With 6:33 remaining in the third quarter Thursday night, it was time to put Chicago Bears general manager Ryan Poles on television. That’s what Amazon Prime Video’s telecast did following the commercial break after running back D’Onta Foreman’s touchdown run for the Bears.

Next to Poles was a graphic breaking down the trade he made with the Carolina Panthers involving the first pick in the 2023 NFL Draft, which the Panthers used on quarterback Bryce Young.

“A lot to talk about in terms of the trade,” play-by-play broadcaster Al Michaels said. “Ryan Poles with Chicago, they have a treasure trove. Look at this. I mean not since, I think Willie Sutton was robbing banks, did you see something like that.”

Michaels then went through some of the details of the trade.

“And there are pieces on this defense already that you like about where they are and where they’re heading,” analyst Kirk Herbstreit said. “You add on what they’re going to be able to do in next year’s draft — not just in the first round but really the first four or five rounds. They’ve got a lot of picks.”

GO DEEPER

Greenberg: Bears continue their dominance of ‘Thursday Night Football.’ (Don’t ask about Sundays)

After trading for defensive end Montez Sweat, the treasure trove isn’t as much as Herbstreit hinted at during the broadcast. The Bears have six picks in the first five rounds. It includes two in the first and two in the fourth. But his point still was made. The Bears and Poles are in a great position to build out their roster.

What Michaels and Herbstreit hit on at that moment in the third quarter seemed to be an important theme of Prime Video’s broadcast of the Bears’ 16-13 win against the Panthers on “Thursday Night Football.”

It’s always interesting to hear what national broadcasts say about teams because what’s said typically comes after ample time spent talking to players, coaches and front-office members during production meetings and more.

When Herbstreit and Michaels weren’t hanging out with Philadelphia Eagles center Jason Kelce for a full quarter, they were generally speaking positively about rookie quarterback Tyson Bagent and what the Bears could be building. During the pregame show, Michael Smith, the former ESPN host, explained what Poles inherited from former GM Ryan Pace.

“The Bears lacked picks, cap space, youth and talent,” Smith said. “Poles had to reset the roster, and that process takes more than two offseasons. There were hardly any first-rounders around here when Poles arrived.”

Smith then hit on Poles’ acquisition of Sweat.

“That was a move to get more blue-chip talent in the building,” he said.

And then came this.

“So Justin Fields is under contract for next year and the Bears have the option for the fifth year — and they still believe in him,” Smith said. “A lot can change between now and the draft. But the Bears know this roster still needs to undergo a lot of upgrades around whomever is under center.”

That was Bagent on Thursday night. By the end of the night, Bagent was the one sitting with Charissa Thompson, Tony Gonzalez, Ryan Fitzpatrick, Andrew Whitworth and Richard Sherman as Bears fans chanted “(Expletive) Green Bay” and “Fire Getsy.”

Bagent won. The Bears’ Division II starter was better than the Panthers’ Heisman Trophy winner.

“Overall, they’re going in the right direction,” Gonzalez said after the game. “And this kid, I couldn’t be happier for him, especially coming out of the Division II level to be in this spotlight, prime time, it was good for him.”

Fitzpatrick’s favorite throw from Bagent was the rookie’s final one of the game. Bagent hit receiver Darnell Mooney for an 8-yard gain between two defenders on third-and-7 from Carolina’s 38 in the final 90 seconds.

“Luke Getsy, that last third-and-7 of the game, he trusted Bagent with the ball in his hands,” Fitzpatrick said. “It wasn’t just a handoff and let’s punt this thing away. He allowed him to drop back. It wasn’t a rollout. It wasn’t a, ‘Let’s give him an option to run, let’s give him an option to throw.’ He dropped back, found Mooney, got the first down and iced the game. That tells you a lot about Luke Getsy and what he thinks about this kid.”

Fields, though, is the Bears’ starter when he’s healthy. Coach Matt Eberflus said as much after the game. Maybe that’s what he had up his sleeve.

GO DEEPER

Bears predictions at NFL midseason: Matt Eberflus stays; no Justin Fields decision until May

After the game, Gonzalez suggested the Bears should take USC quarterback Caleb Williams with the first pick if they have it and then trade their second first-rounder for more selections. Everyone disagreed with him. It might be best to stick with Fields or Bagent. Poles simply has more work to do.

“You got a chance this year to use up all that draft leverage to stack this football team with talent,” Whitworth said.

“Because you end up in a situation that Bryce Young is in with not a lot of talent,” Sherman said. “The cupboard is pretty empty. He’s trying his best. You can’t even tell if he’s talented or not because the team is so bad. You get a good quarterback in there and he starts to think he’s bad, he loses his confidence, and you can’t build a good team around him, and then people start to rush to judgment.”

Sounds familiar, right?

It was the Bears last season — Year 1 of Poles’ rebuild. Fields didn’t have much to work with in his second season.

True, the Bears beat only a one-win Panthers team, but Sweat, nickelback Kyler Gordon, right tackle Darnell Wright and others drafted, signed or acquired by Poles played well in the victory. That includes Bagent, who is 2-2 as the Bears’ starter. He wasn’t great but good enough against Carolina. He completed 20 of 33 passes for only 162 yards, but he didn’t turn the ball over or take a sack.

Whitworth said before the game that Fields or Bagent should be the starter next season for the Bears.

As everyone seemed to suggest at times throughout Prime’s broadcast, Poles is in an ideal position to add talent around his quarterback — whomever that is — and on defense.

“Because I believe the way you build a football team in the NFL is to continue to stockpile talent, and that’s really the winning model,” Whitworth said. “When you look in San Francisco, when you look at Philly, where Jason (Kelce) plays, it’s about the guys that play around him just as much as it is their quarterback when you want to win year in and year out. So you look at their draft pick capital, maybe trading one of those picks to move back in the first a little further and stockpiling more picks to keep more talent because this team is a lot further away than just one dynamic quarterback.”

(Photo of Tyson Bagent: Daniel Bartel / USA Today)

“The Football 100,” the definitive ranking of the NFL’s best 100 players of all time is on sale now. Order it here.

