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"content": "\u003cp>Jan. 1 marks the dawn of a new era for Popeye and Tintin. It’s the day the nonagenarian cartoon characters officially enter the U.S. public domain along with a treasure trove of other iconic works.\u003c/p>\n\u003cp>The copyrights of thousands of films, songs and books expire in 2025, making them instantly available for people to use, share and adapt. The list includes classics like Virginia Woolf’s book \u003cem>A Room of One’s Own, \u003c/em>the Fats Waller song “Ain’t Misbehavin'” and the Marx Brothers’ first feature film, \u003cem>The Cocoanuts\u003c/em>.\u003c/p>\n\u003cp>The main thing they have in common is their age — under U.S. copyright law, their terms all expire after 95 years. All of the works entering the public domain next year are from 1929, except for sound recordings, which (because they are covered by a different law) come from 1924.\u003c/p>\n\u003cp>“Copyright’s awesome … but the fact that rights eventually expire, that’s a good thing, too, because that’s the wellspring for creativity,” says Jennifer Jenkins, the director of Duke’s Center for the Study of the Public Domain, which spends months poring over records to compile the \u003ca href=\"https://web.law.duke.edu/cspd/publicdomainday/2025/\" rel=\"noopener\">most famous examples\u003c/a>.\u003c/p>\n\u003cp>Once in the public domain, these works become fodder for remakes, spinoffs and other adaptations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That explains the recent wave of horror films starring \u003ca href=\"https://www.npr.org/2024/01/01/1221606624/mickey-mouse-public-domain-disney\" rel=\"noopener\">Mickey Mouse\u003c/a> and \u003ca href=\"https://www.npr.org/2023/03/23/1165504942/winnie-the-pooh-xi-jinping-china-film\" rel=\"noopener\">Winnie the Pooh\u003c/a>, characters that entered the public domain in 2024 and 2023 respectively. The trend seems poised to continue: Jenkins says there are already \u003ca href=\"https://comicbookmovie.com/horror/popeye-the-slayer-man-stalks-a-spinach-factory-in-gruesome-red-band-trailer-a214712#gs.ie6lfn\" rel=\"noopener\">three Popeye slasher flicks\u003c/a> in the works.\u003c/p>\n\u003cp>“They’re capitalizing on the incongruity of this comic book character in a different genre and they get a lot of buzz,” she adds. “[But] when I sit back and look at the universe of remakes of public domain characters or works … the things that we still talk about that stand the test of time don’t tend to be these buzzworthy, kind of ew, grossed-out features.”\u003c/p>\n\u003cp>More \u003ca href=\"https://www.npr.org/2022/09/10/1122198517/10-things-i-hate-about-you-and-other-gems-inspired-by-classics-in-the-public-dom\" rel=\"noopener\">enduring examples\u003c/a> include \u003cem>West Side Story \u003c/em>drawn from Shakespeare’s \u003cem>Romeo & Juliet\u003c/em>, screen adaptations of Jane Austen’s \u003cem>Emma\u003c/em>, Percival Everett’s \u003ca href=\"https://www.npr.org/2024/03/22/1196978210/nprs-book-of-the-day-percival-everett-james\" rel=\"noopener\">2024 book \u003cem>James\u003c/em>\u003c/a> (a retelling of \u003cem>Huckleberry Finn)\u003c/em> and \u003cem>Wicked\u003c/em>, the musical-turned-movie prequel to L. Frank Baum’s \u003cem>Wizard of Oz. \u003c/em>\u003c/p>\n\u003cp>But these artifacts don’t only become fodder for big-name directors and authors — they’re available for anyone who wants to use them, from artists to high school orchestra directors.\u003c/p>\n\u003cp>Jenkins says she gets “adorable emails” from people who are drawing their own little Winnie the Pooh cartoons, and parents whose kids are talented musicians, eager to finally be able to perform certain compositions publicly and post them online.\u003c/p>\n\u003cp>In other words, the impact of public domain works extends far beyond the box office and Billboard charts.\u003c/p>\n\u003cp>“I’m excited about those things that not everybody’s going to notice — people really re-discovering some of these older works and engaging with them and appreciating them and making them their own,” she adds.\u003c/p>\n\u003cp>Here’s a look at some of the works that are just days away from the public domain:\u003c/p>\n\u003ch2>Characters\u003c/h2>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3000x2972+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Fb2%2F54%2F7d62db0443d59dedd5c41ac218c2%2Fap336969792624.jpg\" alt=\"A helium-filled Popeye balloon participates in the 33rd Macy's Thanksgiving Day Parade in New York in 1959, three decades after his comic strip debut.\">\u003cfigcaption>A helium-filled Popeye balloon participates in the 33rd Macy’s Thanksgiving Day Parade in New York in 1959, three decades after his comic strip debut. \u003ccite> (AP | AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tintin the brave cub reporter — and his dog, Snowy — will enter the public domain in the U.S. well before they will in the European Union, where they are copyrighted until 2054. That’s because EU copyright terms extend 70 years past creators’ deaths, and Belgian cartoonist Hergé died in 1983.\u003c/p>\n\u003cp>Closer to home there’s E.C. Segar’s Popeye, who \u003ca href=\"https://popeye.com/history/\" rel=\"noopener\">made his debut\u003c/a> in a January 1929 \u003cem>Thimble Theatre \u003c/em>cartoon strip. He sports his signature pipe, sailor outfit, anchor tattoo and sense of humor, responding when asked if he’s a sailor: “Ja think I’m a cowboy?”\u003c/p>\n\u003cp>He could have a whole new set of adventures starting in 2025. But there’s a catch: Popeye didn’t start deriving his strength from spinach until 1932.\u003c/p>\n\u003cp>As Jenkins explains, many cartoon characters develop over time and have been in copyrighted works year after year, meaning certain aspects of them may come into the public domain in different years. So only the original 1929 versions of Popeye and Tintin are fair game, at least for now.\u003c/p>\n\u003cp>“Definitely the Popeye from 1929 and everything that he says, all of his characteristics, his personality, his sarcasm … that’s public domain,” she says. “The spinach, if you want to be on the safe side, you might want to wait.”\u003c/p>\n\u003ch2>Films\u003c/h2>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3056x2400+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Ff1%2Fe1%2F76f17d4643b2a40fb0332856ea01%2Fgettyimages-1137235929.jpg\" alt=\"The Wild Party, Clara Bow's first talkie, was released in 1929, making it public domain in 2025.\">\u003cfigcaption>\u003cem>The Wild Party\u003c/em>, Clara Bow’s first talkie, was released in 1929, making it public domain in 2025. \u003ccite> (LMPC via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similarly, the original \u003cem>Steamboat Willie\u003c/em> version of Mickey Mouse arrived in the public domain with much fanfare in 2024. In 2025, a dozen more Mickey animations will follow suit — including \u003cem>The Karnival Kid\u003c/em>, in which he speaks for the first time.\u003c/p>\n\u003cp>“His very first words are ‘Hot dogs! Hot dogs!’ — so I guess that’s kind of cute,” Jenkins says. “And then he didn’t wear the white gloves in 1928, but next year, in 2025, we get the version of Mickey Mouse with the signature white gloves in the public domain.”\u003c/p>\n\u003cp>Sound is a big theme across the films making their public domain debut next year, since 1929 marked the end of the silent film era and the dawn of the sound film age.\u003c/p>\n\u003cp>The list includes the first sound films from major directors like Alfred Hitchcock (\u003cem>Blackmail)\u003c/em>, John Ford (\u003cem>The Black Watch) \u003c/em>and Cecil B. DeMille (\u003cem>Dynamite)\u003c/em>, as well as Clara Bow’s first talkie, \u003cem>The Wild Party, \u003c/em>and \u003cem>The Broadway Melody\u003c/em>, the first sound film to win an Academy Award for Best Picture.\u003c/p>\n\u003cp>Other notables include Walt Disney’s \u003cem>The Skeleton Dance\u003c/em> (the first of the \u003cem>Silly Symphony\u003c/em> shorts); King Vidor’s \u003cem>Hallelujah\u003c/em>, the first major studio film with an all-Black cast; and Alan Crosland’s \u003cem>On With the Show,\u003c/em> the first all-talking, all-color, feature-length film.\u003c/p>\n\u003ch2>Books\u003c/h2>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/4050x2100+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F30%2F7a%2F8d3b880443b3a1e8cc3c92a95db3%2Fap24346854002568.jpg\" alt=\"From left: Ernest Hemingway in 1950, William Faulkner in 1950, and John Steinbeck in 1962.\">\u003cfigcaption>From left: Ernest Hemingway in 1950, William Faulkner in 1950, and John Steinbeck in 1962. \u003ccite> (AP | AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the many literary works entering the public domain next year are two of the most acclaimed books about World War I: Ernest Hemingway’s \u003cem>A Farewell to Arms,\u003c/em> and the first English translation of Erich Maria Remarque’s \u003cem>All Quiet on the Western Front\u003c/em> — both authors served in the war themselves.\u003c/p>\n\u003cp>The list includes several detective mysteries: \u003cem>Red Harvest\u003c/em> and \u003cem>The Maltese Falcon\u003c/em> by Dashiell Hammett, Ellery Queen’s \u003cem>The Roman Hat Mystery, \u003c/em>and \u003cem>Seven Dials Mystery \u003c/em>by Agatha Christie.\u003c/p>\n\u003cfigure class=\"wp-block-embed npr-promo-card insettwocolumn\">\n\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/div>\n\u003c/figure>\n\u003cp>There are also some literary debuts, including John Steinbeck’s first novel, \u003cem>Cup of Gold\u003c/em>, and Richard Hughes’ first novel \u003cem>A High Wind in Jamaica\u003c/em>.\u003c/p>\n\u003ch2>Musical compositions\u003c/h2>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/2351x2835+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F79%2Fbf%2Fbcc151ba4b1ca42a0716d176e6f3%2Fgettyimages-86126064.jpg\" alt=\"George Gershwin's 'An American in Paris' is among the musical compositions entering the public domain in 2025.\">\u003cfigcaption>George Gershwin’s “An American in Paris” is among the musical compositions entering the public domain in 2025. \u003ccite> (PALM/RSCH /Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The latest crop of compositions spans the era’s jazz standards, show tunes, pop music and more.\u003c/p>\n\u003cp>They include: Arthur Freed’s \u003cem>Singin’ in the Rain\u003c/em> (which was featured in the film \u003cem>The Hollywood Revue of 1929, \u003c/em>also entering public domain), George Gershwin’s \u003cem>An American in Paris\u003c/em>, Maurice Ravel’s \u003cem>Bolero\u003c/em>, Jack Yellen’s \u003cem>Happy Days Are Here Again\u003c/em> (the campaign song for FDR’s 1932 presidential run), Cole Porter’s \u003cem>What Is This Thing Called Love? \u003c/em>and \u003cem>Tiptoe Through the Tulips\u003c/em> (the Joseph Burke version, not the 1968 Tiny Tim one).\u003c/p>\n\u003cp>“But if you felt like singing like Tiny Tim for some reason, and you could, you can record your own version of \u003cem>Tiptoe Through the Tulips \u003c/em>next year because that song’s going to be public domain,” Jenkins says.\u003c/p>\n\u003cp>The Center for the Study of Public Domain specifies that musical compositions refer to “the music and lyrics that you might see on a piece of sheet music, not the \u003cem>recordings\u003c/em> of those songs.” Those are covered by a separate copyright.\u003c/p>\n\u003ch2>Sound recordings\u003c/h2>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3498x2729+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F70%2F6f%2F6bbed1f74beca2b0c07f7257c978%2Fgettyimages-2674095.jpg\" alt=\"Marian Anderson became the first Black singer to perform at the Metropolitan Opera House in New York in 1955. One of her early recordings from 1924 will enter the public domain next year.\">\u003cfigcaption>Marian Anderson became the first Black singer to perform at the Metropolitan Opera House in New York in 1955. One of her early recordings from 1924 will enter the public domain next year. \u003ccite> (London Express | Hulton Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under the 2018 \u003ca href=\"https://www.npr.org/2018/09/19/649611777/a-music-industry-peace-treaty-passes-unanimously-through-congress\" rel=\"noopener\">Music Modernization Act\u003c/a>, sound recordings are protected by copyright for 100 years. It’s the particular recordings that eventually enter the public domain, not the song’s music or lyrics or later recordings from those artists.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>These are some of the 1924 performances that will become available for legal reuse in January: Marian Anderson’s “Nobody Knows the Trouble I’ve Seen,” George Gershwin’s “Rhapsody in Blue,” Jelly Roll Morton’s “Shreveport Stomp,” “Deep Blue Sea Blues” by Clara Smith, and “Everybody Loves My Baby (But My Baby Don’t Love Nobody But Me)” recorded by Louis Armstrong and Clarence Williams’ Blue Five.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jan. 1 marks the dawn of a new era for Popeye and Tintin. It’s the day the nonagenarian cartoon characters officially enter the U.S. public domain along with a treasure trove of other iconic works.\u003c/p>\n\u003cp>The copyrights of thousands of films, songs and books expire in 2025, making them instantly available for people to use, share and adapt. The list includes classics like Virginia Woolf’s book \u003cem>A Room of One’s Own, \u003c/em>the Fats Waller song “Ain’t Misbehavin'” and the Marx Brothers’ first feature film, \u003cem>The Cocoanuts\u003c/em>.\u003c/p>\n\u003cp>The main thing they have in common is their age — under U.S. copyright law, their terms all expire after 95 years. All of the works entering the public domain next year are from 1929, except for sound recordings, which (because they are covered by a different law) come from 1924.\u003c/p>\n\u003cp>“Copyright’s awesome … but the fact that rights eventually expire, that’s a good thing, too, because that’s the wellspring for creativity,” says Jennifer Jenkins, the director of Duke’s Center for the Study of the Public Domain, which spends months poring over records to compile the \u003ca href=\"https://web.law.duke.edu/cspd/publicdomainday/2025/\" rel=\"noopener\">most famous examples\u003c/a>.\u003c/p>\n\u003cp>Once in the public domain, these works become fodder for remakes, spinoffs and other adaptations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That explains the recent wave of horror films starring \u003ca href=\"https://www.npr.org/2024/01/01/1221606624/mickey-mouse-public-domain-disney\" rel=\"noopener\">Mickey Mouse\u003c/a> and \u003ca href=\"https://www.npr.org/2023/03/23/1165504942/winnie-the-pooh-xi-jinping-china-film\" rel=\"noopener\">Winnie the Pooh\u003c/a>, characters that entered the public domain in 2024 and 2023 respectively. The trend seems poised to continue: Jenkins says there are already \u003ca href=\"https://comicbookmovie.com/horror/popeye-the-slayer-man-stalks-a-spinach-factory-in-gruesome-red-band-trailer-a214712#gs.ie6lfn\" rel=\"noopener\">three Popeye slasher flicks\u003c/a> in the works.\u003c/p>\n\u003cp>“They’re capitalizing on the incongruity of this comic book character in a different genre and they get a lot of buzz,” she adds. “[But] when I sit back and look at the universe of remakes of public domain characters or works … the things that we still talk about that stand the test of time don’t tend to be these buzzworthy, kind of ew, grossed-out features.”\u003c/p>\n\u003cp>More \u003ca href=\"https://www.npr.org/2022/09/10/1122198517/10-things-i-hate-about-you-and-other-gems-inspired-by-classics-in-the-public-dom\" rel=\"noopener\">enduring examples\u003c/a> include \u003cem>West Side Story \u003c/em>drawn from Shakespeare’s \u003cem>Romeo & Juliet\u003c/em>, screen adaptations of Jane Austen’s \u003cem>Emma\u003c/em>, Percival Everett’s \u003ca href=\"https://www.npr.org/2024/03/22/1196978210/nprs-book-of-the-day-percival-everett-james\" rel=\"noopener\">2024 book \u003cem>James\u003c/em>\u003c/a> (a retelling of \u003cem>Huckleberry Finn)\u003c/em> and \u003cem>Wicked\u003c/em>, the musical-turned-movie prequel to L. Frank Baum’s \u003cem>Wizard of Oz. \u003c/em>\u003c/p>\n\u003cp>But these artifacts don’t only become fodder for big-name directors and authors — they’re available for anyone who wants to use them, from artists to high school orchestra directors.\u003c/p>\n\u003cp>Jenkins says she gets “adorable emails” from people who are drawing their own little Winnie the Pooh cartoons, and parents whose kids are talented musicians, eager to finally be able to perform certain compositions publicly and post them online.\u003c/p>\n\u003cp>In other words, the impact of public domain works extends far beyond the box office and Billboard charts.\u003c/p>\n\u003cp>“I’m excited about those things that not everybody’s going to notice — people really re-discovering some of these older works and engaging with them and appreciating them and making them their own,” she adds.