Presumptive Democratic presidential nominee Hillary Clinton was in Springfield, Ill., Wednesday where she sought to use the symbolism of a historic landmark to draw parallels to a present-day America that is in need of repairing deepening racial and cultural divides.

The Old State Capitol — where Abraham Lincoln delivered his famous "A house divided" speech in 1858 warning against the ills of slavery and where Barack Obama launched his presidential bid in 2007 — served as the backdrop for Clinton as she spoke of how "America's long struggle with race is far from finished."

Episode 711: Hooked on Heroin

1 hour ago

When we meet the heroin dealer called Bone, he has just shot up. He has a lot to say anyway. He tells us about his career--it pretty much tracks the evolution of drug use in America these past ten years or so. He tells us about his rough past. And he tells us about how he died a week ago. He overdosed on his own supply and his friend took his body to the emergency room, then left.

New British Prime Minister Theresa May announced six members of her Cabinet Wednesday.

Amid a sweeping crackdown on dissent in Egypt, security forces have forcibly disappeared hundreds of people since the beginning of 2015, according to a new report from Amnesty International.

It's an "unprecedented spike," the group says, with an average of three or four people disappeared every day.

The Republican Party, as it prepares for its convention next week has checked off item No. 1 on its housekeeping list — drafting a party platform. The document reflects the conservative views of its authors, many of whom are party activists. So don't look for any concessions to changing views among the broader public on key social issues.

Many public figures who took to Twitter and Facebook following the murder of five police officers in Dallas have faced public blowback and, in some cases, found their employers less than forgiving about inflammatory and sometimes hateful online comments.

As Venezuela unravels — with shortages of food and medicine, as well as runaway inflation — President Nicolas Maduro is increasingly unpopular. But he's still holding onto power.

"The truth in Venezuela is there is real hunger. We are hungry," says a man who has invited me into his house in the northwestern city of Maracaibo, but doesn't want his name used for fear of reprisals by the government.

The wiry man paces angrily as he speaks. It wasn't always this way, he says, showing how loose his pants are now.

Ask a typical teenage girl about the latest slang and girl crushes and you might get answers like "spilling the tea" and Taylor Swift. But at the Girl Up Leadership Summit in Washington, D.C., the answers were "intersectional feminism" — the idea that there's no one-size-fits-all definition of feminism — and U.N. climate chief Christiana Figueres.

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Arizona Hispanics Poised To Swing State Blue

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'Homeland' And The Delicate Art Of Withholding

Oct 21, 2013

[Be aware that this post contains information about Sunday night's episode of Homeland. Consider yourself forewarned.]

Much of the first season of Homeland was just about perfect. The dance between federal agent Carrie Mathison's maybe-paranoia and returned soldier Nicholas Brody's maybe-nefarious intentions was effective in part because the withholding of the truth about Brody was done so elegantly. The audience showed a high tolerance for the fact that the show clearly knew what Brody was up to, and didn't tell us until they were good and ready.

Since then, though, Homeland has struggled to find a reason for continuing its story, and especially for keeping Brody and Carrie in a story together. Attempts to make the show compelling by centering it around their romance have been uneven at best. Perhaps it's not surprising that in this third season, the first four episodes haven't put them together at all — he's been entirely absent from all but last week's episode, in which he was bottled up away from Carrie.

Sunday night's episode, "Game On," continued Carrie's story, which this season has had her betrayed by Saul and the CIA following a bombing Brody is accused of spearheading. She's been shamed and blamed in a public narrative in which a bipolar CIA operative had an affair with a terrorist, then perhaps even facilitated an attack and then cooperated in the attacker's escape. She was involuntarily committed, heavily medicated, separated from her family, and burned by the agency when all her money was frozen, her car confiscated, and her friends turned against her.

Oh, wait — that didn't happen. They spent three and a half episodes on it, but that didn't happen.

After Carrie, in despair, agreed to become a spy for Iran (?), she went to see Saul and it was revealed that some or all of this was a front to bait the Iranians into approaching her so that she could get inside and get intelligence on the bombing.

On the one hand, it's a reversal that redeems a plot that was really starting to not make any sense; who would believe Carrie would start working for Iran?

But on the other hand, it meant that the story in which the audience had been asked to invest for several episodes — Carrie's isolation, her fear, her despair, her estrangement from Saul, her sense of betrayal — was either not true or part true. (As Alan Sepinwall points out, it's not even clear when this became a plot in which Carrie was cooperating. His theory that it began right after she threw Saul's apology back in his face seems possible, but certainly not unambiguously correct.) While this twist is fun, in its way, it's also problematic. It's not quite as bad as "it was all a dream," but it has discouraging similarities to "it was all a dream."

It's still withholding, but it's an entirely different kind of withholding from the first season. When you withhold and the audience knows you're doing it, then when you finally give it up — when you finally tell them that yes, Brody is planning to blow himself up along with the vice president — it's satisfying. But when you suddenly reveal that you've been doing a big fake-out, not just for a scene or two scenes or one episode, but perhaps for the lion's share of four episodes, you risk making the audience so wary of your tricks that they stop caring.

Narratively, at some point, you have to commit. The audience has to know that what you've already shown them is written in pen, not pencil. You can expand on what you've written; you can write reversals and surprises. Reversals are part of the game, and surprises are key, particularly in a spy show. But it's different, and a little hazardous, to undo your story, especially in large quantities. It's the difference between "you thought this was happening, but much more was happening" and "you thought this was happening, but it wasn't."

So Carrie wasn't frightened about being burned. She wasn't conflicted about the approach from the Iranians. She wasn't alarmed that her credit cards were shut down. She wasn't feeling betrayed by Saul. She wasn't on her own. She wasn't upset when she seemed upset, wasn't scared when she seemed scared, wasn't suffering when she seemed to be suffering.

There's a fine line between a flourish and a trick, between the delicious feeling that you've been had in the best way and the unpleasant feeling that you've been, for lack of a more elegant phrase, jerked around. Homeland has been at times very good at the former. Last night felt a little more like the latter.

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