The post What ought to the Bears do at QB transferring ahead? TNF broadcast had a reasonably clear view appeared first on DAILY SAN FRANCISCO BAY NEWS.

TERRY GROSS, HOST:

This is FRESH AIR. I’m Terry Gross. Brooke Shields is the subject of a new documentary on Hulu called “Pretty Baby” that has already become part of the larger conversation about the sexualization of children and young women. Her career started as a baby in soap commercials and print ads. She went on to become an actress, famous in part for her beauty. One of her most notable and controversial roles was in the 1978 movie “Pretty Baby,” in which, at the age of 12, she played a child prostitute. Brooke Shields talked about her life and career with our guest interviewer, Tonya Mosley, the host of the podcast Truth Be Told.

TONYA MOSLEY, BYLINE: There was a time when Brooke Shields was a household name, a cultural phenomenon. Even today, depending on how old you are, Shields doesn’t need much of an introduction. Most often, her starring role in the 1980s film “Blue Lagoon” or her Calvin Klein ads are enough.

(SOUNDBITE OF AD)

BROOKE SHIELDS: You want to know what comes between me and my Calvins? Nothing.

MOSLEY: But as the new documentary “Pretty Baby” explores, Shields’ early career was defined by a sexuality that both she and the world are still trying to understand. In this two-part series now on Hulu, director Lana Wilson peels back the layers of Shields’ story, examining the toxic culture and power structure that perpetuates misogyny and objectifies young girls. Brooke Shields has had a long career as a model, a Broadway, film and television actor. She’s authored several books and is the host of the podcast “Now What?”

Brooke Shields, welcome again to FRESH AIR.

SHIELDS: Oh, thank you very much for having me.

MOSLEY: Brooke, you started working at 11 months old. And, really, by the time you were a teenager, you were one of the most recognized children on the planet. How much awareness did you have about your fame?

SHIELDS: Because I never really knew life without it, it was just a part of my life being recognized. It started at such a young age that you just sort of – you never get really used to the feeling, but you get used to surveying an area, knowing when someone’s going to approach. You sort of get this – this other sense becomes very incited. And so it wasn’t about fame as much as it was just about recognition. And the minute you leave your apartment, you are in the world differently than many people are.

MOSLEY: In “Pretty Baby,” you were portrayed as a child prostitute, but you describe it as truly the only artistic film you think you’ve ever been in, even to this day.

SHIELDS: Yeah, I really – I value it so much more. I mean, every single detail in that movie was – in “Pretty Baby” was purely thought out and of the actual time. The research that went into all the wardrobe and the – we had one of the best cinematographers in the world and – you know, so the caliber of talent on that set and really putting the film together was just unlike anything that I’ve ever experienced again.

MOSLEY: Of course, because of the depiction of a child prostitute and you being the age that you were, that’s what made it so controversial for – at the time, in 1978. And it also was a time where you had your first onscreen kiss in the film. And I heard you say that it must have been harder, actually, for the adult male actor, Keith Carradine, than it was for you at the time. Did you even understand the weight of that kiss in the moment?

SHIELDS: No, I just was embarrassed that I didn’t know how to do it. You know, I had never kissed a boy before, you know? So it was one of those things where, I mean, I’d had a crush on a little model that I had worked with, and that was it. I mean, at 11, I didn’t know what I was doing. And so, you know, I kept scrunching up my face and I kept, like – you just don’t know what to do. And it’s funny because it’s such a non-kiss, you know? And it was funny because Louis made us stay together sort of and not move.

MOSLEY: Louis Malle, the director, yes.

SHIELDS: Louis Malle, yes. Made us just stay together and he kept saying, don’t pull apart. Don’t pull away. Don’t pull away. And I was just like, wow, really? Is this all it is, kissing? This is – OK. You know, when you’re 11, too, you don’t think of age difference. So, I mean, he was, I assume, much more aware but such a gentleman and so kind about it. You know, he didn’t want to scar me.

MOSLEY: I read that he said to you, this doesn’t count.

SHIELDS: Yeah. And it really – I thought it did. You know, you think so much about the first kiss, you know, what you’re going to have. And you talk about it with your girlfriends. And, you know, it was funny. We would have those, like, parties where whenever I went to go visit my sisters, they would, you know, five seconds in the closet or 10 seconds in the closet. And every time I got in the closet, I went, don’t even think about it.

MOSLEY: Don’t even think about kissing me (laughter).

SHIELDS: Don’t even think about it. I am certainly not going to have my first kiss in a closet in the dark while other people are waiting outside. I was like, the whole thing is just ridiculous and childish. And I found – I mean, I thought that way even when I was a kid, like, even younger. So this – that’s what – I didn’t want to ruin that. And he sensed that and, you know, had intuited that I had not kissed a boy before, you know. And so he knew that that’s what I was struggling with and how he figured that out, I don’t know. And it was one of the most generous gestures any actor has ever shown me and so kind and so in the moment and so sensitive that I never forgot it. And I’ve always been so thankful to him for that.

MOSLEY: You didn’t feel exploited or unsafe on that set of “Pretty Baby.” But there were instances in other films where you were coaxed in ways that kind of made you feel uncomfortable. There was this weird moment on the set of the 1981 movie “Endless Love” where the director, Franco Zeffirelli, was pinching your toes in order to get you – to get a certain reaction out of you.

SHIELDS: Yeah, he wanted some look of ecstasy or something on my face. And, you know, my first reaction was, how about directing? Here’s an idea.

MOSLEY: You were thinking that even at the time.

SHIELDS: Yeah. Wouldn’t you tell me – like, why – I had somebody once say – they had a coach on the set and I was – I think I was doing “Just You And Me, Kid” or something with George Burns. And he – the person said to me, OK, now you have to cry. So you have a horse, right? And I said, yes. And she said, so think about someone stabbing your horse. And I said, lady, look, if someone stabbed my horse, I would – the first thing I would do would not be cry. I would not cry. I would stab the person who stabbed my horse and then I would fix the horse. And then maybe I would cry. I said, that is the worst thing because I would have an instant look of anger and rage. And I don’t think anger and rage is what the director is looking for. I think he’s looking for sad.