\u003c/p>\n\u003cp>Here’s a look at some of the works that are just days away from the public domain:\u003c/p>\n\u003ch2>Characters\u003c/h2>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3000x2972+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Fb2%2F54%2F7d62db0443d59dedd5c41ac218c2%2Fap336969792624.jpg\" alt=\"A helium-filled Popeye balloon participates in the 33rd Macy's Thanksgiving Day Parade in New York in 1959, three decades after his comic strip debut.\">\u003cfigcaption>A helium-filled Popeye balloon participates in the 33rd Macy’s Thanksgiving Day Parade in New York in 1959, three decades after his comic strip debut. \u003ccite> (AP | AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tintin the brave cub reporter — and his dog, Snowy — will enter the public domain in the U.S. well before they will in the European Union, where they are copyrighted until 2054. That’s because EU copyright terms extend 70 years past creators’ deaths, and Belgian cartoonist Hergé died in 1983.\u003c/p>\n\u003cp>Closer to home there’s E.C. Segar’s Popeye, who \u003ca href=\"https://popeye.com/history/\" rel=\"noopener\">made his debut\u003c/a> in a January 1929 \u003cem>Thimble Theatre \u003c/em>cartoon strip. He sports his signature pipe, sailor outfit, anchor tattoo and sense of humor, responding when asked if he’s a sailor: “Ja think I’m a cowboy?”\u003c/p>\n\u003cp>He could have a whole new set of adventures starting in 2025. But there’s a catch: Popeye didn’t start deriving his strength from spinach until 1932.\u003c/p>\n\u003cp>As Jenkins explains, many cartoon characters develop over time and have been in copyrighted works year after year, meaning certain aspects of them may come into the public domain in different years. So only the original 1929 versions of Popeye and Tintin are fair game, at least for now.\u003c/p>\n\u003cp>“Definitely the Popeye from 1929 and everything that he says, all of his characteristics, his personality, his sarcasm … that’s public domain,” she says. “The spinach, if you want to be on the safe side, you might want to wait.”\u003c/p>\n\u003ch2>Films\u003c/h2>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3056x2400+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Ff1%2Fe1%2F76f17d4643b2a40fb0332856ea01%2Fgettyimages-1137235929.jpg\" alt=\"The Wild Party, Clara Bow's first talkie, was released in 1929, making it public domain in 2025.\">\u003cfigcaption>\u003cem>The Wild Party\u003c/em>, Clara Bow’s first talkie, was released in 1929, making it public domain in 2025. \u003ccite> (LMPC via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similarly, the original \u003cem>Steamboat Willie\u003c/em> version of Mickey Mouse arrived in the public domain with much fanfare in 2024. In 2025, a dozen more Mickey animations will follow suit — including \u003cem>The Karnival Kid\u003c/em>, in which he speaks for the first time.\u003c/p>\n\u003cp>“His very first words are ‘Hot dogs! Hot dogs!’ — so I guess that’s kind of cute,” Jenkins says. “And then he didn’t wear the white gloves in 1928, but next year, in 2025, we get the version of Mickey Mouse with the signature white gloves in the public domain.”\u003c/p>\n\u003cp>Sound is a big theme across the films making their public domain debut next year, since 1929 marked the end of the silent film era and the dawn of the sound film age.\u003c/p>\n\u003cp>The list includes the first sound films from major directors like Alfred Hitchcock (\u003cem>Blackmail)\u003c/em>, John Ford (\u003cem>The Black Watch) \u003c/em>and Cecil B. DeMille (\u003cem>Dynamite)\u003c/em>, as well as Clara Bow’s first talkie, \u003cem>The Wild Party, \u003c/em>and \u003cem>The Broadway Melody\u003c/em>, the first sound film to win an Academy Award for Best Picture.\u003c/p>\n\u003cp>Other notables include Walt Disney’s \u003cem>The Skeleton Dance\u003c/em> (the first of the \u003cem>Silly Symphony\u003c/em> shorts); King Vidor’s \u003cem>Hallelujah\u003c/em>, the first major studio film with an all-Black cast; and Alan Crosland’s \u003cem>On With the Show,\u003c/em> the first all-talking, all-color, feature-length film.\u003c/p>\n\u003ch2>Books\u003c/h2>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/4050x2100+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F30%2F7a%2F8d3b880443b3a1e8cc3c92a95db3%2Fap24346854002568.jpg\" alt=\"From left: Ernest Hemingway in 1950, William Faulkner in 1950, and John Steinbeck in 1962.\">\u003cfigcaption>From left: Ernest Hemingway in 1950, William Faulkner in 1950, and John Steinbeck in 1962. \u003ccite> (AP | AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the many literary works entering the public domain next year are two of the most acclaimed books about World War I: Ernest Hemingway’s \u003cem>A Farewell to Arms,\u003c/em> and the first English translation of Erich Maria Remarque’s \u003cem>All Quiet on the Western Front\u003c/em> — both authors served in the war themselves.\u003c/p>\n\u003cp>The list includes several detective mysteries: \u003cem>Red Harvest\u003c/em> and \u003cem>The Maltese Falcon\u003c/em> by Dashiell Hammett, Ellery Queen’s \u003cem>The Roman Hat Mystery, \u003c/em>and \u003cem>Seven Dials Mystery \u003c/em>by Agatha Christie.\u003c/p>\n\u003cfigure class=\"wp-block-embed npr-promo-card insettwocolumn\">\n\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/div>\n\u003c/figure>\n\u003cp>There are also some literary debuts, including John Steinbeck’s first novel, \u003cem>Cup of Gold\u003c/em>, and Richard Hughes’ first novel \u003cem>A High Wind in Jamaica\u003c/em>.\u003c/p>\n\u003ch2>Musical compositions\u003c/h2>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/2351x2835+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F79%2Fbf%2Fbcc151ba4b1ca42a0716d176e6f3%2Fgettyimages-86126064.jpg\" alt=\"George Gershwin's 'An American in Paris' is among the musical compositions entering the public domain in 2025.\">\u003cfigcaption>George Gershwin’s “An American in Paris” is among the musical compositions entering the public domain in 2025. \u003ccite> (PALM/RSCH /Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The latest crop of compositions spans the era’s jazz standards, show tunes, pop music and more.\u003c/p>\n\u003cp>They include: Arthur Freed’s \u003cem>Singin’ in the Rain\u003c/em> (which was featured in the film \u003cem>The Hollywood Revue of 1929, \u003c/em>also entering public domain), George Gershwin’s \u003cem>An American in Paris\u003c/em>, Maurice Ravel’s \u003cem>Bolero\u003c/em>, Jack Yellen’s \u003cem>Happy Days Are Here Again\u003c/em> (the campaign song for FDR’s 1932 presidential run), Cole Porter’s \u003cem>What Is This Thing Called Love? \u003c/em>and \u003cem>Tiptoe Through the Tulips\u003c/em> (the Joseph Burke version, not the 1968 Tiny Tim one).\u003c/p>\n\u003cp>“But if you felt like singing like Tiny Tim for some reason, and you could, you can record your own version of \u003cem>Tiptoe Through the Tulips \u003c/em>next year because that song’s going to be public domain,” Jenkins says.\u003c/p>\n\u003cp>The Center for the Study of Public Domain specifies that musical compositions refer to “the music and lyrics that you might see on a piece of sheet music, not the \u003cem>recordings\u003c/em> of those songs.” Those are covered by a separate copyright.\u003c/p>\n\u003ch2>Sound recordings\u003c/h2>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3498x2729+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F70%2F6f%2F6bbed1f74beca2b0c07f7257c978%2Fgettyimages-2674095.jpg\" alt=\"Marian Anderson became the first Black singer to perform at the Metropolitan Opera House in New York in 1955. One of her early recordings from 1924 will enter the public domain next year.\">\u003cfigcaption>Marian Anderson became the first Black singer to perform at the Metropolitan Opera House in New York in 1955. One of her early recordings from 1924 will enter the public domain next year. \u003ccite> (London Express | Hulton Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under the 2018 \u003ca href=\"https://www.npr.org/2018/09/19/649611777/a-music-industry-peace-treaty-passes-unanimously-through-congress\" rel=\"noopener\">Music Modernization Act\u003c/a>, sound recordings are protected by copyright for 100 years. It’s the particular recordings that eventually enter the public domain, not the song’s music or lyrics or later recordings from those artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These are some of the 1924 performances that will become available for legal reuse in January: Marian Anderson’s “Nobody Knows the Trouble I’ve Seen,” George Gershwin’s “Rhapsody in Blue,” Jelly Roll Morton’s “Shreveport Stomp,” “Deep Blue Sea Blues” by Clara Smith, and “Everybody Loves My Baby (But My Baby Don’t Love Nobody But Me)” recorded by Louis Armstrong and Clarence Williams’ Blue Five.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Dirty Dancing,’ ‘Wrath of Khan’ Added to the National Film Registry",
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"content": "\u003cp>It’s a most wonderful time of the year for classic film buffs and preservationists. The National Film Registry, which is part of the Library of Congress, announced on Tuesday the latest movies it plans to archive for posterity.\u003c/p>\n\u003cp>This year, some of the best-known films being added include \u003cem>Dirty Dancing\u003c/em>, \u003ci>Beverly Hills Cop\u003c/i>, \u003ci>Uptown Saturday Night\u003c/i>, \u003ci>The Texas Chainsaw Massacre\u003c/i>, \u003cem>The Social Network\u003c/em> and \u003cem>Spy Kids\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13969527']Each year, 25 films are added to the registry. Usually, it’s a mixture of blockbusters, obscure-but-important independent films, and historical footage, all selected to highlight the depth and breadth of American film.\u003c/p>\n\u003cp>“Films reflect our nation’s history and culture and must be preserved in our national library for generations to come,” said Librarian of Congress Carla Hayden in a statement. “This is a collective effort in the film community to preserve our cinematic heritage.”\u003c/p>\n\u003cp>For the first time, a Star Trek movie is joining the list, in part because of enthusiastic lobbying from fans. (Although selections are made by the \u003ca href=\"https://www.loc.gov/programs/national-film-preservation-board/about-this-program/\">National Film Preservation Board\u003c/a>, nominations from the public are encouraged as part of the process.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Star Trek II: The Wrath of Khan\u003c/em>, starring Ricardo Montalban as the titular villain, came out in 1982. In a press release, the Library of Congress pointed out that the film is often considered the best of the six original-cast Star Trek theatrical films. It’s also among five movies selected this year featuring prominent Hispanic artists or themes, including \u003cem>American Me\u003c/em>, \u003ci>Mi Familia\u003c/i>, \u003ci>Spy Kids\u003c/i> and the first Cheech & Chong movie to be added to the registry, \u003cem>Up in Smoke\u003c/em>.\u003c/p>\n\u003cp>“The level of improv that we brought to those movies is what gave it a spontaneity,” Cheech Marin, who is also in \u003cem>Spy Kids\u003c/em>, said in an interview with the Library of Congress.\u003c/p>\n\u003cp>Other selections reflect significant contributions by Black directors, including \u003cem>Compensation\u003c/em>, \u003ci>Ganja & Hess\u003c/i>, \u003cem>Uptown Saturday Night\u003c/em> and Zora Lathan’s student films. A little-seen 1981 movie \u003cem>Will\u003c/em> about a former basketball player struggling to overcome addiction, is “widely considered to be the first independent feature-length film directed by a Black woman, Jessie Maple, a trailblazing cinematographer and director,” according to the Library of Congress.\u003c/p>\n\u003cp>And two movies this year represent Deaf culture and characters. Patty Duke and Anne Bancroft won Academy Awards for their roles as Helen Keller and Annie Sullivan in 1962’s \u003cem>The Miracle Worker\u003c/em>. And the 1999 movie \u003cem>Compensation\u003c/em> was picked in part for its groundbreaking narrative approach.\u003c/p>\n\u003cp>“Upon casting deaf actress Michelle A. Banks, director Zeinabu irene Davis and screenwriter Mark Arthur Chéry modified the film to incorporate sign language and title cards, making it accessible to both deaf and hearing audiences,” the Library of Congress said of \u003cem>Compensation\u003c/em> in a statement. “The film’s relative silence and use of ornate title cards also function as an homage to Black filmmakers of the silent era, to which Davis nods when she sends the characters to the movies to see William Foster’s \u003cem>The Railroad Porter\u003c/em> (1913), thought to be the first fiction film by a Black filmmaker.”\u003c/p>\n\u003cp>In order to qualify for the registry, films must be at least 10 years old. The National Film Registry was started in 1988, and now includes 900 films.\u003c/p>\n\u003cp>The complete list of films selected for the 2024 National Film Registry, in chronological order, follows:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Annabelle Serpentine Dance\u003c/em> (1895)\u003cbr>\n\u003cem>KoKo’s Earth Control\u003c/em> (1928)\u003cbr>\n\u003cem>Angels with Dirty Faces\u003c/em> (1938)\u003cbr>\n\u003cem>Pride of the Yankees\u003c/em> (1942)\u003cbr>\n\u003cem>Invaders from Mars\u003c/em> (1953)\u003cbr>\n\u003cem>The Miracle Worker\u003c/em> (1962)\u003cbr>\n\u003cem>The Chelsea Girls\u003c/em> (1966)\u003cbr>\n\u003cem>Ganja & Hess\u003c/em> (1973)\u003cbr>\n\u003cem>The Texas Chainsaw Massacre\u003c/em> (1974)\u003cbr>\n\u003cem>Uptown Saturday Night \u003c/em>(1974)\u003cbr>\nZora Lathan Student Films (1975–76)\u003cbr>\n\u003cem>Up in Smoke\u003c/em> (1978)\u003cbr>\n\u003cem>Will\u003c/em> (1981)\u003cbr>\n\u003cem>Star Trek II: Wrath of Khan\u003c/em> (1982)\u003cbr>\n\u003cem>Beverly Hills Cop\u003c/em> (1984)\u003cbr>\n\u003cem>Dirty Dancing\u003c/em> (1987)\u003cbr>\n\u003cem>Common Threads: Stories from the Quilt\u003c/em> (1989)\u003cbr>\n\u003cem>Powwow Highway\u003c/em> (1989)\u003cbr>\n\u003cem>My Own Private Idaho\u003c/em> (1991)\u003cbr>\n\u003cem>American Me\u003c/em> (1992)\u003cbr>\n\u003cem>Mi Familia\u003c/em> (1995)\u003cbr>\n\u003cem>Compensation\u003c/em> (1999)\u003cbr>\n\u003cem>Spy Kids\u003c/em> (2001)\u003cbr>\n\u003cem>No Country for Old Men\u003c/em> (2007)\u003cbr>\n\u003cem>The Social Network\u003c/em> (2010)\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Each year, 25 films are added to the registry. Usually, it’s a mixture of blockbusters, obscure-but-important independent films, and historical footage, all selected to highlight the depth and breadth of American film.\u003c/p>\n\u003cp>“Films reflect our nation’s history and culture and must be preserved in our national library for generations to come,” said Librarian of Congress Carla Hayden in a statement. “This is a collective effort in the film community to preserve our cinematic heritage.”\u003c/p>\n\u003cp>For the first time, a Star Trek movie is joining the list, in part because of enthusiastic lobbying from fans. (Although selections are made by the \u003ca href=\"https://www.loc.gov/programs/national-film-preservation-board/about-this-program/\">National Film Preservation Board\u003c/a>, nominations from the public are encouraged as part of the process.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Star Trek II: The Wrath of Khan\u003c/em>, starring Ricardo Montalban as the titular villain, came out in 1982. In a press release, the Library of Congress pointed out that the film is often considered the best of the six original-cast Star Trek theatrical films. It’s also among five movies selected this year featuring prominent Hispanic artists or themes, including \u003cem>American Me\u003c/em>, \u003ci>Mi Familia\u003c/i>, \u003ci>Spy Kids\u003c/i> and the first Cheech & Chong movie to be added to the registry, \u003cem>Up in Smoke\u003c/em>.\u003c/p>\n\u003cp>“The level of improv that we brought to those movies is what gave it a spontaneity,” Cheech Marin, who is also in \u003cem>Spy Kids\u003c/em>, said in an interview with the Library of Congress.\u003c/p>\n\u003cp>Other selections reflect significant contributions by Black directors, including \u003cem>Compensation\u003c/em>, \u003ci>Ganja & Hess\u003c/i>, \u003cem>Uptown Saturday Night\u003c/em> and Zora Lathan’s student films. A little-seen 1981 movie \u003cem>Will\u003c/em> about a former basketball player struggling to overcome addiction, is “widely considered to be the first independent feature-length film directed by a Black woman, Jessie Maple, a trailblazing cinematographer and director,” according to the Library of Congress.\u003c/p>\n\u003cp>And two movies this year represent Deaf culture and characters. Patty Duke and Anne Bancroft won Academy Awards for their roles as Helen Keller and Annie Sullivan in 1962’s \u003cem>The Miracle Worker\u003c/em>. And the 1999 movie \u003cem>Compensation\u003c/em> was picked in part for its groundbreaking narrative approach.\u003c/p>\n\u003cp>“Upon casting deaf actress Michelle A. Banks, director Zeinabu irene Davis and screenwriter Mark Arthur Chéry modified the film to incorporate sign language and title cards, making it accessible to both deaf and hearing audiences,” the Library of Congress said of \u003cem>Compensation\u003c/em> in a statement. “The film’s relative silence and use of ornate title cards also function as an homage to Black filmmakers of the silent era, to which Davis nods when she sends the characters to the movies to see William Foster’s \u003cem>The Railroad Porter\u003c/em> (1913), thought to be the first fiction film by a Black filmmaker.”\u003c/p>\n\u003cp>In order to qualify for the registry, films must be at least 10 years old. The National Film Registry was started in 1988, and now includes 900 films.\u003c/p>\n\u003cp>The complete list of films selected for the 2024 National Film Registry, in chronological order, follows:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Annabelle Serpentine Dance\u003c/em> (1895)\u003cbr>\n\u003cem>KoKo’s Earth Control\u003c/em> (1928)\u003cbr>\n\u003cem>Angels with Dirty Faces\u003c/em> (1938)\u003cbr>\n\u003cem>Pride of the Yankees\u003c/em> (1942)\u003cbr>\n\u003cem>Invaders from Mars\u003c/em> (1953)\u003cbr>\n\u003cem>The Miracle Worker\u003c/em> (1962)\u003cbr>\n\u003cem>The Chelsea Girls\u003c/em> (1966)\u003cbr>\n\u003cem>Ganja & Hess\u003c/em> (1973)\u003cbr>\n\u003cem>The Texas Chainsaw Massacre\u003c/em> (1974)\u003cbr>\n\u003cem>Uptown Saturday Night \u003c/em>(1974)\u003cbr>\nZora Lathan Student Films (1975–76)\u003cbr>\n\u003cem>Up in Smoke\u003c/em> (1978)\u003cbr>\n\u003cem>Will\u003c/em> (1981)\u003cbr>\n\u003cem>Star Trek II: Wrath of Khan\u003c/em> (1982)\u003cbr>\n\u003cem>Beverly Hills Cop\u003c/em> (1984)\u003cbr>\n\u003cem>Dirty Dancing\u003c/em> (1987)\u003cbr>\n\u003cem>Common Threads: Stories from the Quilt\u003c/em> (1989)\u003cbr>\n\u003cem>Powwow Highway\u003c/em> (1989)\u003cbr>\n\u003cem>My Own Private Idaho\u003c/em> (1991)\u003cbr>\n\u003cem>American Me\u003c/em> (1992)\u003cbr>\n\u003cem>Mi Familia\u003c/em> (1995)\u003cbr>\n\u003cem>Compensation\u003c/em> (1999)\u003cbr>\n\u003cem>Spy Kids\u003c/em> (2001)\u003cbr>\n\u003cem>No Country for Old Men\u003c/em> (2007)\u003cbr>\n\u003cem>The Social Network\u003c/em> (2010)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why Gen Z Loves the Digital Compact Cameras That Millennials Used to Covet",
