast nationwide on PBS. Funding for FRONTLINE is provided through the support of PBS viewers and by the Corporation for Public Broadcasting. Additional support for FRONTLINE is provided by the Abrams Foundation, Park Foundation, the John D. and Catherine T. MacArthur Foundation, the Heising-Simons Foundation, and the FRONTLINE Journalism Fund, with major support from Jon and Jo Ann Hagler on behalf of the Jon L. Hagler Foundation, and additional support from Koo and Patricia Yuen.

CHAPTERS:
00:00 - Prologue
01:05 - Economic and Social Factors That Shaped Dayton, Ohio
09:09 - Struggles of Residents in West Dayton
12:19 - Why Dayton Was Among the U.S. Cities That Fell Behind Economically
19:36 - Tracing the Roots of the Opioid Epidemic in Dayton and Its Impact
32:18 - Exploring Immigrant Communities’ Efforts To Revitalize Dayton
35:25 - What Working Class Wages Meant in 2018
46:28 - Dayton’s Resolve to Rebuild Its Economy
52:00 - Credits

The 2007 documentary “Spying on the Home Front” examined then-President George W. Bush’s domestic war on terrorism and its implications for Americans’ civil liberties. (Aired 2007)

This journalism is made possible by viewers like you. Support your local PBS station here: https://www.pbs.org/donate​/

The attacks on 9/11 altered America in many ways, from barricades and body frisks in airports to greater government scrutiny of people’s records and electronic surveillance of their communications. The watershed, officials told FRONTLINE in the 2007 documentary “Spying on the Home Front,” was the government’s shift to a strategy of pre-emption at home — not just prosecuting terrorists for breaking the law, but trying to find and stop them before they struck.

The documentary probed the ramifications of that strategy, explored how the National Security Agency’s domestic surveillance program worked at the time, and examined various viewpoints on whether the Bush administration violated the Foreign Intelligence Surveillance Act and infringed on constitutional protections.

Read an update involving an AT&T case featured in the film:
https://www.pbs.org/wgbh/front....line/article/how-att

Watch FRONTLINE’s later films on U.S. government surveillance programs:
https://www.pbs.org/wgbh/front....line/documentary/uni

Explore related reporting on our website:
https://www.pbs.org/wgbh/front....line/documentary/hom

#Documentary #Surveillance #CivilLiberties #NSA

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FRONTLINE is produced at GBH in Boston and airs nationwide on PBS. Funding for FRONTLINE is provided through the support of PBS viewers and by the Corporation for Public Broadcasting. Additional funding is provided by the Abrams Foundation; the John D. and Catherine T. MacArthur Foundation; Park Foundation; and the FRONTLINE Journalism Fund with major support from Jon and Jo Ann Hagler on behalf of the Jon L. Hagler Foundation, and additional support from Koo and Patricia Yuen.

CHAPTERS:

00:00 - Prologue
08:01 - How Government Surveillance in the U.S. Changed After the 9/11 Attacks
16:58 - Revisiting the National Security Agency’s Post- 9/11 Surveillance Mechanisms
31:56 - A Look Back at Surveillance in One American City: Las Vegas
53:09 - Credits

In the 2018 documentary “North Korea’s Deadly Dictator,” FRONTLINE examined who killed North Korean leader Kim Jong-un’s half brother, Kim Jong-nam, and what it revealed about the North Korean regime. (Aired 2018)

This journalism is made possible by viewers like you. Support your local PBS station here: https://www.pbs.org/donate​/

In 2017, North Korean leader Kim Jong-un’s half brother Kim Jong-nam was ambushed in a Malaysian airport by two women bearing a lethal chemical weapon 10 times more powerful than sarin. He died en route to the hospital. In the 2018 FRONTLINE documentary “North Korea’s Deadly Dictator,” producer Jane McMullen examined claims that Kim Jong-un and his intelligence services ordered the assassination on Kim Jong-nam, and shed light on his broader intentions and his regime’s nuclear capabilities.

“If you want to understand what’s actually going on in Pyongyang … one of the things you have to understand are these rare moments when the palace opens its doors inadvertently and lets you in,” Evan Osnos of The New Yorker said in the documentary. “And one of those moments — perhaps its most spectacular moment — was the assassination of Kim Jong-nam.”

Drawing on interviews with a leading North Korean defector, diplomats, Kim Jong-nam’s school friends and even a former North Korean secret agent, the documentary offered a rare glimpse at the inner workings of the Kim family. It also examined how King Jong-un operates, and how he tries to ensure his regime’s survival and perpetuate his own power.