And I just thought, God, can’t people come up with something a little more relatable and a bit more nuanced, you know, to talk you through something and give you an image rather than an image that’s going to possibly produce the antithesis of what is needed? I mean, I’m a very thoughtful kid who has a very good imagination, who is very emotive and, you could have come up with just a little bit – you should have spent a little more time with me, taking me aside and sort of guiding me through it, you know. The boys in those films were always so much more of a focal point because they were considered newcomers, you know? And they were both older, like…

MOSLEY: Your male co-stars. Yeah.

SHIELDS: …All my leading men were older. All my male co-stars were always older. And, you know, they should have been spending more time – you know, I know that in Louis Malle’s case, there was this – he didn’t want me schooled. He didn’t want me thinking of things. He really did just want to see me react in situations. And so that was very different. It was a very different film. But when it actually came to sort of practicality, directors weren’t – didn’t spend any time with me, you know? So I just – you know, the assumption is I look a certain way, so that’s enough. And I’m box office, so that’s enough.

MOSLEY: Yeah. How do you reconcile that? Are you angry about it today? Because just knowing what I know about you, you take your craft seriously. Do you think he would have gotten a better performance – they would have gotten a better performance out of you?

SHIELDS: I think they would have gotten a better performance. I think there’s a sort of thinness to a lot of my earlier – not “Pretty Baby.” I don’t know how Louis Malle ended up – but he would talk in stories, and he would just say stories, and he would get you to think of things. But he didn’t – he – you know, it was very, very different. You know, I don’t – it’s not anger. It’s just sort of missed-opportunity feelings. You know, I think a lot of the movies I made could have been better.

But then again, you know, I’d also have to say that it didn’t matter because I wanted to be liked more than I was worried about really delivering a master performance. Plus, I wanted to really ensure that there was no crossover into my own life. So I made faces, and I had – like, the minute the scene would be over, I would stick my tongue out, or I would just constantly break character because I didn’t want to – I wanted to remain my personal self at the same time. And, you know, that was a form of self-protection and preservation.

MOSLEY: That is really interesting, the two things you said there. One is you wanted to be liked. I think that’s something that a lot of women and young girls can understand. You go along with things because you want to be liked.

SHIELDS: Absolutely.

MOSLEY: But it also sounds like you had a sense of yourself, a really strong sense of yourself, as a young child wanting to make certain that you kept those parts of yourself that weren’t a part of show business. Where did that come from?

SHIELDS: You know, I think any – there was a lot of uncertainty and the unexpected in the way my mother and I lived our life. You know, at the drop of a hat, you were at a different location. Or, you know, she would be sober one minute, drunk the next. And so there was this sort of – there was always a sense of what’s going to happen next? And I think that going on to a movie set, the structure of it and the mechanics of it were so comforting to me because they were so predictable, and you could learn them, and you had a routine, and you had a call sheet, and you had rules, and you had lunchtime, and you had all of these different things that I just loved. And I think that losing myself in a character was scary to me because I was afraid I wouldn’t have any ground to go back to.

So I kept disassociating from all of it. You know, I just compartmentalized. And – you know, and I think that was just my way of keeping steady. And I don’t know how I knew that. I think it was instinctual. And I also think it has a lot to do with being a child of an alcoholic. You know, you get very, very controlling in what you can control because there’s so much you can’t control. And as a child, you know, you need to keep your loved one alive, and so it takes such precedence over everything that I – you know, I became, like, a neat freak and kind of OCD and really organized. And I kept my environment very controlled, you know?

MOSLEY: I want to talk more about your mother a little bit later. Let’s take a moment for a break. We’re talking to Brooke Shields, subject of a new documentary on Hulu titled “Pretty Baby,” which gives a long view of Shield’s career as an ’80s icon. This is FRESH AIR.

(SOUNDBITE OF THE ACORN’S “LOW GRAVITY”)

MOSLEY: This is FRESH AIR, and I’m Tonya Mosley. And if you’re just joining us, I’m talking with Brooke Shields, Broadway, film and television actor. She’s the author of several books and the host of “Now What?” – a podcast. We’re talking about the documentary on Hulu called “Pretty Baby,” which brings a fuller view of when Shields came of age in public.

I really am struck by this mechanism you used to protect yourself, to disassociate. I actually feel like I noticed it in some of those early interviews when these male journalists would be asking you really borderline or suggestive questions. You seemed aloof, almost unfazed. I want to play a clip of you being interviewed around the time of “Pretty Baby.” Let’s take a listen.

(SOUNDBITE OF ARCHIVED RECORDING)

MIKE DOUGLAS: How do you feel about all this fuss that’s being made over you?

SHIELDS: I think it’s kind of fun.

DOUGLAS: Do you?

SHIELDS: Yeah.

DOUGLAS: You’re enjoying it?

SHIELDS: Oh, yeah. I love it.

DOUGLAS: You really are an exquisite-looking young lady. I know you’ve been told that. But isn’t she a pretty girl?

(APPLAUSE)

MOSLEY: That was the interviewer Mike Douglas interviewing you back in the 1970s. And it feels so uncomfortable to listen to this. What goes through your mind when you look back at these kinds of interactions?

SHIELDS: After “Pretty Baby,” there was such a firestorm. You know, it was as if – ’cause I was away in Europe when the film won the Palme d’Or in Cannes. And when we came back to America, you know, Cannes – everything in France was celebrating us. And then we come back to America, and it’s just pitchforks and protests. And they were just – there were so much that I just shut down to all of it. And, you know, you just sit there in these interviews, and you’re just like, ugh, here we go again. They’re going to just – they’re going to say the same thing, ask the same question.