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"content": "\u003cp>Digital compact cameras — the kind that were widely used 15 to 20 years ago — are showing up on the holiday wish lists of teens and Gen Zers.\u003c/p>\n\u003cp>Just like miniskirts and low rise jeans — the digital camera is a trend that has circled back around.\u003c/p>\n\u003cp>[aside postid='arts_13968840']“I think people are feeling really nostalgic for that era, like the early 2000s, when everyone would bring their digital cameras to the club or like to a party or to a family party and stuff, and take those photos,” said freelance reporter Elizabeth Gulino, who covers lifestyle and internet trends.\u003c/p>\n\u003cp>“Those images make us feel nostalgic. And I think people are chasing that,” she added.\u003c/p>\n\u003cp>It’s trending because people are into the vibe of images captured by digital cameras, similar to when film and disposable cameras had a moment not too long ago, she says, adding that “this is sort of a swing in the opposite direction where digital cameras have become popular.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Compared to photos taken with a smartphone flash, Gulino says photos taken with a digital camera flash have an “airy, floaty and ethereal” look that taps into a retro feel.\u003c/p>\n\u003cp>Images from these compact digital cameras may have fewer pixels than smartphone images — but that doesn’t decrease their appeal among newfound fans.\u003c/p>\n\u003cp>Casey Fatchett has been a professional photographer for the past 25 years and hosts the Nerdy Photographer podcast. He says digital cameras have taken off among Gen Z because they’re tired of seeing themselves in photos taken on phones.\u003c/p>\n\u003cp>[aside postid='arts_13967132']“There’s so much processing that goes on in your phone that you don’t have any control over,” Fatchett said. “So I think that there is a yearning among young people for photos that look real, especially of themselves. So there’s a feeling there that you can’t get from your cell phone camera.”\u003c/p>\n\u003cp>Fatchett says digital cameras can also be a way to be more intentional — and selective — about the photos you’re taking, since you can’t snap an infinite number of shots.\u003c/p>\n\u003cp>“Whether it’s a digital camera, whether it’s a film camera, whether it’s a Polaroid style camera, your brain thinks about it differently,” Fatchett said. “Like I only have x number of photos that I can take, so I want to capture something that really matters to me.”\u003c/p>\n\u003cp>It may also be a way to rebel against the smartphone-centered world Gen Zers were brought up in. The youngest members of Gen Z are around 12 years old and have never lived in a world without the iPhone, which was introduced in 2007.\u003c/p>\n\u003cfigure id=\"attachment_13969511\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969511\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/paris.jpg\" alt=\"Three young white women sit close together behind a table with a champagne bucket on it and take a photo of themselves.\" width=\"2000\" height=\"1398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/paris.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/paris-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/paris-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/paris-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/paris-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/paris-1536x1074.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/paris-1920x1342.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Meisels, Nicky Hilton and Paris Hilton take a selfie with\u003cbr>aa digital camera on September 17, 2006. \u003ccite>(Chris Weeks/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Choosing the right camera\u003c/h3>\n\u003cp>Vintage is also cool again — so recycling a camera that’s been sitting in a drawer somewhere for the past few decades is an option.\u003c/p>\n\u003cp>So is buying an older version of a higher priced model.\u003c/p>\n\u003cp>Phil Ryan, who writes about cameras for \u003cem>The New York Times\u003c/em> tech review site Wirecutter, says there are a few things to look for if you have the option of buying that kind of camera in-person.\u003c/p>\n\u003cp>“Zoom the lens, make sure that it’s actually working. Bring an SD card, put your SD card in and snap a few pictures and make sure that it’s taking a picture and it’s going to play it back,” Ryan said. “And then make sure that you’re going to get a charger with it.”\u003c/p>\n\u003cp>[aside postid='arts_13969460']He also suggests asking yourself why you want a digital camera in the first place. If it’s that Y2K, overexposed aesthetic you’re after, you can buy a \u003ca href=\"https://www.nytimes.com/wirecutter/reviews/best-lenses-for-iphone/\">lens for your phone\u003c/a> that will give you that effect.\u003c/p>\n\u003cp>“So you’re going to be putting literally a piece of plastic in front of the camera on your phone,” Ryan said. “Those are definitely [a] stocking stuffer, you can get [them] for like $20, $25 and a whole set of them.”\u003c/p>\n\u003cp>But, if you’re trying to capture the moment without being on a device that’s connected to the rest of the world — and don’t care about the trendy influencer look — you can always grab an even cheaper disposable camera.\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Jan Johnson and edited for digital by Obed Manuel.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A previous version of this story referred to Casey Fatchett as a “camera enthusiast,” which he does not identify as. It has been updated to reflect that Fatchett has been a professional photographer for 25 years. Additionally, a previous version of this story incorrectly stated that compact digital cameras have bigger sensors than smartphone cameras and produce clearer-looking photos. Many vintage digital compact cameras actually have smaller sensors than current smartphone cameras and produce less sharp and detailed images.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“There’s so much processing that goes on in your phone that you don’t have any control over,” Fatchett said. “So I think that there is a yearning among young people for photos that look real, especially of themselves. So there’s a feeling there that you can’t get from your cell phone camera.”\u003c/p>\n\u003cp>Fatchett says digital cameras can also be a way to be more intentional — and selective — about the photos you’re taking, since you can’t snap an infinite number of shots.\u003c/p>\n\u003cp>“Whether it’s a digital camera, whether it’s a film camera, whether it’s a Polaroid style camera, your brain thinks about it differently,” Fatchett said. “Like I only have x number of photos that I can take, so I want to capture something that really matters to me.”\u003c/p>\n\u003cp>It may also be a way to rebel against the smartphone-centered world Gen Zers were brought up in. The youngest members of Gen Z are around 12 years old and have never lived in a world without the iPhone, which was introduced in 2007.\u003c/p>\n\u003cfigure id=\"attachment_13969511\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969511\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/paris.jpg\" alt=\"Three young white women sit close together behind a table with a champagne bucket on it and take a photo of themselves.\" width=\"2000\" height=\"1398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/paris.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/paris-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/paris-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/paris-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/paris-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/paris-1536x1074.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/paris-1920x1342.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Meisels, Nicky Hilton and Paris Hilton take a selfie with\u003cbr>aa digital camera on September 17, 2006. \u003ccite>(Chris Weeks/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Choosing the right camera\u003c/h3>\n\u003cp>Vintage is also cool again — so recycling a camera that’s been sitting in a drawer somewhere for the past few decades is an option.\u003c/p>\n\u003cp>So is buying an older version of a higher priced model.\u003c/p>\n\u003cp>Phil Ryan, who writes about cameras for \u003cem>The New York Times\u003c/em> tech review site Wirecutter, says there are a few things to look for if you have the option of buying that kind of camera in-person.\u003c/p>\n\u003cp>“Zoom the lens, make sure that it’s actually working. Bring an SD card, put your SD card in and snap a few pictures and make sure that it’s taking a picture and it’s going to play it back,” Ryan said. “And then make sure that you’re going to get a charger with it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He also suggests asking yourself why you want a digital camera in the first place. If it’s that Y2K, overexposed aesthetic you’re after, you can buy a \u003ca href=\"https://www.nytimes.com/wirecutter/reviews/best-lenses-for-iphone/\">lens for your phone\u003c/a> that will give you that effect.\u003c/p>\n\u003cp>“So you’re going to be putting literally a piece of plastic in front of the camera on your phone,” Ryan said. “Those are definitely [a] stocking stuffer, you can get [them] for like $20, $25 and a whole set of them.”\u003c/p>\n\u003cp>But, if you’re trying to capture the moment without being on a device that’s connected to the rest of the world — and don’t care about the trendy influencer look — you can always grab an even cheaper disposable camera.\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Jan Johnson and edited for digital by Obed Manuel.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A previous version of this story referred to Casey Fatchett as a “camera enthusiast,” which he does not identify as. It has been updated to reflect that Fatchett has been a professional photographer for 25 years. Additionally, a previous version of this story incorrectly stated that compact digital cameras have bigger sensors than smartphone cameras and produce clearer-looking photos. Many vintage digital compact cameras actually have smaller sensors than current smartphone cameras and produce less sharp and detailed images.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In the Movies, Villainous Health Insurers Have Been a Chronic Condition",
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"content": "\u003cp>The killing of health insurance executive, Brian Thompson has led to a flood of anger on social media — directed not at the shooter but at health insurance providers — and suddenly, we’re surprised that in the public imagination, insurance companies seem to be bad guys? But Hollywood’s been making villains of them for years.\u003c/p>\n\u003cp>[aside postid='arts_13969438']In 1997’s Oscar-winning comedy \u003cem>As Good as It Gets\u003c/em>, one of the biggest laughs was always the scene in which Helen Hunt erupted into profanity while talking to a sympathetic doctor about care for her son. Care that’s not been coming his way because of “F****** HMO b****** pieces of s***,” is how she somewhat indelicately puts it.\u003c/p>\n\u003cp>When she glances at the doctor and adds a quick “I’m sorry,” he offers a bemused, “Actually, I think that’s their technical name.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G2WNAQe2Wf0\u003c/p>\n\u003cp>This moment in one of 1997’s most popular movies was just the tip of the HMO-bashing iceberg that year. Two other movies actually centered health insurance in their plots. The satirical comedy \u003cem>Critical Care\u003c/em> took a doctors-eye view at a hospital where patients with good insurance were seen as cash cows, as opposed to the John Grisham thriller \u003cem>The Rainmaker,\u003c/em> where Matt Damon’s crusading, if inexperienced, lawyer struggled to get his clients any care at all.\u003c/p>\n\u003ch3>Negativity: A pre-existing condition?\u003c/h3>\n\u003cp>Was all this negativity about health insurers just a bad year’s PR for the industry? Well, for a while, insurance companies didn’t have a lot of \u003cem>good \u003c/em>years in Hollywood.\u003c/p>\n\u003cul>\n\u003cli>Queen Latifah got a brain tumor diagnosis in \u003cem>Last Holiday\u003c/em> (2006) that her HMO wouldn’t cover.\u003c/li>\n\u003cli>Michael Moore suffered no health industry fools in his documentary \u003cem>Sicko\u003c/em> (2007).\u003c/li>\n\u003cli>The horror flick \u003cem>Saw VI\u003c/em> (2009) centered on an insurance adjustor who quickly wishes he hadn’t denied coverage to the Jigsaw killer.\u003c/li>\n\u003cli>Even Pixar’s animation team got into the act in \u003cem>The Incredibles (2004),\u003c/em> though about insurance companies in general, not just health insurance. When Mr. Incredible is told to hang up his suit at the beginning of the film, he glumly returns to his insurance office cubicle to do what movie insurance adjusters invariably do: deny coverage to a sweet little old lady who lives on a fixed income. Then, his wife jokes about saving the world one policy at a time, and he comes up with a way to help her. But that gets him in trouble with his boss, who screams at him to stop writing checks to every Harry Hardluck and Sally Sobstory, and remember that his job is to keep Insuricare in the black.\u003c/li>\n\u003c/ul>\n\u003cp>https://www.youtube.com/watch?v=O_VMXa9k5KU\u003c/p>\n\u003ch3>Managed care and cost control\u003c/h3>\n\u003cp>Films inevitably \u003cem>reflect\u003c/em> public attitudes, and by the late 1990s and early 2000s, the public was demonstrably not happy with how health insurance works.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13969363']A \u003ca href=\"https://scholarship.law.slu.edu/cgi/viewcontent.cgi?article=1363&context=faculty\">2004 article\u003c/a> in the \u003cem>Journal of Health Law \u003c/em>argued that Hollywood healthcare stories had turned into horror stories after insurance companies in America largely turned to a system called “managed” care — aimed at reducing unnecessary hospitalizations and making the healthcare industry more efficient.\u003c/p>\n\u003cp>By the mid-1990s, these corporate plans were widely credited for doing that. But their success came at a reputational price: never mind that hospitals, drug companies and others had all played roles, \u003cem>insurers\u003c/em> got cast as the prime villains, and that sentiment was the one being reflected in Hollywood films, nowhere more urgently than in the 2002 medical thriller, \u003cem>John Q.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oceYG6ogT_E\u003c/p>\n\u003cp>Denzel Washington played the title character who, when told his insurance wouldn’t cover a heart transplant for his critically ill 9-year-old, took hostage not just the hospital’s emergency room, but the sentiments of a public that gathered behind police lines on the street outside the hospital, seeming as disenchanted with insurers as he was.