“North Korea’s Deadly Dictator” was a BBC Current Affairs production for WGBH/FRONTLINE and the BBC. It was produced and directed by Jane McMullen. The senior producer was Dan Edge. The executive producers for the BBC were Sarah Waldron and Sam Bagnell. The executive producer of FRONTLINE was Raney Aronson-Rath.

Explore related reporting on our website:
https://www.pbs.org/wgbh/front....line/documentary/nor

#Documentary #NorthKorea #KimJongUn

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FRONTLINE is produced at GBH in Boston and airs nationwide on PBS. Funding for FRONTLINE is provided through the support of PBS viewers and by the Corporation for Public Broadcasting. Additional funding is provided by the Abrams Foundation; the John D. and Catherine T. MacArthur Foundation; Park Foundation; and the FRONTLINE Journalism Fund with major support from Jon and Jo Ann Hagler on behalf of the Jon L. Hagler Foundation, and additional support from Koo and Patricia Yuen.

CHAPTERS:
00:00 - Prologue
01:34 - How the Attack on Kim Jong-nam Unfolded in a Malaysian Airport
05:26 - A Look at Kim Jong-nam’s Early Life and Upbringing
10:55 - The Investigation Into Kim Jong-nam’s Assassination
22:28 - Exploring the Battle for Succession in North Korea’s Kim Dynasty
25:30 - Examining North Korean Leader Kim Jong-un’s Rule
31:59 - North Korea’s Nuclear Weapons and Missiles Program
42:23 - How Former U.S. President Donald Trump Responded to North Korea’s Threats
51:58 - Credits

The 2009 FRONTLINE documentary “Black Money” examined bribery allegations against international companies and explored how prosecutors around the world cracked down on the practice. (Aired 2009)

This journalism is made possible by viewers like you. Support your local PBS station here: https://www.pbs.org/donate​/

As pressure for profits increased on corporations during the global financial downturn of the late 2000s, the U.S. Department of Justice pursued an aggressive crackdown on an international business tactic: bribery. The 2009 documentary “Black Money” examined this shadowy side of international business. The film shed light on how some multinational companies routinely made secret payments — often referred to as “black money” — to win billions in business, and explored the crackdown being waged by prosecutors at the U.S. Department of Justice and allies abroad against companies including the British-based multinational defense company BAE Systems.

Explore developments in the BAE Systems case since this documentary aired:
https://www.pbs.org/frontlinew....orld/stories/bribe/2

Explore reporting related to “Black Money” on our website:
https://www.pbs.org/wgbh/front....line/documentary/bla

#Documentary #BlackMoney #CorporateBribery

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FRONTLINE is produced at GBH in Boston and airs nationwide on PBS. Funding for FRONTLINE is provided through the support of PBS viewers and by the Corporation for Public Broadcasting. Additional funding is provided by the Abrams Foundation; the John D. and Catherine T. MacArthur Foundation; Park Foundation; and the FRONTLINE Journalism Fund with major support from Jon and Jo Ann Hagler on behalf of the Jon L. Hagler Foundation, and additional support from Koo and Patricia Yuen.

FRONTLINE and Retro Report examine how outrage ignited by the devastating October 2023 Hamas attack on Israel and the catastrophic war in Gaza has deeply divided American college campuses.

This journalism is made possible by viewers like you. Support your local PBS station here: https://www.pbs.org/donate​/

A firestorm has been raging on many American college campuses over the Israel-Hamas war in Gaza and in some places, devolving into hate-filled rhetoric and arrests. FRONTLINE and Retro Report have been following the escalating turmoil since the war began — talking to people on all sides of the divide, investigating how universities have responded, how powerful interests joined the fray, and how the conflict over the conflict ultimately spiraled out of control.

The resulting documentary, “Crisis on Campus,” offers an incisive look at mounting tensions at some of the nation’s most elite institutions, including Columbia and Harvard universities, which have been the focus of intense debate. The documentary features revealing interviews with students and faculty at Harvard and Columbia, as well as other key players in Washington and beyond. It examines how university leaders, some of whom have faced congressional hearings, navigated the challenges of responding to heated rhetoric and division on their campuses and balancing free speech with the need to prevent harassment and discrimination.

As of June 2024, tens of thousands of Palestinians have been killed in Gaza, and Hamas is still holding Israeli hostages. “Crisis on Campus” provides a window into how the divisions over the war continue to run deep on college campuses across the U.S.