I always used to say, God, I wonder, Mom, if I were to play a murderer, would they – you know, would they be really worried that I was uncomfortable stabbing somebody and, you know, killing somebody and the blood? And, you know, it’s just – you know, I was more traumatized by my first movie where I was 9, and I had to get this prosthetic makeup on my face to look like I had been burned. It was a murder mystery. And I hadn’t seen the makeup. And then I looked in the mirror, and I looked like, you know, I had a big slice of pizza on my face. And I thought it was going to be, like, charcoal, like, you know, a chimney sweep, because I had seen “Mary Poppins,” you know? And all of a sudden, I had this – I was terrified. I looked in the mirror. And it’s so interesting to me that, you know, people never had a problem with me playing that character. Or they never – and I understand because sexuality is just such a trigger for especially the press. But it always struck me as ignorant.

MOSLEY: The funny thing is, watching the documentary and seeing these clips, one might think, oh, well, this is in the rearview mirror, the way that interviewers interview children. But then I recently saw a video where someone stitched together a series of interviews that reporters had done with Justin Bieber when he was a child. And some of the questions were so suggestive and inappropriate. And this was just a few years ago by comparison. Why do you think there is such a need to – maybe it’s not sexualize but adultify (ph), if that’s even a word, child stars? You dealt with it. We see this so much with young stars, especially if they’re considered, like, you know, showboats or the object of desire for young girls or boys.

SHIELDS: You know, asking Britney Spears if she’s a virgin, you know, you look at that, that wasn’t that long ago either. So I don’t think we’ve really come very far, to be honest. I don’t – you know, I think that we think because we’re able to speak out more that the situation is changing. And I don’t really see that much of a change. And they’re, most of the time, you know, mostly men. But there are so many interviews where I was interviewed by women who at one point, I was – God, I must have been 13. And this woman kept asking the same question over and over, just with different words. And I finally said, excuse me, ma’am. I said, but I don’t think you want my answer. And she went, whoa, whoa, whoa.

I said, I just – I keep answering it. And I keep trying to tell you that it’s my truth. But you keep asking the question, so I think you want a different answer. But I can’t give you a different answer because that’s not – I would be lying. That’s not my truth. And I thought, how the hell did I know enough or have the balls to say it to this woman, you know? I mean, Barbara Walters, on air, asked me to stand up to compare our figures because she asked me what my measurements were, as if I knew my waist in inches or centimeters, you know? I was 15. That’s – and these are women and purportedly mothers. And you just think, God, do you think you have to do that to be valid? That’s pretty depraved, if you ask me.

MOSLEY: I’m wondering how the sexualized depictions of you impacted your ability to take on other roles that didn’t portray you as an object of desire.

SHIELDS: They were hardly an option. I mean, you know, I did tilt in “Wanda Nevada” and “Just You And Me, Kid.” And those were real kid roles, you know, ate Butterfingers and drank Dr. Pepper and riding horses in the desert and rafting and, you know, got to play with musicians. And George Burns was my favorite. So I had my fair share of them. It’s just that people were less interested because that wasn’t what was selling. And it was easier for them to just keep me in that, you know, more exotic, sexualized because, you know, it had a direct value. And that value was monetary. So you know, I got it out of my system, you know? I got – and I did 24 Bob Hope shows, traveling all over the world and was Ms. USO. And, you know, so I had my fair share of it. It’s just that, they didn’t sell as much, you know, for the studios. And that’s just the way it was.

GROSS: That’s Brooke Shields speaking with our guest interviewer Tonya Mosley. Shields is the subject of a new documentary called “Pretty Baby” that’s streaming on Hulu. After a short break, Shields will talk about her friendship with Michael Jackson and her relationship with her mother, who was an alcoholic. I’m Terry Gross, and this is FRESH AIR.

(SOUNDBITE OF VIJAY IYER’S “HUMAN NATURE”)

GROSS: This is FRESH AIR. I’m Terry Gross, back with more of our interview with Brooke Shields. There’s a new documentary on Hulu about her career as a child model and actor and the sexual objectification she experienced in Hollywood as a teenager and young woman. She also became famous at the age of 12 when she played a child prostitute in the 1978 movie “Pretty Baby.” The documentary is also about Shields’ adult life. Brooke Shields spoke to our guest interviewer Tonya Mosley, host of the podcast Truth Be Told.

MOSLEY: Brooke, I want to talk with you about your mother, Teri Shields. You know, when you were younger, the media characterized your mother as a stage mom. And you – you’ve always said that that description is not entirely accurate. But your mother struggled with alcoholism. And I’ve heard you say something pretty powerful, that children of alcoholics learn at an early age how to navigate a situation, how to read a room, how to keep the person they love alive. Do you remember a moment or a time in your early life when you realized that that was the role you had to play to keep your mother safe?

SHIELDS: I mean, I think I’ve been playing – I was playing it since I could walk, you know? You just – the child is so intuitive to the mother, you know? They – the tone of a voice or the emotion – there’s just – there’s this crazy, crazy connection. And, I mean, I see it with my girls, and they read me immediately. And there’s this thing that happens if you’re a really – ostensibly, an only child with a certain parent. All I had to do was keep her alive because she was my source, you know? I was never without her and – except for when I’m at my dad’s. But we were always together.

And so I just grew up knowing that there were patterns and that she needed guidance. Like, she – I had to know where I could find her. I had to know where it was going to, you know, sort of turn into, oh, we’re going to be here another hour. I got to figure out how to get us out of here. And, you know – and so it just – you just intuitively start to do that. I don’t think I thought about it. But then it became my focal point because I was so afraid something was going to happen to her.

MOSLEY: Yeah. Your mom died of dementia in 2012, and you’ve written quite a bit about your mother. You wrote a memoir that details your relationship. You’ve gone to therapy, and now there is this documentary. What conclusions have you come to about the choices your mother made as it relates to your career?

SHIELDS: I think my mother’s choices for my career really didn’t have anything to do with a career. It had to do with, how do we get from this point to the next point? How do we keep her in the public eye? Because there’s power in that, and with that, our life can be better. You know, we can support ourselves. We don’t have to – she doesn’t have to rely on any, you know – I mean, she didn’t even get – ask for alimony. When they got divorced, my mother said, you do not pay me alimony. I will find a way to make money, but you put this kid through school. And – because she never went to school. She – he had to pay for my tuitions. And, you know, I was just born. So those were the kinds of things – she wanted me to be afforded a life that she never had. And that had to be comfortable, and there had to be travel and nice things and education.