\u003c/p>\n\u003cp>[aside postid='arts_13969350']And, much as his plight resonated with that crowd on screen, it seemed to \u003ca href=\"https://pmc.ncbi.nlm.nih.gov/articles/PMC1122475/\">touch a raw nerve\u003c/a> with the more than 17 million movie patrons who saw \u003cem>John Q\u003c/em> in theaters worldwide.\u003c/p>\n\u003cp>The film inspired editorials, soul searching and even \u003ca href=\"https://pmc.ncbi.nlm.nih.gov/articles/PMC1122475/figure/FN0x993eec0.0x9d464d8/\">full-page ads\u003c/a> by the American Association of Health Plans, attempting damage control: “John Q: It’s not just a movie,” proclaimed the ads, “it’s a crisis for 40 million people who can’t afford health care.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Critics were less enthused, but who’s ever accused a critic of having a heart?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The killing of health insurance executive, Brian Thompson has led to a flood of anger on social media — directed not at the shooter but at health insurance providers — and suddenly, we’re surprised that in the public imagination, insurance companies seem to be bad guys? But Hollywood’s been making villains of them for years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 1997’s Oscar-winning comedy \u003cem>As Good as It Gets\u003c/em>, one of the biggest laughs was always the scene in which Helen Hunt erupted into profanity while talking to a sympathetic doctor about care for her son. Care that’s not been coming his way because of “F****** HMO b****** pieces of s***,” is how she somewhat indelicately puts it.\u003c/p>\n\u003cp>When she glances at the doctor and adds a quick “I’m sorry,” he offers a bemused, “Actually, I think that’s their technical name.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/G2WNAQe2Wf0'\n title='//www.youtube.com/embed/G2WNAQe2Wf0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This moment in one of 1997’s most popular movies was just the tip of the HMO-bashing iceberg that year. Two other movies actually centered health insurance in their plots. The satirical comedy \u003cem>Critical Care\u003c/em> took a doctors-eye view at a hospital where patients with good insurance were seen as cash cows, as opposed to the John Grisham thriller \u003cem>The Rainmaker,\u003c/em> where Matt Damon’s crusading, if inexperienced, lawyer struggled to get his clients any care at all.\u003c/p>\n\u003ch3>Negativity: A pre-existing condition?\u003c/h3>\n\u003cp>Was all this negativity about health insurers just a bad year’s PR for the industry? Well, for a while, insurance companies didn’t have a lot of \u003cem>good \u003c/em>years in Hollywood.\u003c/p>\n\u003cul>\n\u003cli>Queen Latifah got a brain tumor diagnosis in \u003cem>Last Holiday\u003c/em> (2006) that her HMO wouldn’t cover.\u003c/li>\n\u003cli>Michael Moore suffered no health industry fools in his documentary \u003cem>Sicko\u003c/em> (2007).\u003c/li>\n\u003cli>The horror flick \u003cem>Saw VI\u003c/em> (2009) centered on an insurance adjustor who quickly wishes he hadn’t denied coverage to the Jigsaw killer.\u003c/li>\n\u003cli>Even Pixar’s animation team got into the act in \u003cem>The Incredibles (2004),\u003c/em> though about insurance companies in general, not just health insurance. When Mr. Incredible is told to hang up his suit at the beginning of the film, he glumly returns to his insurance office cubicle to do what movie insurance adjusters invariably do: deny coverage to a sweet little old lady who lives on a fixed income. Then, his wife jokes about saving the world one policy at a time, and he comes up with a way to help her. But that gets him in trouble with his boss, who screams at him to stop writing checks to every Harry Hardluck and Sally Sobstory, and remember that his job is to keep Insuricare in the black.\u003c/li>\n\u003c/ul>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/O_VMXa9k5KU'\n title='//www.youtube.com/embed/O_VMXa9k5KU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Managed care and cost control\u003c/h3>\n\u003cp>Films inevitably \u003cem>reflect\u003c/em> public attitudes, and by the late 1990s and early 2000s, the public was demonstrably not happy with how health insurance works.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A \u003ca href=\"https://scholarship.law.slu.edu/cgi/viewcontent.cgi?article=1363&context=faculty\">2004 article\u003c/a> in the \u003cem>Journal of Health Law \u003c/em>argued that Hollywood healthcare stories had turned into horror stories after insurance companies in America largely turned to a system called “managed” care — aimed at reducing unnecessary hospitalizations and making the healthcare industry more efficient.\u003c/p>\n\u003cp>By the mid-1990s, these corporate plans were widely credited for doing that. But their success came at a reputational price: never mind that hospitals, drug companies and others had all played roles, \u003cem>insurers\u003c/em> got cast as the prime villains, and that sentiment was the one being reflected in Hollywood films, nowhere more urgently than in the 2002 medical thriller, \u003cem>John Q.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oceYG6ogT_E'\n title='//www.youtube.com/embed/oceYG6ogT_E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Denzel Washington played the title character who, when told his insurance wouldn’t cover a heart transplant for his critically ill 9-year-old, took hostage not just the hospital’s emergency room, but the sentiments of a public that gathered behind police lines on the street outside the hospital, seeming as disenchanted with insurers as he was.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And, much as his plight resonated with that crowd on screen, it seemed to \u003ca href=\"https://pmc.ncbi.nlm.nih.gov/articles/PMC1122475/\">touch a raw nerve\u003c/a> with the more than 17 million movie patrons who saw \u003cem>John Q\u003c/em> in theaters worldwide.\u003c/p>\n\u003cp>The film inspired editorials, soul searching and even \u003ca href=\"https://pmc.ncbi.nlm.nih.gov/articles/PMC1122475/figure/FN0x993eec0.0x9d464d8/\">full-page ads\u003c/a> by the American Association of Health Plans, attempting damage control: “John Q: It’s not just a movie,” proclaimed the ads, “it’s a crisis for 40 million people who can’t afford health care.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Critics were less enthused, but who’s ever accused a critic of having a heart?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-biographies-memoirs-nonfiction-books-of-2024",
"title": "10 Biographies and Memoirs for the Nonfiction Reader in Your Life",
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"content": "\u003cp>There’s one in every family — that uncle or sister-in-law who \u003cem>only \u003c/em>reads nonfiction. As you seek out \u003ca href=\"https://www.kqed.org/arts/13969192/the-best-books-i-read-in-the-final-months-of-2024\">the perfect read\u003c/a> for your loved ones this year, we can help you find beautifully told true stories. There are more than 50 biographies and memoirs featured in Books We Love, NPR’s annual year-end reading guide. \u003ca href=\"https://apps.npr.org/best-books/#tags=biography+%26+memoir&view=covers&year=2024\">Check them all out here,\u003c/a> or browse a sampling, below.\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1045x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F2b%2F28%2Face5ecaa4efda6d5aa3ef8ca86a2%2Fconsent.jpg\">\u003cfigcaption>\u003ccite> (Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>\u003cem>Consent: A Memoir \u003c/em>by Jill Ciment\u003c/strong>\u003c/h2>\n\u003cp>After the death of her husband of nearly 50 years, Jill Ciment reconsiders their relationship, which began when she was 17 and he was her much older, married drawing instructor. She first wrote about their early years together in \u003cem>Half a Life,\u003c/em> when she was in her 40s and he was in his 70s. In \u003cem>Consent,\u003c/em> she scrutinizes and amplifies that account in light of the #MeToo movement and changing social attitudes. Did she have the agency to consent? Was he a letch? Was she a vixen? How could she have known as a teenager that he was the love of her life? — \u003cem>\u003ca href=\"https://www.npr.org/people/131512385/heller-mcalpin\">Heller McAlpin\u003c/a>, book critic\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/987x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Fed%2F38%2F5759a7e74fcb8aac590733c22528%2Fa-fatal-inheritance.jpg\">\u003cfigcaption>\u003ccite> (Henry Holt and Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘A Fatal Inheritance: How a Family Misfortune Revealed a Deadly Medical Mystery’ by\u003c/strong> \u003cstrong>Lawrence Ingrassia\u003c/strong>\u003c/h2>\n\u003cp>In 1968, when journalist Lawrence Ingrassia was 15, his mother died of breast cancer at age 42. “It was tragic, but what was there to say?” he writes. Ingrassia couldn’t know then that in the decades to come, his three siblings would each die from a different kind of cancer and that a nephew would too. In \u003cem>A Fatal Inheritance\u003c/em>, Ingrassia movingly intertwines his family’s oncological experiences with the winding story of how researchers worked to uncover the roles that heritable genetic mutations play in cancer risk. — \u003cem>\u003ca href=\"https://www.kristenmartin.net/\">Kristin Martin\u003c/a>, book critic\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/993x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F86%2F61%2F018e0ad4433eab5ad70abee201ea%2Fgather-me.jpg\">\u003cfigcaption>\u003ccite> (Ballantine Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Gather Me: A Memoir in Praise of the Books That Saved Me’ by Glory Edim\u003c/strong>\u003c/h2>\n\u003cp>Tenderly written, Glory Edim’s \u003cem>Gather Me\u003c/em> is a beautiful memoir that serves as a powerful testament to resilience. It pays tribute to the art of community building from someone whose career and identity are deeply rooted in literature. Edim, founder of \u003ca href=\"https://www.wellreadblackgirl.org/about\">Well-Read Black Girl\u003c/a>, thoughtfully navigates her emotionally complex life, highlighting the books and authors that have shaped her journey. The chapter about Nikki Giovanni’s work — Edim’s spiritual exploration through it and the solace it brought her — is particularly poignant. Overall, it is an emotional narrative about family bonds and a meaningful gift to her community. — \u003cem>\u003ca href=\"https://keishelawilliams.wordpress.com/\">Keishel Williams\u003c/a>,\u003c/em> \u003cem>book critic\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1000x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F93%2Fb2%2F07ba0b2f44f88052bcf165ba81bf%2Fknife.jpg\">\u003cfigcaption>\u003ccite> (Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Knife: Meditations After an Attempted Murder’ by Salman Rushdie\u003c/strong>\u003c/h2>\n\u003cp>For much of his adult life, Salman Rushdie has lived beneath a shadow — he’s as famous for his novels as he is for being the \u003ca href=\"https://www.npr.org/2022/08/13/1117389122/salman-rushdie-satanic-verses-controversy\">target of a fatwa\u003c/a>. But in 2022, that threat went from theoretical to very real when Rushdie was \u003ca href=\"https://www.npr.org/2022/08/12/1117164727/salman-rushdie-condition-stabbing-new-york\">stabbed repeatedly\u003c/a> at a literary conference. That attack resulted in multiple long-term health issues, including blindness in his right eye. You might expect Rushdie’s memoir detailing the attack and its aftermath to be somewhat grim. And it is. But it’s also in turn warm, vulnerable, acerbic and, surprisingly, very funny. — \u003cem>\u003ca href=\"https://www.npr.org/people/477473044/leah-donnella\">Leah Donnella\u003c/a>, senior editor, Code Switch\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/993x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F7f%2Fa2%2Fb9f290df4e1ba74f98430bfc5b91%2Flife-after-power.jpg\">\u003cfigcaption>\u003ccite> (Simon & Schuster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Life After Power: Seven Presidents and Their Search for Purpose Beyond the White House’ by Jared Cohen\u003c/strong>\u003c/h2>\n\u003cp>The American presidency is viewed as the most powerful position in the world. What happens when the job ends? History is often surprising. Not everyone found the role to be the most fulfilling one they ever had. Jared Cohen looks at some fascinating case studies that back that up. John Quincy Adams and William Howard Taft found greater joy in other branches of government: Congress and the Supreme Court. George Bush enjoys his private life and art studio. Life after power \u003cem>can\u003c/em> be much more rewarding. —\u003cem> \u003ca href=\"http://www.npr.org/people/153024115/edith-chapin\">Edith Chapin\u003c/a>, senior vice president and editor in chief\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/969x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F5c%2F48%2Fdef703d64320917d1380ea6ff3a6%2Fthe-mango-tree.jpg\">\u003cfigcaption>\u003ccite> (Little, Brown and Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Mango Tree: A Memoir of Fruit, Florida, and Felony’ by Annabelle Tometich\u003c/strong>\u003c/h2>\n\u003cp>This family memoir begins with a courtroom scene like no other. After a night in jail, Annabelle Tometich’s mom is charged with firing at a man who, she says, was stealing mangoes from the tree in her front yard. Tometich then hits rewind, taking readers back through her Fort Myers, Fla., childhood — with her Filipino American mom and white dad, a couple whose personality differences do not make them stronger together. The writing is both jewel-like and effortless, and Tometich’s memories — some mundane, some extraordinary — are mesmerizing. — \u003cem>\u003ca href=\"https://www.npr.org/people/349278028/shannon-rhoades\">Shannon Rhoades\u003c/a>, senior editor, Weekend Edition\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/962x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F94%2F65%2F063fafdb48bfa1a583ae33c210ad%2Fmy-beloved-monster.jpg\">\u003cfigcaption>\u003ccite> (Little, Brown and Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘My Beloved Monster: Masha, the Half-Wild Rescue Cat Who Rescued Me’ by Caleb Carr\u003c/strong>\u003c/h2>\n\u003cp>This unusual and beautiful “meow-moir” by \u003cem>The Alienist\u003c/em> author and military historian Caleb Carr — the last book he wrote before dying of cancer at age 68 this year — explores the author’s lifelong affinity for cats and his particular relationship with one enormous, fluffy Siberian named Masha. Masha and the writer enjoyed 17 years of adventures together, mostly in and around their rugged rural home in upstate New York. The book chronicles their mutual zest for life and their struggles through illness and financial woes. Even though this is a book for cat lovers, it’s really for everyone: It explores, with somber pathos and wry humor, how we form attachments in life and how they keep us going through it all. —\u003cem> \u003ca href=\"https://www.npr.org/people/1113762078/chloe-veltman\">Chloe Veltman\u003c/a>,\u003c/em> \u003cem>correspondent, Culture Desk\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/994x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F73%2F96%2Fd372f4fb4b288d4ede49af507663%2Fpast-tense.jpg\">\u003cfigcaption>\u003ccite> (Avery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Past Tense: Facing Family Secrets and Finding Myself in Therapy’ by Sacha Mardou\u003c/strong>\u003c/h2>\n\u003cp>British cartoonist Sacha Mardou began posting her highly readable comics — about her experiences going to therapy when her daughter was young — on social media. \u003cem>Past Tense\u003c/em> chronicles this story — the many steps that led Mardou to an earnest bridging of the past, her family’s history, into the present. Somewhere between Allie Brosh’s \u003ca href=\"https://www.npr.org/2013/11/12/244758140/even-when-it-hurts-alot-brosh-faces-life-with-plenty-of-hyperbole\">\u003cem>Hyperbole and a Half\u003c/em>\u003c/a> and Stephanie Foo’s \u003ca href=\"https://www.npr.org/2022/02/27/1083361192/what-my-bones-know-is-stephanie-foos-memoir-on-living-with-complex-ptsd\">\u003cem>What My Bones Know\u003c/em>\u003c/a>, Mardou’s brightly tinted, clear-eyed comics reveal how active self-reflection — combined with art, storytelling and professional supports — can powerfully reshape a person’s sense of self and community. — \u003cem>\u003ca href=\"https://www.tahneeroksman.com/\">Tahneer Oksman\u003c/a>, writer, professor and cultural critic\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/979x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F9a%2F06%2Fd9d7d6344fe380a71861d57cd992%2Fpatriot.jpg\">\u003cfigcaption>\u003ccite> (Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Patriot: A Memoir’ by Alexei Navalny\u003c/strong>\u003c/h2>\n\u003cp>Russian opposition leader Alexei Navalny died in an Arctic Russian penal colony in February. But even in death, he continues his fight against President Vladimir Putin. This posthumous memoir has two sections: The first half is a traditional narrative, beginning with a true crime story when Navalny is poisoned with a nerve agent on a flight from Siberia in 2020. Halfway through, the book pivots to become his prison diary. Through even the darkest episodes, Navalny’s sunniness and humor shine through — whether he’s describing an episode of \u003cem>Rick and Morty\u003c/em> that he left unfinished when he collapsed on that flight, or taking joy in the indulgence of bread and butter that he only ate on Sunday mornings behind bars. — \u003cem>\u003ca href=\"https://www.npr.org/people/2101154/ari-shapiro\">Ari Shapiro\u003c/a>, host, All Things Considered\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/988x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Fa3%2F04%2Fb52ff1d44de6acd5e8fcd6c0aead%2Fwhiskey-tender.jpg\">\u003cfigcaption>\u003ccite> (Harper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In straightforward and affecting prose, Deborah Jackson Taffa writes about being brought up by a Quechan (Yuma) and Laguna Pueblo father and a Catholic Latina mother, both on and off the Yuma reservation. Although her parents were united in their approach to maintaining a family, their attitudes toward the world diverged in other ways, and Taffa received mixed messages about her Indigeneity, her proximity to whiteness and how she was meant to carry herself. As a teenager, she began to experience anger at the injustices her people were subjected to and, at the same time, began to learn that all change is sacred. — \u003cem>\u003ca href=\"https://www.ilanamasad.com/\">Ilana Masadbook\u003c/a>, critic and author of ‘All My Mother’s Lovers’\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cem>This is just a fraction of the 350+ titles we included in Books We Love this year. \u003c/em>\u003c/strong>\u003ca href=\"https://apps.npr.org/best-books/#view=covers&year=2024\">\u003cstrong>\u003cem>Click here to check out this year’s titles, \u003c/em>\u003c/strong>\u003c/a>\u003cstrong>\u003cem>or browse nearly 4,000 books from the last 12 years.