“Crisis on Campus” is a FRONTLINE production with Retro Report. The director is James Jacoby and the producers are Scott Michels and Joseph Hogan. The writers are James Jacoby and Scott Michels. The senior producer is Dan Edge. The executive producer of Retro Report is Kyra Darnton. The editor-in-chief and executive producer of FRONTLINE is Raney Aronson-Rath.

Explore related reporting on our website:
https://www.pbs.org/wgbh/front....line/documentary/cri

#Documentary #Israel #Gaza #Colleges

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FRONTLINE is produced at GBH in Boston and airs nationwide on PBS. Funding for FRONTLINE is provided through the support of PBS viewers and by the Corporation for Public Broadcasting. Additional funding is provided by the Abrams Foundation; the John D. and Catherine T. MacArthur Foundation; Park Foundation; and the FRONTLINE Journalism Fund with major support from Jon and Jo Ann Hagler on behalf of the Jon L. Hagler Foundation, and additional support from Koo and Patricia Yuen.

A chronicle of the lives and economic struggles of two families in Milwaukee, Wisconsin — one Black and one white — across more than three decades, this “knockout documentary” (The New York Times) raises unsettling questions about the changing nature of the American economy.

This journalism is made possible by viewers like you. Support your local PBS station here: https://www.pbs.org/donate​/

“Two American Families: 1991-2024” documents the saga of two families, the Stanleys and the Neumanns, who have spent the past 34 years battling to keep from sliding into poverty, and who refuse to give up despite upheaval in the U.S. economy. When the team first began documenting the families’ lives in 1991, the Neumanns and Stanleys were both struggling to adapt to a new, global economy and the trend towards part-time, lower-wage work.

With profound intimacy, the documentary follows the stories of the Stanleys and the Neumanns across six presidential administrations and offers a powerful window into how they and their now-grown children have fared while trying to stay afloat in an economy that has presented challenge after challenge for them.

“There are so many people struggling the same way with the cost of everything and not getting enough on your paycheck to cover your monthly expenses,” said Terry Neumann, who was a mom of young kids when the documentary’s producers began filming with her and is now in her early 60s. “It’s like we haven’t come very far.”

“I won’t give up,” said Jackie Stanley, who is working as a real estate agent while entering her 70s.

“Two American Families: 1991-2024” is a FRONTLINE production with Okapi Productions LLC and Public Affairs Television, Inc. in association with Left/Right Docs. The producers and directors are Tom Casciato and Kathleen Hughes. The co-producer is Andrew Fredericks. The senior producers are Frank Koughan and Nina Chaudry. The writer is Kathleen Hughes. The correspondent is Bill Moyers. The editor-in-chief and executive producer of FRONTLINE is Raney Aronson-Rath.

Explore reporting related to “Two American Families” on our website:
https://www.pbs.org/wgbh/front....line/documentary/two

#Documentary #AmericanDream #Economy #Work

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FRONTLINE is produced at GBH in Boston and airs nationwide on PBS. Funding for FRONTLINE is provided through the support of PBS viewers and by the Corporation for Public Broadcasting. Additional funding is provided by the Abrams Foundation; the John D. and Catherine T. MacArthur Foundation; Park Foundation; and the FRONTLINE Journalism Fund with major support from Jon and Jo Ann Hagler on behalf of the Jon L. Hagler Foundation, and additional support from Koo and Patricia Yuen.

CHAPTERS:

00:00 - Prologue
03:58 - How Changes in the American Labor Market in the Early ‘90s Impacted Some Families
16:19 - How the Financial Struggles of Parents Can Affect Their Children
35:02 - As Demand for Skilled Labor Increased in the Mid-90s, Wages Remained Low
47:08 - Why Some Working Families Continued to Face Financial Hardships Despite a Booming Economy in the Late ‘90s
1:01:48 - How Economic Changes in the Early 2010s Affected Families Already Struggling to Make Ends Meet
1:11:09 - Some Challenges Children From Income-Insecure Households Have Faced as Adults
1:23:08 - How Tax Cuts for the Wealthy, Inflation and Other Economic Shifts Have Affected Some Working Families Now Reaching Retirement Age
1:52:18 - Credits

Amid accusations that the German far-right party the AfD (Alternative für Deutschland) has provoked violence, which it denies, FRONTLINE investigates the overlapping rise of the AfD and far-right extremism in modern-day Germany.