And so I think her decisions for my life – making us stay in New York, never going to California to live, never taking the high school equivalency test, stopping work and going to college – like, all those things – and always having a friend with me – like, those were all protective, personal things. So I’m more thankful for the fact that I have a life than I am disappointed in the way she sort of handled the career. Because every time we went and did a movie, we had the best time ever.

MOSLEY: Brooke, I want to talk to you about Michael Jackson. You describe your relationship with MJ as a sweet and innocent one, and you spoke at his funeral in 2009. Let’s listen to a bit of your tribute.

(SOUNDBITE OF ARCHIVED RECORDING)

SHIELDS: We had a bond. And maybe it was because we both understood what it was like to be in the spotlight from a very, very young age. I used to tease him. And I’d say, you know, I started when I was 11 months old. You’re a slacker. You were – what? – 5? Both of us needed to be adults very early. But when we were together, we were two little kids having fun.

MOSLEY: It has been a long time since Michael Jackson died. What do you reflect on, these days, when you think about him?

SHIELDS: I just – I get sad because, you know, there was – there’s so much missed opportunity for him, you know? And he was so unhealthy. And his insecurity about the way he looked was so over – it was overriding, you know? And I think that that’s just sad. You know, it just – I feel bad because I think that, you know, I was fighting for a real normal life outside of all of it for so long. And I had – I really had a shot at it, you know? I really was not going to get pulled down or sucked into it. And, you know, he was such a genius. But the arrested development and the other part of him was just – were never taken care of.

And so I just feel – I look back with such pleasant memories and made him laugh all the time. I would say, hey, your shoes better have to have a party. You better have a party and invite your pants down. The pants are too short. What are you doing? Why do you have a Band-Aid on your finger? It’s just weird. Did you lose the other glove? I mean, come on. You know, and he would just – I just made fun of him. And so it would be – it’s just sad for me to see, like, he didn’t get to get what I got – you know? – what I made my – what I insisted I get.

MOSLEY: In your eulogy, you said that he could always count on you as a date. What do you think you represented for, Michael?

SHIELDS: He knew I was going to have my senses around, you know? He knew I was going to see who was coming, what was happening, who was doing this, where the picture was taking. Like, I had such this – it was like a caretaker kind of a thing. I just always said yes. He knew I’d be fun. He knew that somehow I would be grounding amidst the craziness. And it was always insanity. You know, these award shows and the mobs of people and, you know, the rocking of the cars, and, you know, it was just – and yet that was his entire life. You know, it was just his entire life. And, you know, I used to make him go to restaurants with me because I was like, you have to make yourself normal, and if people come over to the table, you can say, well, wait until we finish this meal, but right now we’re having a meal. And, you know, people would respect it. He’s like, how do you do that?

MOSLEY: You had to give him those types of pointers.

SHIELDS: Yeah, because no one was – he was a machine for that whole family, you know, and he was the main – main, main, main – reason and the breadwinner and the – you know, so they were protecting – you know, his mom was so sweet. I mean, his mom was the one who invited me to and asked me to speak at the memorial. And, you know, that always really sort of struck me. And, you know, the people that weren’t asked were, like, mad that I was one of the people that spoke. It was just so crazy. You know, people had such propriety about him. And he just knew that I didn’t want anything from him. I wasn’t really – I was not enamored with the Michael Jackson of – you know, I thought he was extraordinarily talented and loved all his music, but I wasn’t – I didn’t fan out over him. And I think that was just so – and I needed absolutely nothing from him. You know, and I think he just sensed it.

MOSLEY: He sensed it and needed it. But, you know, the insinuation was always there that it was romantic. But it wasn’t.

SHIELDS: It was the farthest thing from romantic. I mean, you know, there was one time when he grabbed me and kissed me and – when the cameras were, you know, clicking. And I was like, what are you doing? I was like, we eat candy together and watch movies, and I’m your sister. Like, don’t – you don’t – you need me as your friend. Find – you know, find it elsewhere. You don’t – it doesn’t have to be me. Like, you’re not going to lose me. So don’t ruin it. You know what I mean? And he was just – that wasn’t in his – you know, there was nothing there because we met when we were so young. We were just – we were each other’s sidekick, you know, in the mania.

MOSLEY: Yeah.

SHIELDS: Nobody wanted to believe it, of course.

MOSLEY: Let’s take a moment for a break. We’re talking with Brooke Shields, subject of a new documentary on Hulu titled “Pretty Baby,” which gives a long view of Shield’s career as an ’80s icon. This is FRESH AIR.

(SOUNDBITE OF PAQUITO D’RIVERA’S “CONTRADANZA”)

MOSLEY: This is FRESH AIR, and I’m Tonya Mosley. And if you’re just joining us, I’m talking to Brooke Shields, Broadway, film and television actor. She’s the author of several books and the host of “Now What?” – a podcast. We’re talking about the new documentary on Hulu called “Pretty Baby,” which brings a fuller view of when Shields came of age in public.

You hit a low point in your career after you graduated from Princeton, and you were looking for work. And you reveal in this documentary this bombshell that you were sexually assaulted by a Hollywood executive. First of all, I’m sorry that happened to you.

SHIELDS: Thank you. It’s very common.

MOSLEY: You didn’t tell anyone at the time. What kept you from reporting it then? And why was it important for you to share what happened now?

SHIELDS: It was absolute fear. It was fear that I would never work again. I was at such a low point in my career. And the person was so prominent, you know, in many different areas in entertainment. And I couldn’t afford it. I just – I was already at a low. And people weren’t ever believing anything I said. You know, it would have seemed like some desperate attempt at attention and pity. And no one would have believed me. They just – no one was believing anybody at that time. And then to be with – to have it be a powerful person was – I mean, the odds were going to be so against me. And, you know, nobody considers what it takes to go through a trial or the public scrutiny and then the victim shaming. And I was sort of shunned by Hollywood, and movies didn’t want me, and TV didn’t want me. And I just – I was way too scared and just wanted to block it all out.