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s one in every family — that uncle or sister-in-law who \u003cem>only \u003c/em>reads nonfiction. As you seek out \u003ca href=\"https://www.kqed.org/arts/13969192/the-best-books-i-read-in-the-final-months-of-2024\">the perfect read\u003c/a> for your loved ones this year, we can help you find beautifully told true stories. There are more than 50 biographies and memoirs featured in Books We Love, NPR’s annual year-end reading guide. \u003ca href=\"https://apps.npr.org/best-books/#tags=biography+%26+memoir&view=covers&year=2024\">Check them all out here,\u003c/a> or browse a sampling, below.\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1045x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F2b%2F28%2Face5ecaa4efda6d5aa3ef8ca86a2%2Fconsent.jpg\">\u003cfigcaption>\u003ccite> (Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>\u003cem>Consent: A Memoir \u003c/em>by Jill Ciment\u003c/strong>\u003c/h2>\n\u003cp>After the death of her husband of nearly 50 years, Jill Ciment reconsiders their relationship, which began when she was 17 and he was her much older, married drawing instructor. She first wrote about their early years together in \u003cem>Half a Life,\u003c/em> when she was in her 40s and he was in his 70s. In \u003cem>Consent,\u003c/em> she scrutinizes and amplifies that account in light of the #MeToo movement and changing social attitudes. Did she have the agency to consent? Was he a letch? Was she a vixen? How could she have known as a teenager that he was the love of her life? — \u003cem>\u003ca href=\"https://www.npr.org/people/131512385/heller-mcalpin\">Heller McAlpin\u003c/a>, book critic\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/987x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Fed%2F38%2F5759a7e74fcb8aac590733c22528%2Fa-fatal-inheritance.jpg\">\u003cfigcaption>\u003ccite> (Henry Holt and Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘A Fatal Inheritance: How a Family Misfortune Revealed a Deadly Medical Mystery’ by\u003c/strong> \u003cstrong>Lawrence Ingrassia\u003c/strong>\u003c/h2>\n\u003cp>In 1968, when journalist Lawrence Ingrassia was 15, his mother died of breast cancer at age 42. “It was tragic, but what was there to say?” he writes. Ingrassia couldn’t know then that in the decades to come, his three siblings would each die from a different kind of cancer and that a nephew would too. In \u003cem>A Fatal Inheritance\u003c/em>, Ingrassia movingly intertwines his family’s oncological experiences with the winding story of how researchers worked to uncover the roles that heritable genetic mutations play in cancer risk. — \u003cem>\u003ca href=\"https://www.kristenmartin.net/\">Kristin Martin\u003c/a>, book critic\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/993x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F86%2F61%2F018e0ad4433eab5ad70abee201ea%2Fgather-me.jpg\">\u003cfigcaption>\u003ccite> (Ballantine Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Gather Me: A Memoir in Praise of the Books That Saved Me’ by Glory Edim\u003c/strong>\u003c/h2>\n\u003cp>Tenderly written, Glory Edim’s \u003cem>Gather Me\u003c/em> is a beautiful memoir that serves as a powerful testament to resilience. It pays tribute to the art of community building from someone whose career and identity are deeply rooted in literature. Edim, founder of \u003ca href=\"https://www.wellreadblackgirl.org/about\">Well-Read Black Girl\u003c/a>, thoughtfully navigates her emotionally complex life, highlighting the books and authors that have shaped her journey. The chapter about Nikki Giovanni’s work — Edim’s spiritual exploration through it and the solace it brought her — is particularly poignant. Overall, it is an emotional narrative about family bonds and a meaningful gift to her community. — \u003cem>\u003ca href=\"https://keishelawilliams.wordpress.com/\">Keishel Williams\u003c/a>,\u003c/em> \u003cem>book critic\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1000x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F93%2Fb2%2F07ba0b2f44f88052bcf165ba81bf%2Fknife.jpg\">\u003cfigcaption>\u003ccite> (Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Knife: Meditations After an Attempted Murder’ by Salman Rushdie\u003c/strong>\u003c/h2>\n\u003cp>For much of his adult life, Salman Rushdie has lived beneath a shadow — he’s as famous for his novels as he is for being the \u003ca href=\"https://www.npr.org/2022/08/13/1117389122/salman-rushdie-satanic-verses-controversy\">target of a fatwa\u003c/a>. But in 2022, that threat went from theoretical to very real when Rushdie was \u003ca href=\"https://www.npr.org/2022/08/12/1117164727/salman-rushdie-condition-stabbing-new-york\">stabbed repeatedly\u003c/a> at a literary conference. That attack resulted in multiple long-term health issues, including blindness in his right eye. You might expect Rushdie’s memoir detailing the attack and its aftermath to be somewhat grim. And it is. But it’s also in turn warm, vulnerable, acerbic and, surprisingly, very funny. — \u003cem>\u003ca href=\"https://www.npr.org/people/477473044/leah-donnella\">Leah Donnella\u003c/a>, senior editor, Code Switch\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/993x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F7f%2Fa2%2Fb9f290df4e1ba74f98430bfc5b91%2Flife-after-power.jpg\">\u003cfigcaption>\u003ccite> (Simon & Schuster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Life After Power: Seven Presidents and Their Search for Purpose Beyond the White House’ by Jared Cohen\u003c/strong>\u003c/h2>\n\u003cp>The American presidency is viewed as the most powerful position in the world. What happens when the job ends? History is often surprising. Not everyone found the role to be the most fulfilling one they ever had. Jared Cohen looks at some fascinating case studies that back that up. John Quincy Adams and William Howard Taft found greater joy in other branches of government: Congress and the Supreme Court. George Bush enjoys his private life and art studio. Life after power \u003cem>can\u003c/em> be much more rewarding. —\u003cem> \u003ca href=\"http://www.npr.org/people/153024115/edith-chapin\">Edith Chapin\u003c/a>, senior vice president and editor in chief\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/969x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F5c%2F48%2Fdef703d64320917d1380ea6ff3a6%2Fthe-mango-tree.jpg\">\u003cfigcaption>\u003ccite> (Little, Brown and Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Mango Tree: A Memoir of Fruit, Florida, and Felony’ by Annabelle Tometich\u003c/strong>\u003c/h2>\n\u003cp>This family memoir begins with a courtroom scene like no other. After a night in jail, Annabelle Tometich’s mom is charged with firing at a man who, she says, was stealing mangoes from the tree in her front yard. Tometich then hits rewind, taking readers back through her Fort Myers, Fla., childhood — with her Filipino American mom and white dad, a couple whose personality differences do not make them stronger together. The writing is both jewel-like and effortless, and Tometich’s memories — some mundane, some extraordinary — are mesmerizing. — \u003cem>\u003ca href=\"https://www.npr.org/people/349278028/shannon-rhoades\">Shannon Rhoades\u003c/a>, senior editor, Weekend Edition\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/962x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F94%2F65%2F063fafdb48bfa1a583ae33c210ad%2Fmy-beloved-monster.jpg\">\u003cfigcaption>\u003ccite> (Little, Brown and Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘My Beloved Monster: Masha, the Half-Wild Rescue Cat Who Rescued Me’ by Caleb Carr\u003c/strong>\u003c/h2>\n\u003cp>This unusual and beautiful “meow-moir” by \u003cem>The Alienist\u003c/em> author and military historian Caleb Carr — the last book he wrote before dying of cancer at age 68 this year — explores the author’s lifelong affinity for cats and his particular relationship with one enormous, fluffy Siberian named Masha. Masha and the writer enjoyed 17 years of adventures together, mostly in and around their rugged rural home in upstate New York. The book chronicles their mutual zest for life and their struggles through illness and financial woes. Even though this is a book for cat lovers, it’s really for everyone: It explores, with somber pathos and wry humor, how we form attachments in life and how they keep us going through it all. —\u003cem> \u003ca href=\"https://www.npr.org/people/1113762078/chloe-veltman\">Chloe Veltman\u003c/a>,\u003c/em> \u003cem>correspondent, Culture Desk\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/994x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F73%2F96%2Fd372f4fb4b288d4ede49af507663%2Fpast-tense.jpg\">\u003cfigcaption>\u003ccite> (Avery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Past Tense: Facing Family Secrets and Finding Myself in Therapy’ by Sacha Mardou\u003c/strong>\u003c/h2>\n\u003cp>British cartoonist Sacha Mardou began posting her highly readable comics — about her experiences going to therapy when her daughter was young — on social media. \u003cem>Past Tense\u003c/em> chronicles this story — the many steps that led Mardou to an earnest bridging of the past, her family’s history, into the present. Somewhere between Allie Brosh’s \u003ca href=\"https://www.npr.org/2013/11/12/244758140/even-when-it-hurts-alot-brosh-faces-life-with-plenty-of-hyperbole\">\u003cem>Hyperbole and a Half\u003c/em>\u003c/a> and Stephanie Foo’s \u003ca href=\"https://www.npr.org/2022/02/27/1083361192/what-my-bones-know-is-stephanie-foos-memoir-on-living-with-complex-ptsd\">\u003cem>What My Bones Know\u003c/em>\u003c/a>, Mardou’s brightly tinted, clear-eyed comics reveal how active self-reflection — combined with art, storytelling and professional supports — can powerfully reshape a person’s sense of self and community. — \u003cem>\u003ca href=\"https://www.tahneeroksman.com/\">Tahneer Oksman\u003c/a>, writer, professor and cultural critic\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/979x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F9a%2F06%2Fd9d7d6344fe380a71861d57cd992%2Fpatriot.jpg\">\u003cfigcaption>\u003ccite> (Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Patriot: A Memoir’ by Alexei Navalny\u003c/strong>\u003c/h2>\n\u003cp>Russian opposition leader Alexei Navalny died in an Arctic Russian penal colony in February. But even in death, he continues his fight against President Vladimir Putin. This posthumous memoir has two sections: The first half is a traditional narrative, beginning with a true crime story when Navalny is poisoned with a nerve agent on a flight from Siberia in 2020. Halfway through, the book pivots to become his prison diary. Through even the darkest episodes, Navalny’s sunniness and humor shine through — whether he’s describing an episode of \u003cem>Rick and Morty\u003c/em> that he left unfinished when he collapsed on that flight, or taking joy in the indulgence of bread and butter that he only ate on Sunday mornings behind bars. — \u003cem>\u003ca href=\"https://www.npr.org/people/2101154/ari-shapiro\">Ari Shapiro\u003c/a>, host, All Things Considered\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/988x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Fa3%2F04%2Fb52ff1d44de6acd5e8fcd6c0aead%2Fwhiskey-tender.jpg\">\u003cfigcaption>\u003ccite> (Harper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In straightforward and affecting prose, Deborah Jackson Taffa writes about being brought up by a Quechan (Yuma) and Laguna Pueblo father and a Catholic Latina mother, both on and off the Yuma reservation. Although her parents were united in their approach to maintaining a family, their attitudes toward the world diverged in other ways, and Taffa received mixed messages about her Indigeneity, her proximity to whiteness and how she was meant to carry herself. As a teenager, she began to experience anger at the injustices her people were subjected to and, at the same time, began to learn that all change is sacred. — \u003cem>\u003ca href=\"https://www.ilanamasad.com/\">Ilana Masadbook\u003c/a>, critic and author of ‘All My Mother’s Lovers’\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cem>This is just a fraction of the 350+ titles we included in Books We Love this year. \u003c/em>\u003c/strong>\u003ca href=\"https://apps.npr.org/best-books/#view=covers&year=2024\">\u003cstrong>\u003cem>Click here to check out this year’s titles, \u003c/em>\u003c/strong>\u003c/a>\u003cstrong>\u003cem>or browse nearly 4,000 books from the last 12 years.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Shot in Secret, ‘The Seed of the Sacred Fig’ Calls Out Iran’s Authoritarian Regime",