This journalism is made possible by viewers like you. Support your local PBS station here: https://www.pbs.org/donate​/

In the almost 80 years since the Holocaust ended, Germany has worked to overcome its Nazi history — prominently acknowledging Nazi crimes and memorializing victims, establishing strict laws about antisemitism and hate speech, and becoming a global leader in welcoming refugees.

But over the past decade, Germany has faced a rising wave of far-right violence. “Germany’s Enemy Within” probes extremist attacks and plots, from an attempted massacre of worshippers at a synagogue on Yom Kippur, to a mass shooting targeting Muslims, to the assassination of a pro-refugee politician, to an alleged plot to violently overthrow the German government. The documentary also examines the AfD’s rise, how anti-immigrant rhetoric has found a foothold in Germany, and how, if the AfD were to win power in the German state of Thuringia, it would be the first time a far-right party has controlled a German state since the Nazis.

“Germany’s Enemy Within” is a FRONTLINE Production with Mongoose Pictures in association with Evan Williams Productions. The correspondent, reporter, producer and director is Evan Williams. The senior producer is Dan Edge. The editor-in-chief and executive producer of FRONTLINE is Raney Aronson-Rath.

Explore related reporting on our website: https://www.pbs.org/wgbh/front....line/documentary/ger

#Documentary #Germany #AfD #FarRight #Politics

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FRONTLINE is produced at GBH in Boston and airs nationwide on PBS. Funding for FRONTLINE is provided through the support of PBS viewers and by the Corporation for Public Broadcasting. Additional funding is provided by the Abrams Foundation; the John D. and Catherine T. MacArthur Foundation; Park Foundation; and the FRONTLINE Journalism Fund with major support from Jon and Jo Ann Hagler on behalf of the Jon L. Hagler Foundation, and additional support from Koo and Patricia Yuen.

CHAPTERS:

00:00 - Prologue
04:35 - A Look Back at Germany’s Efforts To Overcome its Nazi History
07:54 - Far-Right Terror Attacks in Germany in Recent Years
17:08 - Why the AfD (Alternative für Deutschland) Party Was on the Radar of German Intelligence
26:45 - An Alleged Far-Right Plot To Overthrow the German Government
36:29 - Why Mass Demonstrations Against the AfD Party Broke Out in 2024 in Germany
44:07 - Why Some German Officials Are Concerned About Democracy in Their Country
52:16 - Credits

FOX Weather Hurricane Specialist Bryan Norcross covers the latest advisory about Tropical Depression Four, which is expected to develop and become Tropical Storm Debby later today or tonight.

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Tropical Storm Debby is on its way to becoming a hurricane Sunday night before landfall in Florida on Monday morning.

#debby #hurricane #hurricaneseason #florida #floridaweather #foxweather

Debby has strengthened into a hurricane late Sunday ahead of landfall to Florida's Big Bend on Monday morning.

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California is facing its largest fire of the season, with hundreds of thousands of acres engulfed in flames spreading over multiple counties. Authorities believe the fire was man-made after a suspect was spotted pushing a flaming car into a ravine. NBC News’ Steve Patterson has the fires besieging the West Coast.

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Due to hot and dry conditions, over 150 fires have broken out across California over the Fourth of July holiday weekend. ABC News' Kayna Whitworth joins the show from the ground.

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The Park Fire, California's largest wildfire of the year, has burned an area larger than the size of the city of Los Angeles. It now ranks the seventh largest wildfire in the state's history. https://abc7ne.ws/3WFCBHI

#parkfire #wildfire #chico #calfire #buttecounty #tehamacounty #california #wildfires #fire #breakingnews #history #abc7news

An especially active fire season is exacting a huge toll across several Western states. In California, more than 5,800 personnel, 500 fire trucks and 40 helicopters are battling a fire larger than all of Los Angeles. The Park Fire, as it’s known, is the country’s largest and has ballooned to historic proportions in just over a week. Stephanie Sy reports.

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Prosecutors said witnesses saw Stout push the burning car down an embankment and then calmly blend among people fleeing the area.

#parkfire #californiawildfires

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This week, severe weather and heat have punished different regions of the world, even affecting athletes and spectators at the Olympic Summer Games in Paris. An active fire season has seen blazes rage cross the Western U.S., fueled in part by record-breaking heat. PBS News Weekly takes a look at the wider effects of severe weather and drought and what these events reveal about our changing climate.

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The Park Fire is now California's fourth-largest wildfire in history, Cal Fire said Friday.

The wildfire impacting Butte, Plumas, Shasta and Tehama counties has burned about 399,615 acres and is 25% contained.

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