MOSLEY: You’re not naming the person who did this, but you’re talking about it.

SHIELDS: I really needed to process it in my own way and on my own terms. And it took me years. But people don’t want victims to process their experience the way they need to or want to. They – we want to tell them how to do it. And then we want to point the finger, and we – and that’s not what I wanted to accomplish. You know, it was – it would have then become about him…

MOSLEY: Yeah.

SHIELDS: …Yet again.

MOSLEY: You know, I recently read this great article titled “I’m 45 And I Look My Age,” and in it, the author makes the case that we should feel good about all forms that our bodies take as we age. It made me wonder, as someone whose livelihood has often been dependent on your looks, how has that felt? Has it felt like a relief or unsettling?

SHIELDS: You know, it’s both. I mean, I can walk down the street with my 16-year-old, and I’m like, wait, what just happened? What just happened? You know, these guys were like, look at her, and I’ll be like, I’m going to cut your eyeballs out, dude. You better keep walking. Keep walking, you know. And it’s like – so there’s that one piece where you’re protective of your young, fresh, blooming beauty child, you know? And you’re just like, oh, my God. And then you’re also sort of like, hey, isn’t she beautiful? Isn’t she great?

MOSLEY: Right. Right. Yep.

SHIELDS: Isn’t she sweet and pretty and tall and gorgeous and amazing, amazing. And then you’re like, wait a minute. You did not look at me once. Just – you know, and you’re like, what the hell happened?

MOSLEY: Yep.

SHIELDS: So there is that, like, oh, is it – what’s happening to me? You know, nothing’s high as it was. And then there’s this just kind of reveling in it. It’s – you’re – it’s not as exhausting as it used to be. It’s not chasing youth. It’s really just trying to look and feel the best that I am because this 57-year-old body has really taken me through a lot and got me here.

MOSLEY: Yeah. Towards the end of the doc, we see you with your two daughters at the dinner table and your husband talking about “Pretty Baby,” the movie, and your – their thoughts about what you went through as a child actor. And your daughters – you’ve mentioned this – they were disturbed by some parts of your career. How, if at all, has your daughters’ perceptions of your early work changed your perception of what you went through?

SHIELDS: It really was eye-opening and kind of mind-boggling to me that conversation because we had no idea it was going to happen. They weren’t prompted. It wasn’t – and they had seen the film, and they had very different reactions to it. On the one hand, my older daughter said, this needs to be seen. This is going to help women, people. And my other daughter was just very disturbed, never wants to see it again. The fact that anything bad happened to her mom, the fact that I had a life that existed before being their mother was just too much for her to really reconcile. And so I had to – you know, I really have had to deal differently with each of them and have open conversations. But talking to them about it, what was so unbelievable to me is I didn’t feel the need to protect my mother anymore. And that – you know, even today, watching the film, I just – my heart aches for my mother. And, yes, it was such a better life than where she came from. But it could have – there could have been more for her.

MOSLEY: Brooke Shields, I really enjoyed this conversation. Thank you so much.

SHIELDS: Thank you very much for having me.

GROSS: Brooke Shields is the subject of the new documentary “Pretty Baby” that’s now streaming on Hulu. She spoke with our guest interviewer, Tonya Mosley, host of the podcast Truth Be Told. After we take a short break, Ken Tucker will review Lana Del Rey’s new album. This is FRESH AIR.

(SOUNDBITE OF JOHN CALE AND BRIAN ENO SONG, “SPINNING AWAY”)

Copyright © 2023 NPR. All rights reserved. Visit our website terms of use and permissions pages at www.npr.org for further information.

NPR transcripts are created on a rush deadline by an NPR contractor. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.

The post ‘Fairly Child’ chronicles Brooke Shields’ profession and the sexualization of younger ladies : NPR appeared first on DAILY SAN FRANCISCO BAY NEWS.

[Photo: Getty Images]

Team Australia are positioned for a shock performance in the semi-finals after a clean-shooting Round 1 win over No. 2 seed Korea at the Hanwha LIFEPLUS International Crown in San Francisco.

Ranked 7th based on the world rankings of team members Minjee Lee (six), Hannah Green (14), Stephanie Kyriacou (118) and Sarah Kemp (161), the Aussies held their ground early and failed to fall behind in either four-ball game.

The pairing of Lee and Kyriacou held a three-hole lead against Hye-Jin Choi and In Gee Chun, with Kyriacou providing the perfect platform with an early birdie.

They were 3 to 11 holes before the Korean team mounted a stunning comeback.

Choi screwed 12 and 13 and then made par on 14, enough to win three holes in a row to put her team back evenly.

Lee responded with a birdie on the par-4 15, and the two teams traded pars over the next two holes.

With a guaranteed half point, Kyriacou then ripped a 3-wood from 209 yards for six feet on the par-5 18, her closeness to the hole effectively ending an impressive 2-up win.

“I didn’t watch the recording of In Gee or Hye-Jin because I didn’t want it to come to mind,” Kyriacou said.

“It was a pretty open shot I think. The pin was very easy to get so I just tried to knock the crap out of a 3 wood.”

The combination of LA Championship winner Hannah Green and patriotic veteran Sarah Kemp also proved strong against World No. 3 Jin Young Ko and World No. 9 Hyo Joo Kim.

Two birdies from Green and one from Kemp gave the Aussies a 2-up lead through four holes and from there they never went ahead.

Birdies from Ko on 12 and Kim on 14 reduced the deficit to just one hole, but Kemp’s clutch birdie on 14 and Green’s impressive half on 16 secured the Australians a 2&1 win.

“I’m not surprised that happened,” said Kemp, who is in her tournament debut.

“We had a great time last night. We had a great week. We’re all just having a good time and it doesn’t surprise me that we did what we did today.

“For my first day with my first international crown, it’s pretty awesome to start like that.”

Lee hinted that the pairings are unlikely to change on day two, saying two wins in Round 1 would set them up for a great shot at the title.

“Because all the teams in our pool are really strong, coming out on day one and having a really good day, that really sets the pace for the next few days,” said the reigning US Women’s Open champion.

“I think it was really an important win for us today.”

Australia’s next game is in Round 2 against Japan after the Japanese side lost both games against Thailand on day one.

Team Sweden defeated Team England in both Group A games, while Team USA and Team China each won one game in their clash.

It was also a strong start for Adam Scott at the Wells Fargo Championship.

Looking for his first PGA TOUR top-10 since last August’s BMW Championship, Scott opened with a four-under 67 on the par-4 11 despite a double bogey.

He made another bogey on the par-3 13, but birdies on 12, 14 and 15 brought him back to two but two on Round 1 leader Tommy Fleetwood (65).

2018 Quail Hollow champion Jason Day opened Thursday with a win over 72, with Cam Davis on 71 and a 58 share.

Four straight bogeys early in his round put Harrison Endycott on the backfoot and signed a three-over-74.

Maverick Antcliff is the highest-ranked Australian after Round 1 of the UAE Challenge on the Challenge Tour, while Terry Pilkadaris is the only Australian in the top 30 when Round 2 of the Maekyung Open begins in Korea.

Hanwha LIFEPLUS International Crown

Results round 1

Minjee Lee/Steph Kyriacou def. Hye-Jin Choi/In Gee Chun 2 and up

Hannah Green/Sarah Kemp def. Jin Young Ko and Hyo Joo Kim 2&1

The post ‘IT’S PRETTY AWESOME’: Aussies take down No.2-seeded Koreans at Worldwide Crown appeared first on DAILY SAN FRANCISCO BAY NEWS.

CARMEL (CBS SF) — Winds topping 65 mph roared through Northern California early Saturday fueling a wildfire racing through the hills in the Palo Colorado Canyon near Big Sur, forcing evacuations and a blaze near Geysers Peak in Sonoma County.

Cal Fire said as of Saturday evening, the fire had burned 1,050 acres, down from the original estimate due to better mapping. They said containment had grown to 20%.

UPDATE: Air Attack, Calming Winds Aid Firefighters Battling Wildfire Near Big Sur; Containment Grows To 25 Percent

“The fire lined up with the wind and the terrain and that gave the fire a lot of energy to make a big run,” said Cecile Juliette, a spokesperson for the California Department of Forestry and Fire Protection.

The National Weather Service issued high wind warnings and advisories throughout Northern California. A warning for the North Bay mountains was extended to 4 pm Saturday. Winds topping 70 mph howled over Mount Diablo and a gust in the Healdsburg Hills was clocked at 96 mph and 94 mph at the nearby Pine Flat Road weather station.

It was unclear what caused the fire.

Fire officials said it’s uncommon to have a fire of this size burning in the winter. They said this is another reminder California’s fire season is year-round.

“The winds absolutely played a huge part in what happened last night. We had wind gusts of up to 50 miles an hour,” said Juliette. “Everything is just so dry that it just really allowed this fire to spread very rapidly in the middle of winter.”

The National Weather Service said while Monterey County had a good amount of rain from late October to December, there was no measurable rain in January. They added the area burning had little or no fire history.

“The timing is quite unique because in January, we generally don’t have a lot of fires,” said Dr. Craig Clements, Director of the Wildfire Research Center at San Jose State.

“Given the fact that we haven’t had rain at all in January and we had a big off-shore wind event, these are the conditions that lead to wildfires typically in the Fall, not in January. So it’s just something that’s quite surprising,” said Dr. Clements.

Even thought there was a lot of rain late last year, Dr. Clements said several years of extreme drought mean there’s still a lot of dry fuel out there.

“If we pick up our precipitation, our snowpack in the Sierra in February and March, then we might get back to normal,” said Dr. Clements.

“It no longer makes sense to refer to fire season as something that just happens three months out of the year. It’s a year-round thing in California now and we anticipate that it could get worse,” said Juliette.

Cal Fire said because of the constant threat, people who live in fire-prone areas should stay vigilant and be ready to evacuate at all times.

The blustery conditions quickly spread the two wildfires. Cal Fire officials reported that crews were responding to a wildfire in the Palo Colorado Canyon north of Big Sur at around 7:30 pm Friday.

The flames spread on the hillsides still tinder-dry from months of drought conditions. Rains in late December had eased through conditions but January has been extremely dry again.

“Fire has remained stubbornly active overnight,” National Weather Service forecasters said. “Pictures on social media suggest some pretty surreal fire behavior given the wet Oct and Dec that was observed across the region with multiple atmospheric river events. Looking at historical fire data it appears the fire is burning south of Palo Colorado and towards Bixby Creek along Long Ridge in an area with little or no fire history.”

“Anecdotally, it seems as though the long-term drought is acting like a chronic illness where even recent rains and cold winter weather isn’t helping to keep fires from developing.”

Wildfires this time of year have been a rarity.

“It’s unusual to have fire this size here on the coast at the end of January,” Juliette said. “The fact that we had a fire this size is of great concern.”

By 11 pm mandatory evacuation orders had been issued with an American Red Cross shelter being set up at Carmel Middle School. Residents quickly fled on roadways covered by clouds of blowing embers. The flames jumped Highway 1, burned below the famed Bixby Bridge and were visible from as far away as the famed Pebble Beach golf links.

The concrete bridge spans the deep and wild canyon along the highway and has been the backdrop of many car commercials, movies and TV shows, most recently the HBO drama “Big Little Lies.”

Authorities made contact with about 500 residents, urging them to evacuate the sparsely populated area between Carmel and Big Sur. More than 250 firefighters from multiple agencies and volunteer groups, aided by water-dropping aircraft, contained about 20% of the blaze by Saturday evening.

“The winds have died down and that has worked in our favor,” Juliette said Saturday evening.

The California Highway Patrol closed Highway 1 at Rio Road just outside of Carmel-by-the-Sea due to the fire. From south of the fire, Highway 1 was closed at Andrew Molera State Park, just north of Big Sur.

The area affected by the evacuations was for residents living along Palo Colorado Road from Highway 1 east to the Rocky Creek Bridge and Bixby Creek Road. It was not immediately known how many homes were being threatened in the rural area.

Lake Evacuation Zone Map

“Looking back at last evening the fire appeared to start during the peak offshore winds and very low humidity,” the weather service said. “The strongest offshore winds have now ended in the vicinity of the Colorado Fire. As of 3 am, the current weather is showing relative humidity values ​​42-52% with southerly winds around 5 mph. These light south winds will represent a potential change that residents and firefighters should monitor today.”

Video showed a wall of flames roaring across the picturesque hillsides while Cal Fire deployed assets from as far away as the Bay Area. Cal Fire’s CZU unit in San Mateo County sent 4 fire engines to help battle the blaze.

Meanwhile, a second wind-swept fire erupted in the hills near Geysers Peak Road after midnight. It grew to about 5 acres before responding crews were able to get a handle on the blaze.

Winds were whipping through the region at the time of the fire. A gust in the Healdsburg Hills was clocked at 96 mph and 94 mph at the nearby Pine Flat Road weather station.

The #GeyserFire above Alexander Valley burns on Geyser Peak, Saturday, pushed by 70-80mph offshore winds. Fire is out, unknown acreage. The area has received over a dozen inches of rain this winter and was under a coating of snow just a month ago. @NorthBayNews @NWSBayArea #CAwx pic.twitter.com/zCfGXDIAHw

— Kent Porter (@kentphotos) January 22, 2022

#GeysersFire (Geysers Peak, Sonoma Co) – IC reporting 3-5 acres moving downhill away from the repeater site towards the south, significant winds, slow-moderate rate of spread. No evacuations needed & no obvious signs of power lines down. pic.twitter.com/HvpMMCUtiJ

— CA Fire Scanner (@CAFireScanner) January 22, 2022

© Copyright 2022 CBS Broadcasting Inc. All Rights Reserved. The Associated Press contributed to this report.

The post Wind-Whipped Wildfire Close to Massive Sur Forces Evacuations; ‘Some Fairly Surreal Fireplace Conduct’ – CBS San Francisco appeared first on DAILY SAN FRANCISCO BAY NEWS.

BEATTY, Oregon (CBS SF / AP) – Winds gusting up to 30 mph (30 mph) lashed through the Bootleg Fire zone on Monday, forcing firefighters to retreat to safety as they battled a massive fire that broke out in Fremont- Winema has grown to more than 343,755 hectares National Forest.

The National Meteorological Service issued a red flag warning for the region until 8 p.m. on Monday. However, forecasters said the same condition will apply from 2pm to 8pm on Tuesday.

CONTINUE READING: Recall in California: GOP challenger Caitlyn Jenner’s taxes show a decline in profits

US Forest Service: About Bootleg Fire, Oregon

“Given the atmospheric instability, it will be interesting to see how big a pyrocumulus builds up over the bootleg fire,” said forecasters on Monday afternoon. “There are three different clouds of smoke burning over this fire, and all of them are showing small pyrocumulus clouds at this point. The concern here is whether a thunderstorm will eventually form over the heated plume of smoke. In any case, isolated storms are predicted east of the fire. “

Pyrocumulus clouds, heated by embers and overheated air, create their own erratic weather systems. The embers express themselves, light point fires in the tinder-dry bushes and in the trees and accelerate the spread of the fire. The cloud can also trigger firenados – fast-moving, terrifying columns of fire and embers.

Officials of the US Forest Service described the fire conditions on Monday as “extreme, crowning, running, spotty … point fires that quickly show extreme fire behavior with a very high proportion of ignition”.

ALSO READ: Tamarack fire evacuation orders expanded; Rain could trigger mudslides in the area

At one point during the nightly firefight, winds whipped the fire into a terrifying wall of flames.

“I spoke to our sales representative some time ago,” said operations chief John Flannagan during his briefing on Monday afternoon. “He said it (the fire) went over there pretty much like a hurricane, tore trees out of the ground and tossed them (the trees) around. Pretty impressive fire behavior. “

The fire has grown to 476 square miles and burns 300 miles southeast of Portland in and around the Fremont-Winema National Forest, which is a vast expanse of ancient forest, lakes, and nature reserves.

CONTINUE READING: UPDATE: Dixie Fire grows to 40,500 acres; Blown fuses on the PG&E power line could have started a fire

It is one of the most remote areas on the west coast with few roads.

If the fire were in densely populated parts of Northern California – like the Lightning Complex Fires in the San Francisco Bay Area last year – “it would have destroyed thousands of homes by now,” said James Johnston, a researcher at Oregon State University’s College of Forestry of the historic Studied forest fires. “But there is a fire in one of the more remote areas of the lower 48 states. It’s not the Bay Area out there. “

ALSO READ: PG&E Blown power line fuses can be associated with Dixie Fire; Wildfire doubles almost overnight

At least 2,000 houses were evacuated at some point during the fire and another 5,000 were threatened. At least 70 houses and more than 100 outbuildings went up in flames. Thick smoke is choking the area, where residents and wildlife have been battling drought and extreme heat for months. Nobody died.

It is small unincorporated communities like Paisley and Long Creek – both with fewer than 250 residents – and scattered homesteads that are currently in the crosshairs of the fire.

“The bootleg fire threatens ranch homes that are in quite remote areas,” said Johnston. “There are no suburbs in this area.”

But the flame is also getting closer and closer to merging with the much smaller Logg Fire.

Unfortunately, both fires are advancing towards Path 66 – an important electrical line corridor that connects California’s grid to power generators in the northwest. The corridor is exactly in the middle where the flames would converge.

MORE NEWS: Organic farming battle pits aquaponics, hydroponics versus traditional soil farming

© Copyright 2021 CBS Broadcasting Inc. All rights reserved. The Associated Press contributed to this report.

The post Wind-Whipped Flames Drive Crews To Pull Again From Bootleg Hearth Traces; ‘Fairly A lot Like A Hurricane’ – CBS San Francisco appeared first on DAILY SAN FRANCISCO BAY NEWS.