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"content": "\u003cp>In the nearly 20 years that I’ve been attending the Cannes Film Festival, I’ve rarely witnessed anything as emotional as I did last May, when the Iranian director \u003ca href=\"https://www.npr.org/2024/11/26/nx-s1-5163638/mohammad-rasoulof-iran-seed-of-sacred-fig\">Mohammad Rasoulof\u003c/a> arrived for the world premiere screening of his new movie, \u003cem>The Seed of the Sacred Fig\u003c/em>.\u003c/p>\n\u003cp>As he walked up the red carpeted steps and entered the theater to thunderous applause, Rasoulof didn’t look like a man who had been on the run just two weeks earlier. He fled his country after receiving an eight-year prison sentence — hardly the first time he’s run afoul of the government, which, since 2010, has frequently arrested him, jailed him and banned him from filmmaking. Like some of his other movies, \u003cem>The Seed of the Sacred Fig\u003c/em> was shot entirely in secret.\u003c/p>\n\u003cp>[aside postid='arts_13969167']That can’t have been easy to pull off, though in some ways, it makes a certain sense for a drama that’s all about the corrosive nature of secrets and lies. Misagh Zare plays a lawyer named Iman, who’s just been promoted to investigating judge, a job so dangerous that he’s been issued a gun for his protection.\u003c/p>\n\u003cp>Iman’s wife, Najmeh, played by Soheila Golestani, is excited about the news; with Iman’s higher salary, they can at last afford a bigger home. But they warn their two daughters — 21-year-old Rezvan and teenage Sana — that they must be irreproachable in their behavior, so as not to harm their father’s reputation. That means wearing the hijab in public, keeping a low profile on social media and not hanging out with the wrong people.\u003c/p>\n\u003cp>But Rezvan and Sana are both smart, observant and increasingly critical of their parents’ traditionalism, especially in light of the news. The story takes place in 2022, during the early days of the “\u003ca href=\"https://www.npr.org/2022/10/27/1131436766/kurdish-roots-iran-protest-slogan\">Woman, life, freedom” movement\u003c/a>. Those protests erupted after a 22-year-old \u003ca href=\"https://www.npr.org/2023/09/15/1199463066/iran-mahsa-amini-anniversary-women-rights-protests\">Kurdish Iranian woman\u003c/a> died in the custody of the morality police, which had arrested her for allegedly wearing a hijab improperly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rasoulof includes real-life footage of the protests and ensuing acts of police violence, giving the movie a jolt of documentary immediacy. But he also shows us how Iran’s social unrest impacts the family directly. When one of her friends is injured at a rally, Rezvan becomes increasingly supportive of the movement, to her parents’ chagrin. But even Iman has his doubts about the government he serves. He’s demoralized by his new job, which forces him to interrogate — and likely imprison — hundreds of protestors.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TV3Sk2zwqK4\u003c/p>\n\u003cp>Rasoulof has never been shy about calling out Iran’s authoritarian regime, as he did in earlier movies like \u003cem>Manuscripts Don’t Burn\u003c/em> and \u003cem>There Is No Evil\u003c/em>. What makes \u003cem>The Seed of the Sacred Fig\u003c/em> so gripping over its nearly three-hour running time is how assuredly it blends domestic drama and topical thriller, the personal and the political.\u003c/p>\n\u003cp>The family home becomes a psychological war zone, where secrets fester behind closed doors and every character has something to hide. The actors are uniformly superb; I especially liked the nuanced sibling dynamic between Mahsa Rostami, as the sensitive, thoughtful older sister, and Setareh Maleki, as the slyer, more mischievous younger one. Rasoulof’s sympathies are clearly with them and the Woman, Life, Freedom protestors. But he also extends compassion to the parents, especially Iman, who, as Rezvan courageously points out, is too entrenched in the system to see that the system is wrong.\u003c/p>\n\u003cp>[aside postid='arts_13969006']Just as the family’s home is starting to feel unbearably claustrophobic, the movie shifts gears. There’s a sudden change in scenery, and after the slow-simmering suspense of the first half, Rasoulof pushes the drama into full-blown action-movie territory: there’s a high-speed car chase, an on-camera interrogation and, finally, a tense climax that suggests a showdown out of a classic Western.\u003c/p>\n\u003cp>It’s a bold stroke, and while not everyone will make the leap, I appreciate Rasoulof’s willingness to flex his genre muscles in service of a larger point. The family in this story isn’t just a family; it’s a kind of microcosm of middle class Iranian society, with deep rifts between people across genders and generations. Meaningful change may be possible, Rasoulof seems to be saying, but it will be inevitably painful and violent.\u003c/p>\n\u003cp>It’s a bleak conclusion, but it’s also suffused with a deep sense of mourning. Mohammad Rasoulof may have left Iran, but not once during this stunning movie is his love for his country ever in doubt.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Seed of the Sacred Fig’ is in theaters now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That can’t have been easy to pull off, though in some ways, it makes a certain sense for a drama that’s all about the corrosive nature of secrets and lies. Misagh Zare plays a lawyer named Iman, who’s just been promoted to investigating judge, a job so dangerous that he’s been issued a gun for his protection.\u003c/p>\n\u003cp>Iman’s wife, Najmeh, played by Soheila Golestani, is excited about the news; with Iman’s higher salary, they can at last afford a bigger home. But they warn their two daughters — 21-year-old Rezvan and teenage Sana — that they must be irreproachable in their behavior, so as not to harm their father’s reputation. That means wearing the hijab in public, keeping a low profile on social media and not hanging out with the wrong people.\u003c/p>\n\u003cp>But Rezvan and Sana are both smart, observant and increasingly critical of their parents’ traditionalism, especially in light of the news. The story takes place in 2022, during the early days of the “\u003ca href=\"https://www.npr.org/2022/10/27/1131436766/kurdish-roots-iran-protest-slogan\">Woman, life, freedom” movement\u003c/a>. Those protests erupted after a 22-year-old \u003ca href=\"https://www.npr.org/2023/09/15/1199463066/iran-mahsa-amini-anniversary-women-rights-protests\">Kurdish Iranian woman\u003c/a> died in the custody of the morality police, which had arrested her for allegedly wearing a hijab improperly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rasoulof includes real-life footage of the protests and ensuing acts of police violence, giving the movie a jolt of documentary immediacy. But he also shows us how Iran’s social unrest impacts the family directly. When one of her friends is injured at a rally, Rezvan becomes increasingly supportive of the movement, to her parents’ chagrin. But even Iman has his doubts about the government he serves. He’s demoralized by his new job, which forces him to interrogate — and likely imprison — hundreds of protestors.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TV3Sk2zwqK4'\n title='//www.youtube.com/embed/TV3Sk2zwqK4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rasoulof has never been shy about calling out Iran’s authoritarian regime, as he did in earlier movies like \u003cem>Manuscripts Don’t Burn\u003c/em> and \u003cem>There Is No Evil\u003c/em>. What makes \u003cem>The Seed of the Sacred Fig\u003c/em> so gripping over its nearly three-hour running time is how assuredly it blends domestic drama and topical thriller, the personal and the political.\u003c/p>\n\u003cp>The family home becomes a psychological war zone, where secrets fester behind closed doors and every character has something to hide. The actors are uniformly superb; I especially liked the nuanced sibling dynamic between Mahsa Rostami, as the sensitive, thoughtful older sister, and Setareh Maleki, as the slyer, more mischievous younger one. Rasoulof’s sympathies are clearly with them and the Woman, Life, Freedom protestors. But he also extends compassion to the parents, especially Iman, who, as Rezvan courageously points out, is too entrenched in the system to see that the system is wrong.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Just as the family’s home is starting to feel unbearably claustrophobic, the movie shifts gears. There’s a sudden change in scenery, and after the slow-simmering suspense of the first half, Rasoulof pushes the drama into full-blown action-movie territory: there’s a high-speed car chase, an on-camera interrogation and, finally, a tense climax that suggests a showdown out of a classic Western.\u003c/p>\n\u003cp>It’s a bold stroke, and while not everyone will make the leap, I appreciate Rasoulof’s willingness to flex his genre muscles in service of a larger point. The family in this story isn’t just a family; it’s a kind of microcosm of middle class Iranian society, with deep rifts between people across genders and generations. Meaningful change may be possible, Rasoulof seems to be saying, but it will be inevitably painful and violent.\u003c/p>\n\u003cp>It’s a bleak conclusion, but it’s also suffused with a deep sense of mourning. Mohammad Rasoulof may have left Iran, but not once during this stunning movie is his love for his country ever in doubt.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Seed of the Sacred Fig’ is in theaters now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Best TV of 2024, As Chosen By NPR Critics",
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"content": "\u003cp>If you’re in the mood to binge from the couch this holiday season, NPR critics have gathered together their favorite TV shows of 2024. Have at it!\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13956676/baby-reindeer-netflix-review-problematic-abuse-lgbt-queerness\">Baby Reindeer\u003c/a>’\u003c/h2>\n\u003cp>Star and creator Richard Gadd turned his autobiographical one-man-show into an affecting nightmare of a series about a delusional woman who stalks a bartender and terrible aspiring comic. Where it gets complicated is in the details, including the fact that Gadd’s character was sexually abused by a male mentor in ways that reverberate through his life, raising questions about his own actions and the long reach of trauma. On top of all that, a woman who says she inspired the show’s stalker character has sued. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Netflix\u003c/em>\u003cbr>\n\u003cem>Genre: Drama\u003c/em>\u003c/p>\n\u003ch2>‘Interview with the Vampire’ Season 2\u003c/h2>\n\u003cp>AMC’s smart, thrilling and gratifyingly queer version of Anne Rice’s \u003cem>The Vampire Chronicles\u003c/em> improves on the books in ways large and small. Season 2 proved that while the chemistry between Louis (Jacob Anderson) and Lestat (Sam Reid) crackles, the show still works even when they’re apart. Credit the writers for finding new tensions between the cast to play with, especially Daniel (Eric Bogosian) and Armand (Assad Zaman), who each know more than they’re saying. — Glen Weldon\u003c/p>\n\u003cp>\u003cem>Where: AMC, Prime Video\u003c/em>\u003cbr>\n\u003cem>Genre: Drama, Horror and Thriller, Romance\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R9pXbNz6Vbw&t=76s\u003c/p>\n\u003ch2>‘Agatha All Along’\u003c/h2>\n\u003cp>The best Marvel TV show (\u003ca href=\"https://www.kqed.org/arts/13891309/wandavision-the-next-era-of-the-mcu-will-be-televised\">\u003cem>WandaVision\u003c/em>\u003c/a>) got the best follow-up to date, as the great Kathryn Hahn reprised her role as the evil (or at least wildly self-involved) witch, Agatha Harkness. From the \u003cem>Mare of Easttown\u003c/em> parody that kicked off the season, to the brilliant and moving episode which sent Patti freaking LuPone’s Lilia ping-ponging through her own memories, AAA delivered a small, specific and highly idiosyncratic peek into one dark corner of the Marvel Universe. — Glen Weldon\u003c/p>\n\u003cp>\u003cem>Where: Disney+\u003c/em>\u003cbr>\n\u003cem>Genre: Comedy, Kid Friendly, Science Fiction and Fantasy\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13955549/ripley-netflix-review-style-andrew-scott\">Ripley\u003c/a>’\u003c/h2>\n\u003cp>This new adaptation of Patricia Highsmith’s novel \u003cem>The Talented Mr. Ripley\u003c/em> relied on outstanding work from star Andrew Scott as well as stunning black-and-white cinematography. This is an older, darker Tom than the one Matt Damon played in 1999, but he’s just as frightening and manipulative. A stretch of almost 20 wordless minutes in the third episode that deals with the logistics of murder was one of the most inventive and darkly funny things I saw this year. — Linda Holmes\u003c/p>\n\u003cp>\u003cem>Where: Netflix\u003c/em>\u003cbr>\n\u003cem>Genre: Drama, Horror and Thriller\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13964175/the-penguin-batman-spinoff-hbo-max-review-colin-farrell\">The Penguin\u003c/a>’\u003c/h2>\n\u003cp>On the surface, it’s still yet another Batman-without-Batman show. But spend even a few minutes with it, and it starts to reveal new, satisfying depths. The central performances of Colin Farrell (as mob underboss Oz Cobb) and Cristin Milioti (as the would-be head of a crime family) are given room to breathe, and complicate, and surprise. The world of Gotham is pulpy but psychologically complex in ways that have nothing to do with a weirdo who dresses up at night to punch crime in the face. — Glen Weldon\u003c/p>\n\u003cp>\u003cem>Where: Max, Video on demand\u003c/em>\u003cbr>\n\u003cem>Genre: Drama, Science Fiction and Fantasy\u003c/em>\u003c/p>\n\u003ch2>‘Photographer’\u003c/h2>\n\u003cp>For those tempted to dismiss \u003ca href=\"https://www.kqed.org/arts/tag/national-geographic\">National Geographic shows\u003c/a> as televised coffee table books, this series shatters those assumptions with revealing tales on the lives and work of seven astoundingly talented visual artists. My favorite story: Paul Nicklen, who was raised among Inuit people in the Arctic, and Cristina Mittermeier, who grew up in Mexico City and faced down racism and sexism throughout her career, have become a couple hailed as iconic ocean photographers, fooling oil rig workers to get crucial, breathtaking photos. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Disney+, Hulu\u003c/em>\u003cbr>\n\u003cem>Genre: Biography, Documentary\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WkL7cpG2UhE\u003c/p>\n\u003ch2>‘True Detective: Night Country’\u003c/h2>\n\u003cp>Rising above this anthology’s inconsistent history and some inexplicably ungrateful critiques from its creator, Nic Pizzolatto, director/showrunner Issa López crafted a brilliant fourth season centered on Indigenous culture and women, while tipping a hat to the origins of a notoriously male-centered franchise. López also gave us the spellbinding team of Jodie Foster and Kali Reis as two misanthropic officers forced to rely on each other in a way that was groundbreaking and indelible. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Max, Video on demand\u003c/em>\u003cbr>\n\u003cem>Genre: Action, Drama, Horror and Thriller\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13966481/disclaimer-tv-review-apple-tv-cate-blanchett-thriller-kevin-kline\">Disclaimer\u003c/a>’\u003c/h2>\n\u003cp>Cate Blanchett is dynamite as a woman who receives a mysterious self-published novel in the mail and realizes the story is based on a terrible memory she’s tried to forget. She struggles to keep the incident from resurfacing and destroying her life with her husband and son, while unbeknownst to her, the man who sent the book to her (Kevin Kline) closes in. The series explores the slipperiness of what’s true and false, and the notion that people live in different realities based on the information they have. — Linda Holmes\u003c/p>\n\u003cp>\u003cem>Where: Apple TV/Apple TV+\u003c/em>\u003cbr>\n\u003cem>Genre: Drama, Horror and Thriller\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13958131/jerrod-carmichael-reality-show-hbo-max-series-analysis-cynthia\">Jerrod Carmichael Reality Show\u003c/a>’\u003c/h2>\n\u003cp>Any therapist worth their salt would strongly advise against coercing estranged family members to help process your childhood trauma for a prestige docuseries. But Jerrod Carmichael admits that the camera has always been his security blanket, and for that, we get this fascinating, maddening portrait of a Black queer artist who wants desperately to repair his familial relationships. It’s unclear whether this was good for Carmichael, but it just might have helped someone else watching at home. — Aisha Harris\u003c/p>\n\u003cp>\u003cem>Where: Max\u003c/em>\u003cbr>\n\u003cem>Genre: Biography, Documentary\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13965841/industry-season-3-hbo-max-analysis-summary-soap-myhala-abela\">Industry\u003c/a>’ Season 3\u003c/h2>\n\u003cp>After bubbling under the radar, Mickey Down and Konrad Kay’s pulpy melodrama finally had its Brat moment, and it couldn’t have happened in a more bonkers season. The fictional investment bank Pierpoint faced rocky institutional challenges, while Gen Z upstarts Yas (Marisa Abela), Harper (Myha’la), and Robert (Harry Lawtey) all encountered death in a myriad of ways. In a show about strivers, there were obvious winners and losers; by the end of the season, it was less clear who, if anyone, maintained any semblance of a soul. — Aisha Harris\u003c/p>\n\u003cp>\u003cem>Where: Max\u003c/em>\u003cbr>\n\u003cem>Genre: Drama\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yAN5uspO_hk&t=79s\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13953066/new-shogun-series-review-fx-james-clavell\">Shōgun\u003c/a>’\u003c/h2>\n\u003cp>This was the biggest swing the TV industry took this year: A sprawling series, set in feudal Japan, centered on the politics of the time, while de-centering the perspective of the British sailor at the heart of the James Clavell novel and 1980 miniseries. Thanks to towering performances from Anna Sawai and Hiroyuki Sanada, along with note-perfect work from an army of writers, artisans and technicians, \u003cem>Shōgun\u003c/em> is an affecting, landmark drama about duty, love, culture and changing times. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: FX, Hulu, Disney+\u003c/em>\u003cbr>\n\u003cem>Genre: Action, Drama, History\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/pop/110589/what-we-do-in-the-shadows-puts-the-dead-in-deadpan\">What We Do in the Shadows\u003c/a>’ Season 6\u003c/h2>\n\u003cp>The funniest show on TV — \u003ca href=\"https://www.kqed.org/pop/tag/fx\">FX\u003c/a>’s vampire mockumentary — is going out with a bang, as the world’s most feckless vamps are seized with a renewed sense of purpose. Their new focus takes them variously into corporate America, monster-making, flailing attempts at world conquest and (shudder) the world of Airbnb. These characters aren’t the sort to learn and change, but the final season is making room for small moments of sweetness amid the ever-growing body count. — Glen Weldon\u003c/p>\n\u003cp>\u003cem>Where: FX, Hulu\u003c/em>\u003cbr>\n\u003cem>Genre: Comedy, Science Fiction and Fantasy, Horror and Thriller\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13951374/mr-mrs-smith-are-back-so-are-the-fights-and-bewitching-on-screen-chemistry\">Mr. & Mrs. Smith\u003c/a>’\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/pop/tag/donald-glover\">Donald Glover\u003c/a> and Maya Erskine have developed distinct comic identities, including on their respective shows \u003cem>Atlanta\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/13886663/pen15-is-back-and-girlhood-is-still-painfully-awkward\">\u003cem>PEN15\u003c/em>\u003c/a>. Here, they play a pair of spies who don’t know each other but are recruited for a project that sends them undercover, posing as a married couple. As they complete missions, a real relationship emerges, but it’s constantly imperiled by all that they don’t know about each other. A cool and sexy comedy-drama-thriller that’s delicious throughout. — Linda Holmes\u003c/p>\n\u003cp>\u003cem>Where: Prime Video\u003c/em>\u003cbr>\n\u003cem>Genre: Action, Comedy, Drama, Romance\u003c/em>\u003c/p>\n\u003ch2>‘Rachel Bloom: Death, Let Me Do My Special’\u003c/h2>\n\u003cp>The onset of the COVID-19 pandemic wasn’t all that long ago, but the passage of time can lend itself to forgetting or ignoring. Rachel Bloom’s poignant special is a necessary reminder that the scars from that period never fully disappear. In it, through humor and musical numbers (of course), and with a little help from a \u003cem>Crazy Ex-Girlfriend\u003c/em> co-star, she candidly addresses becoming a mother in the early days of lockdown and the sudden passing of her friend and collaborator Adam Schlesinger. — Aisha Harris\u003c/p>\n\u003cp>\u003cem>Where: Netflix\u003c/em>\u003cbr>\n\u003cem>Genre: Biography, Comedy, Drama, Music and Musicals\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xhsVj_4ONoA\u003c/p>\n\u003ch2>‘A Man on the Inside’\u003c/h2>\n\u003cp>Michael Schur knows how to balance heartwarming comedy with sharp, irreverent observations, and this project is no different. Here he reteams up with his \u003ca href=\"https://www.kqed.org/pop/105436/what-the-good-place-has-taught-us-about-philosophy-and-life-so-far\">\u003cem>The Good Place\u003c/em>\u003c/a> star Ted Danson, who plays Charles, a lonely retired widower hired by a private investigator to be a mole at a senior living facility. Charles is meant to be on the hunt for stolen jewelry, but he befriends the quirky residents while learning to cope with aging and grief. Great cast (including Sally Struthers!), delightful, and moving. — Aisha Harris\u003c/p>\n\u003cp>\u003cem>Where: Netflix\u003c/em>\u003cbr>\n\u003cem>Genre: Comedy, Drama\u003c/em>\u003c/p>\n\u003ch2>‘Fantasmas’\u003c/h2>\n\u003cp>Gay hamsters. A cowgirl toilet. A litigious North Pole elf. \u003ca href=\"https://video.kqed.org/video/julio-torres-2024-vision-award-honoree-rolzwe/\">Julio Torres\u003c/a>’ comedy series \u003cem>Fantasmas\u003c/em> is ostensibly about his character’s search for an earring he lost at a NYC nightclub. But it’s also stuffed with absurd characters and situations that have no business cohering — that would, on any other show, fight for our attention. Not so here, because every aspect first passes through the filter of \u003ca href=\"https://www.kqed.org/arts/13952668/problemista-review-julio-torres-tilda-swinton-hasbro\">Torres’ comic sensibility\u003c/a>. Happily, that sensibility turns out to be an offbeat and idiosyncratic one. — Glen Weldon\u003c/p>\n\u003cp>\u003cem>Where: Max, Video on demand\u003c/em>\u003cbr>\n\u003cem>Genre: Comedy\u003c/em>\u003c/p>\n\u003ch2>‘Shrinking’ Season 2\u003c/h2>\n\u003cp>This affecting comedy moved beyond the simple pleasures of its first season, which unleashed ace players like Jessica Williams and Michael Urie while deftly leveraging Harrison Ford’s legendary crustiness. For Season 2, we got a potent take on forgiveness, as Jason Segel’s psychotherapist character meets the guy who killed his wife in a drunk driving accident, played by \u003ca href=\"https://www.kqed.org/arts/13929879/five-great-moments-from-the-ted-lasso-finale\">\u003cem>Ted Lasso\u003c/em>\u003c/a> alum Bret Goldstein. That doesn’t sound particularly sidesplitting, that’s true. But somehow, they found the funny to accompany the painful reach toward acceptance. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Apple TV/Apple TV+\u003c/em>\u003cbr>\n\u003cem>Genre: Comedy\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13938662/gary-oldman-had-free-rein-in-spy-thriller-slow-horses-now-back-for-season-3\">Slow Horses\u003c/a>’ Season 4\u003c/h2>\n\u003cp>No other series on TV can make as much out of a fart joke. But it’s not just the flatulence from Gary Oldman’s deliberately slovenly MI-5 agent Jackson Lamb that is so compelling; it’s how he uses that sloppiness to disguise his dedication to the misfit agents under his command, especially Jack Lowden’s River Cartwright. When River’s granddad, a magnetic Jonathan Pryce, is caught in crisis while suffering dementia, the only thing that could ratchet up the drama actually happens: Hugo Weaving appears as River’s toxic dad. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Apple TV/Apple TV+\u003c/em>\u003cbr>\n\u003cem>Genre: Action, Drama, Horror and Thriller\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=V6jbU4jPru8&t=28s\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13954225/quiet-on-set-nickelodeon-abuse-documentary-dan-schneider-drake-bell-brian-peck\">Quiet on Set: The Dark Side of Kids TV\u003c/a>’\u003c/h2>\n\u003cp>It was inevitable that the flurry of documentaries revisiting ’90s pop culture would reach Nickelodeon’s kids TV empire. Investigation Discovery’s series explored allegations of toxic work environments fostered by superstar producer Dan Schneider on series like \u003cem>All That\u003c/em> and \u003cem>The Amanda Show\u003c/em>. It also sparked headlines as former \u003cem>Drake & Josh\u003c/em> star Drake Bell detailed the sexual abuse he suffered by a dialogue coach at the channel. (Schneider has since apologized for some behavior, but also denied other allegations and sued the series producers and Warner Bros. Discovery for defamation, claiming the show unfairly implies he was involved in abuse.) — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Max, Discovery+, Video on demand\u003c/em>\u003cbr>\n\u003cem>Genre: Documentary\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13897119/a-comedic-generational-divide-gets-bridged-in-hbos-hacks\">Hacks\u003c/a>’ Season 3\u003c/h2>\n\u003cp>This may have been the strongest season yet of \u003cem>Hacks\u003c/em>, because it stepped away from the idea that Deborah (Jean Smart) and Ava (Hannah Einbinder) are constantly at war and made them — for now — allies and friends. The sharpness of the dialogue continues to delight, and the fact that both women are lovable and flawed (and less mean to each other) goes a long way. While a twist at the end of the season seems to risk a disappointing reset in their relationship, this show has earned the benefit of the doubt. — Linda Holmes\u003c/p>\n\u003cp>\u003cem>Where: Max\u003c/em>\u003cbr>\n\u003cem>Genre: Comedy\u003c/em>\u003c/p>\n\u003ch2>‘Fight Night: Million Dollar Heist’\u003c/h2>\n\u003cp>Pulling together a blaxploitation-inspired, gangster-fueled series with heavyweights like Terrence Howard, Taraji P. Henson, Don Cheadle, Samuel L. Jackson and Kevin Hart is an achievement. But using them to tell the true story of the dopest heist you never heard of — when powerful Black gangsters got robbed after watching a 1970 Muhammad Ali fight in Atlanta? With Jackson as a fire-breathing Black Godfather and Hart as a fast-talking hustler? That is pure, uncut TV genius. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Peacock, Prime Video, Video on demand\u003c/em>\u003cbr>\n\u003cem>Genre: Action, Drama\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13967594/the-diplomat-season-2-review-netflix-keri-russell\">The Diplomat\u003c/a>’ Season 2\u003c/h2>\n\u003cp>Set in a fantasy world where hyper-competent government officials fight disaster free of toxic partisan politics, Netflix’s series found new territory this year. \u003cem>West Wing\u003c/em> alum Allison Janney was a surprisingly sharp vice president, complicating efforts by Keri Russell’s no-nonsense ambassador to uncover a conspiracy inside the British government. With scene-stealing performances from Rory Kinnear as the U.K.’s insufferable prime minister, it all built to a diabolically transformative twist ending. — Eric Deggans\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Where: Netflix\u003c/em>\u003cbr>\n\u003cem>Genre: Action, Drama, Horror and Thriller\u003c/em>\u003c/p>\n\n",
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"title": "NPR’s Best TV Shows of 2024 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re in the mood to binge from the couch this holiday season, NPR critics have gathered together their favorite TV shows of 2024. Have at it!\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13956676/baby-reindeer-netflix-review-problematic-abuse-lgbt-queerness\">Baby Reindeer\u003c/a>’\u003c/h2>\n\u003cp>Star and creator Richard Gadd turned his autobiographical one-man-show into an affecting nightmare of a series about a delusional woman who stalks a bartender and terrible aspiring comic. Where it gets complicated is in the details, including the fact that Gadd’s character was sexually abused by a male mentor in ways that reverberate through his life, raising questions about his own actions and the long reach of trauma. On top of all that, a woman who says she inspired the show’s stalker character has sued. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Netflix\u003c/em>\u003cbr>\n\u003cem>Genre: Drama\u003c/em>\u003c/p>\n\u003ch2>‘Interview with the Vampire’ Season 2\u003c/h2>\n\u003cp>AMC’s smart, thrilling and gratifyingly queer version of Anne Rice’s \u003cem>The Vampire Chronicles\u003c/em> improves on the books in ways large and small. Season 2 proved that while the chemistry between Louis (Jacob Anderson) and Lestat (Sam Reid) crackles, the show still works even when they’re apart. Credit the writers for finding new tensions between the cast to play with, especially Daniel (Eric Bogosian) and Armand (Assad Zaman), who each know more than they’re saying. — Glen Weldon\u003c/p>\n\u003cp>\u003cem>Where: AMC, Prime Video\u003c/em>\u003cbr>\n\u003cem>Genre: Drama, Horror and Thriller, Romance\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/R9pXbNz6Vbw'\n title='//www.youtube.com/embed/R9pXbNz6Vbw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Agatha All Along’\u003c/h2>\n\u003cp>The best Marvel TV show (\u003ca href=\"https://www.kqed.org/arts/13891309/wandavision-the-next-era-of-the-mcu-will-be-televised\">\u003cem>WandaVision\u003c/em>\u003c/a>) got the best follow-up to date, as the great Kathryn Hahn reprised her role as the evil (or at least wildly self-involved) witch, Agatha Harkness. From the \u003cem>Mare of Easttown\u003c/em> parody that kicked off the season, to the brilliant and moving episode which sent Patti freaking LuPone’s Lilia ping-ponging through her own memories, AAA delivered a small, specific and highly idiosyncratic peek into one dark corner of the Marvel Universe. — Glen Weldon\u003c/p>\n\u003cp>\u003cem>Where: Disney+\u003c/em>\u003cbr>\n\u003cem>Genre: Comedy, Kid Friendly, Science Fiction and Fantasy\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13955549/ripley-netflix-review-style-andrew-scott\">Ripley\u003c/a>’\u003c/h2>\n\u003cp>This new adaptation of Patricia Highsmith’s novel \u003cem>The Talented Mr. Ripley\u003c/em> relied on outstanding work from star Andrew Scott as well as stunning black-and-white cinematography. This is an older, darker Tom than the one Matt Damon played in 1999, but he’s just as frightening and manipulative. A stretch of almost 20 wordless minutes in the third episode that deals with the logistics of murder was one of the most inventive and darkly funny things I saw this year. — Linda Holmes\u003c/p>\n\u003cp>\u003cem>Where: Netflix\u003c/em>\u003cbr>\n\u003cem>Genre: Drama, Horror and Thriller\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13964175/the-penguin-batman-spinoff-hbo-max-review-colin-farrell\">The Penguin\u003c/a>’\u003c/h2>\n\u003cp>On the surface, it’s still yet another Batman-without-Batman show. But spend even a few minutes with it, and it starts to reveal new, satisfying depths. The central performances of Colin Farrell (as mob underboss Oz Cobb) and Cristin Milioti (as the would-be head of a crime family) are given room to breathe, and complicate, and surprise. The world of Gotham is pulpy but psychologically complex in ways that have nothing to do with a weirdo who dresses up at night to punch crime in the face. — Glen Weldon\u003c/p>\n\u003cp>\u003cem>Where: Max, Video on demand\u003c/em>\u003cbr>\n\u003cem>Genre: Drama, Science Fiction and Fantasy\u003c/em>\u003c/p>\n\u003ch2>‘Photographer’\u003c/h2>\n\u003cp>For those tempted to dismiss \u003ca href=\"https://www.kqed.org/arts/tag/national-geographic\">National Geographic shows\u003c/a> as televised coffee table books, this series shatters those assumptions with revealing tales on the lives and work of seven astoundingly talented visual artists. My favorite story: Paul Nicklen, who was raised among Inuit people in the Arctic, and Cristina Mittermeier, who grew up in Mexico City and faced down racism and sexism throughout her career, have become a couple hailed as iconic ocean photographers, fooling oil rig workers to get crucial, breathtaking photos. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Disney+, Hulu\u003c/em>\u003cbr>\n\u003cem>Genre: Biography, Documentary\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WkL7cpG2UhE'\n title='//www.youtube.com/embed/WkL7cpG2UhE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘True Detective: Night Country’\u003c/h2>\n\u003cp>Rising above this anthology’s inconsistent history and some inexplicably ungrateful critiques from its creator, Nic Pizzolatto, director/showrunner Issa López crafted a brilliant fourth season centered on Indigenous culture and women, while tipping a hat to the origins of a notoriously male-centered franchise. López also gave us the spellbinding team of Jodie Foster and Kali Reis as two misanthropic officers forced to rely on each other in a way that was groundbreaking and indelible. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Max, Video on demand\u003c/em>\u003cbr>\n\u003cem>Genre: Action, Drama, Horror and Thriller\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13966481/disclaimer-tv-review-apple-tv-cate-blanchett-thriller-kevin-kline\">Disclaimer\u003c/a>’\u003c/h2>\n\u003cp>Cate Blanchett is dynamite as a woman who receives a mysterious self-published novel in the mail and realizes the story is based on a terrible memory she’s tried to forget. She struggles to keep the incident from resurfacing and destroying her life with her husband and son, while unbeknownst to her, the man who sent the book to her (Kevin Kline) closes in. The series explores the slipperiness of what’s true and false, and the notion that people live in different realities based on the information they have. — Linda Holmes\u003c/p>\n\u003cp>\u003cem>Where: Apple TV/Apple TV+\u003c/em>\u003cbr>\n\u003cem>Genre: Drama, Horror and Thriller\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13958131/jerrod-carmichael-reality-show-hbo-max-series-analysis-cynthia\">Jerrod Carmichael Reality Show\u003c/a>’\u003c/h2>\n\u003cp>Any therapist worth their salt would strongly advise against coercing estranged family members to help process your childhood trauma for a prestige docuseries. But Jerrod Carmichael admits that the camera has always been his security blanket, and for that, we get this fascinating, maddening portrait of a Black queer artist who wants desperately to repair his familial relationships. It’s unclear whether this was good for Carmichael, but it just might have helped someone else watching at home. — Aisha Harris\u003c/p>\n\u003cp>\u003cem>Where: Max\u003c/em>\u003cbr>\n\u003cem>Genre: Biography, Documentary\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13965841/industry-season-3-hbo-max-analysis-summary-soap-myhala-abela\">Industry\u003c/a>’ Season 3\u003c/h2>\n\u003cp>After bubbling under the radar, Mickey Down and Konrad Kay’s pulpy melodrama finally had its Brat moment, and it couldn’t have happened in a more bonkers season. The fictional investment bank Pierpoint faced rocky institutional challenges, while Gen Z upstarts Yas (Marisa Abela), Harper (Myha’la), and Robert (Harry Lawtey) all encountered death in a myriad of ways. In a show about strivers, there were obvious winners and losers; by the end of the season, it was less clear who, if anyone, maintained any semblance of a soul. — Aisha Harris\u003c/p>\n\u003cp>\u003cem>Where: Max\u003c/em>\u003cbr>\n\u003cem>Genre: Drama\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yAN5uspO_hk'\n title='//www.youtube.com/embed/yAN5uspO_hk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13953066/new-shogun-series-review-fx-james-clavell\">Shōgun\u003c/a>’\u003c/h2>\n\u003cp>This was the biggest swing the TV industry took this year: A sprawling series, set in feudal Japan, centered on the politics of the time, while de-centering the perspective of the British sailor at the heart of the James Clavell novel and 1980 miniseries. Thanks to towering performances from Anna Sawai and Hiroyuki Sanada, along with note-perfect work from an army of writers, artisans and technicians, \u003cem>Shōgun\u003c/em> is an affecting, landmark drama about duty, love, culture and changing times. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: FX, Hulu, Disney+\u003c/em>\u003cbr>\n\u003cem>Genre: Action, Drama, History\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/pop/110589/what-we-do-in-the-shadows-puts-the-dead-in-deadpan\">What We Do in the Shadows\u003c/a>’ Season 6\u003c/h2>\n\u003cp>The funniest show on TV — \u003ca href=\"https://www.kqed.org/pop/tag/fx\">FX\u003c/a>’s vampire mockumentary — is going out with a bang, as the world’s most feckless vamps are seized with a renewed sense of purpose. Their new focus takes them variously into corporate America, monster-making, flailing attempts at world conquest and (shudder) the world of Airbnb. These characters aren’t the sort to learn and change, but the final season is making room for small moments of sweetness amid the ever-growing body count. — Glen Weldon\u003c/p>\n\u003cp>\u003cem>Where: FX, Hulu\u003c/em>\u003cbr>\n\u003cem>Genre: Comedy, Science Fiction and Fantasy, Horror and Thriller\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13951374/mr-mrs-smith-are-back-so-are-the-fights-and-bewitching-on-screen-chemistry\">Mr. & Mrs. Smith\u003c/a>’\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/pop/tag/donald-glover\">Donald Glover\u003c/a> and Maya Erskine have developed distinct comic identities, including on their respective shows \u003cem>Atlanta\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/13886663/pen15-is-back-and-girlhood-is-still-painfully-awkward\">\u003cem>PEN15\u003c/em>\u003c/a>. Here, they play a pair of spies who don’t know each other but are recruited for a project that sends them undercover, posing as a married couple. As they complete missions, a real relationship emerges, but it’s constantly imperiled by all that they don’t know about each other. A cool and sexy comedy-drama-thriller that’s delicious throughout. — Linda Holmes\u003c/p>\n\u003cp>\u003cem>Where: Prime Video\u003c/em>\u003cbr>\n\u003cem>Genre: Action, Comedy, Drama, Romance\u003c/em>\u003c/p>\n\u003ch2>‘Rachel Bloom: Death, Let Me Do My Special’\u003c/h2>\n\u003cp>The onset of the COVID-19 pandemic wasn’t all that long ago, but the passage of time can lend itself to forgetting or ignoring. Rachel Bloom’s poignant special is a necessary reminder that the scars from that period never fully disappear. In it, through humor and musical numbers (of course), and with a little help from a \u003cem>Crazy Ex-Girlfriend\u003c/em> co-star, she candidly addresses becoming a mother in the early days of lockdown and the sudden passing of her friend and collaborator Adam Schlesinger. — Aisha Harris\u003c/p>\n\u003cp>\u003cem>Where: Netflix\u003c/em>\u003cbr>\n\u003cem>Genre: Biography, Comedy, Drama, Music and Musicals\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xhsVj_4ONoA'\n title='//www.youtube.com/embed/xhsVj_4ONoA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘A Man on the Inside’\u003c/h2>\n\u003cp>Michael Schur knows how to balance heartwarming comedy with sharp, irreverent observations, and this project is no different. Here he reteams up with his \u003ca href=\"https://www.kqed.org/pop/105436/what-the-good-place-has-taught-us-about-philosophy-and-life-so-far\">\u003cem>The Good Place\u003c/em>\u003c/a> star Ted Danson, who plays Charles, a lonely retired widower hired by a private investigator to be a mole at a senior living facility. Charles is meant to be on the hunt for stolen jewelry, but he befriends the quirky residents while learning to cope with aging and grief. Great cast (including Sally Struthers!), delightful, and moving. — Aisha Harris\u003c/p>\n\u003cp>\u003cem>Where: Netflix\u003c/em>\u003cbr>\n\u003cem>Genre: Comedy, Drama\u003c/em>\u003c/p>\n\u003ch2>‘Fantasmas’\u003c/h2>\n\u003cp>Gay hamsters. A cowgirl toilet. A litigious North Pole elf. \u003ca href=\"https://video.kqed.org/video/julio-torres-2024-vision-award-honoree-rolzwe/\">Julio Torres\u003c/a>’ comedy series \u003cem>Fantasmas\u003c/em> is ostensibly about his character’s search for an earring he lost at a NYC nightclub. But it’s also stuffed with absurd characters and situations that have no business cohering — that would, on any other show, fight for our attention. Not so here, because every aspect first passes through the filter of \u003ca href=\"https://www.kqed.org/arts/13952668/problemista-review-julio-torres-tilda-swinton-hasbro\">Torres’ comic sensibility\u003c/a>. Happily, that sensibility turns out to be an offbeat and idiosyncratic one. — Glen Weldon\u003c/p>\n\u003cp>\u003cem>Where: Max, Video on demand\u003c/em>\u003cbr>\n\u003cem>Genre: Comedy\u003c/em>\u003c/p>\n\u003ch2>‘Shrinking’ Season 2\u003c/h2>\n\u003cp>This affecting comedy moved beyond the simple pleasures of its first season, which unleashed ace players like Jessica Williams and Michael Urie while deftly leveraging Harrison Ford’s legendary crustiness. For Season 2, we got a potent take on forgiveness, as Jason Segel’s psychotherapist character meets the guy who killed his wife in a drunk driving accident, played by \u003ca href=\"https://www.kqed.org/arts/13929879/five-great-moments-from-the-ted-lasso-finale\">\u003cem>Ted Lasso\u003c/em>\u003c/a> alum Bret Goldstein. That doesn’t sound particularly sidesplitting, that’s true. But somehow, they found the funny to accompany the painful reach toward acceptance. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Apple TV/Apple TV+\u003c/em>\u003cbr>\n\u003cem>Genre: Comedy\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13938662/gary-oldman-had-free-rein-in-spy-thriller-slow-horses-now-back-for-season-3\">Slow Horses\u003c/a>’ Season 4\u003c/h2>\n\u003cp>No other series on TV can make as much out of a fart joke. But it’s not just the flatulence from Gary Oldman’s deliberately slovenly MI-5 agent Jackson Lamb that is so compelling; it’s how he uses that sloppiness to disguise his dedication to the misfit agents under his command, especially Jack Lowden’s River Cartwright. When River’s granddad, a magnetic Jonathan Pryce, is caught in crisis while suffering dementia, the only thing that could ratchet up the drama actually happens: Hugo Weaving appears as River’s toxic dad. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Apple TV/Apple TV+\u003c/em>\u003cbr>\n\u003cem>Genre: Action, Drama, Horror and Thriller\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/V6jbU4jPru8'\n title='//www.youtube.com/embed/V6jbU4jPru8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13954225/quiet-on-set-nickelodeon-abuse-documentary-dan-schneider-drake-bell-brian-peck\">Quiet on Set: The Dark Side of Kids TV\u003c/a>’\u003c/h2>\n\u003cp>It was inevitable that the flurry of documentaries revisiting ’90s pop culture would reach Nickelodeon’s kids TV empire. Investigation Discovery’s series explored allegations of toxic work environments fostered by superstar producer Dan Schneider on series like \u003cem>All That\u003c/em> and \u003cem>The Amanda Show\u003c/em>. It also sparked headlines as former \u003cem>Drake & Josh\u003c/em> star Drake Bell detailed the sexual abuse he suffered by a dialogue coach at the channel. (Schneider has since apologized for some behavior, but also denied other allegations and sued the series producers and Warner Bros. Discovery for defamation, claiming the show unfairly implies he was involved in abuse.) — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Max, Discovery+, Video on demand\u003c/em>\u003cbr>\n\u003cem>Genre: Documentary\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13897119/a-comedic-generational-divide-gets-bridged-in-hbos-hacks\">Hacks\u003c/a>’ Season 3\u003c/h2>\n\u003cp>This may have been the strongest season yet of \u003cem>Hacks\u003c/em>, because it stepped away from the idea that Deborah (Jean Smart) and Ava (Hannah Einbinder) are constantly at war and made them — for now — allies and friends. The sharpness of the dialogue continues to delight, and the fact that both women are lovable and flawed (and less mean to each other) goes a long way. While a twist at the end of the season seems to risk a disappointing reset in their relationship, this show has earned the benefit of the doubt. — Linda Holmes\u003c/p>\n\u003cp>\u003cem>Where: Max\u003c/em>\u003cbr>\n\u003cem>Genre: Comedy\u003c/em>\u003c/p>\n\u003ch2>‘Fight Night: Million Dollar Heist’\u003c/h2>\n\u003cp>Pulling together a blaxploitation-inspired, gangster-fueled series with heavyweights like Terrence Howard, Taraji P. Henson, Don Cheadle, Samuel L. Jackson and Kevin Hart is an achievement. But using them to tell the true story of the dopest heist you never heard of — when powerful Black gangsters got robbed after watching a 1970 Muhammad Ali fight in Atlanta? With Jackson as a fire-breathing Black Godfather and Hart as a fast-talking hustler? That is pure, uncut TV genius. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Peacock, Prime Video, Video on demand\u003c/em>\u003cbr>\n\u003cem>Genre: Action, Drama\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13967594/the-diplomat-season-2-review-netflix-keri-russell\">The Diplomat\u003c/a>’ Season 2\u003c/h2>\n\u003cp>Set in a fantasy world where hyper-competent government officials fight disaster free of toxic partisan politics, Netflix’s series found new territory this year. \u003cem>West Wing\u003c/em> alum Allison Janney was a surprisingly sharp vice president, complicating efforts by Keri Russell’s no-nonsense ambassador to uncover a conspiracy inside the British government. With scene-stealing performances from Rory Kinnear as the U.K.’s insufferable prime minister, it all built to a diabolically transformative twist ending. — Eric Deggans\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "the-10-best-classical-albums-of-2024",
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"content": "\u003cp>The year 2024 was an emotional roller coaster. Wars kept rampaging, a tortured election season further divided an already polarized nation and climate change served up the most scorching summer on record. Still, in the midst of the chaos, I found astonishing beauty in many places: Simone Biles’ performances at the Paris Olympics, the kaleidoscopic late-night aurora borealis light shows and in much soul-nourishing music that helped mitigate those low points in what remains a wild ride.\u003c/p>\n\u003cp>I witnessed astounding performances this year, too many to describe in total. The \u003ca href=\"https://www.npr.org/artists/16354188/berlin-philharmonic-orchestra\">Berlin Philharmonic\u003c/a> proved that \u003ca href=\"https://www.npr.org/artists/15033227/antonin-dvorak\">Dvorak\u003c/a>‘s Seventh Symphony is the jewel in his crown, while the Royal Concertgebouw Orchestra luxuriated in \u003ca href=\"https://www.npr.org/artists/15438778/sergey-rachmaninov\">Rachmaninoff\u003c/a>‘s Second. Pianist \u003ca href=\"https://www.npr.org/artists/112055562/marc-andre-hamelin\">Marc-André Hamelin\u003c/a> paid homage to the \u003ca href=\"https://www.npr.org/artists/90901153/charles-ives\">Charles Ives\u003c/a> sesquicentennial with an uncanny performance of the knuckle-twisting “Concord” Sonata, and the redoubtable Evgeny Kissin offered electrifying \u003ca href=\"https://www.npr.org/artists/15866095/sergey-prokofiev\">Prokofiev\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15379968/frederic-chopin\">Chopin\u003c/a>. \u003ca href=\"https://www.npr.org/artists/89532661/meredith-monk\">Meredith Monk\u003c/a>, still spry in her 80s, danced and sang in her restorative theatre work \u003cem>Indra’s Net\u003c/em>. Soprano \u003ca href=\"https://www.npr.org/artists/940390176/julia-bullock\">Julia Bullock\u003c/a> delivered a diverse range of songs from \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a> to \u003ca href=\"https://www.npr.org/artists/89529197/francis-poulenc\">Francis Poulenc\u003c/a> in recital, and took the lead in a colorful version of \u003ca href=\"https://www.npr.org/artists/14996733/john-adams\">John Adams\u003c/a>‘ \u003cem>El Niño\u003c/em> at the \u003ca href=\"https://www.npr.org/artists/869938581/metropolitan-opera\">Metropolitan Opera\u003c/a>. \u003ca href=\"https://www.npr.org/artists/15189623/sigur-r-s\">Sigur Rós\u003c/a> toured with a full orchestra. And then, there was the seamless blend of the \u003ca href=\"https://www.npr.org/artists/570269172/estonian-philharmonic-chamber-choir\">Estonian Philharmonic Chamber Choir\u003c/a>, pairing \u003ca href=\"https://www.npr.org/artists/91476506/giovanni-pierluigi-da-palestrina\">Palestrina\u003c/a> with \u003ca href=\"https://www.npr.org/artists/16070552/arvo-part\">Arvo Pärt\u003c/a> in an unforgettable evening in a small church.\u003c/p>\n\u003cp>[aside postid='arts_13967712']Naturally, not all of my favorite artists were touring this year, but many were in the studio, making terrific albums. The 10 recordings below, plus a few honorable mentions, kept my ears focused and delighted throughout the year. Opera singers Aigul Akhmetshina and \u003ca href=\"https://www.npr.org/artists/1050164280/emily-dangelo\">Emily D’Angelo\u003c/a> submitted two satisfying approaches — Akhmetshina releasing a standard arias album while D’Angelo filled hers mostly with folk and pop songs, imaginatively arranged.\u003c/p>\n\u003cp>Women composers, still too often overlooked in concert halls, have released amazing albums this year — a glittering symphonic tour-de-force from Mexico’s \u003ca href=\"https://www.npr.org/2024/10/04/nx-s1-5081260/the-borderless-music-of-gabriela-ortiz\">Gabriela Ortiz\u003c/a>, ethereal choral works by Lithuania’s Žibuoklė Martinaitytė and warm-hearted melodies for soloists and chamber orchestra from the Brit \u003ca href=\"https://www.npr.org/artists/884906471/anna-clyne\">Anna Clyne\u003c/a>. Lutenist Jakob Lindberg lowered my stubbornly high blood pressure, as did a shimmering ambient adventure from Christopher Rountree.\u003c/p>\n\u003cp>The albums below were sources of joy, introspection and hope for me this year. Perhaps they’ll do the same for you.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rmnH7iFEYLk\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 22px;font-weight: bold\">Gabriela Ortiz, \u003c/span>\u003cem style=\"font-size: 22px;font-weight: bold\">Revolución Diamantina\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>For Those Who Like: \u003c/strong>Stravinsky, social justice, Mexico\u003c/p>\n\u003cp>\u003cstrong>The Story:\u003c/strong> With a colorful family history in her native Mexico — including a grandfather who worked as Pancho Villa’s physician and parents who founded a popular Latin American folk group — Gabriela Ortiz has slowly emerged as one of today’s must-hear composers. Luckily, hearing her is easier than ever, as she’s in residence this season at Carnegie Hall. Her luminous orchestral works have been championed by star conductor Gustavo Dudamel, who calls her one of the most talented composers in the world and leads the Los Angeles Philharmonic on this dazzling album.\u003c/p>\n\u003cp>\u003cstrong>The Music: \u003c/strong>Ortiz says \u003ca href=\"https://www.npr.org/2024/10/04/nx-s1-5081260/the-borderless-music-of-gabriela-ortiz\">music has no borders\u003c/a>, and she practices what she preaches. Her compositional voice is singular, but the jagged rhythms in Act IV of this politically charged ballet almost out-Stravinsky Stravinsky, just moments after oscillating figures in the winds channel John Adams. A Huichol folk melody from Mexico’s western Sierra Madres inspires the colorful symphonic showpiece \u003cem>Kauyumari\u003c/em>, and in \u003cem>Altar de Cuerda\u003c/em>, an atmospheric violin concerto played with precision and passion by Maria Dueñas, you might hear the ghosts of 20th century modernists György Ligeti and Olivier Messiaen. With this album, the distinctive, hardworking composer finally relishes the spotlight she has deserved for years.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=F3e0Nim9XuM\u003c/p>\n\u003ch3>Maya Beiser, \u003cem>Maya Beiser x Terry Riley: In C\u003c/em>\u003c/h3>\n\u003cp>\u003cstrong>For Those Who Like: \u003c/strong>Steve Reich, cellos, magic mushrooms\u003c/p>\n\u003cp>\u003cstrong>The Story:\u003c/strong> It’s pretty gutsy to take on a revered, pioneering piece of minimalism designed for a couple dozen people to play and reduce it to only a stack of cello loops and a pair of percussionists. But cellist Maya Beiser has triumphed, releasing one of the most groove-laden and listenable renditions of \u003ca href=\"https://www.kqed.org/arts/13967712/in-c-terry-riley-minimalism-music-history-maya-beiser\">\u003cem>In C\u003c/em>, Terry Riley\u003c/a>‘s enduring 60-year-old score. And it’s fitting that Beiser deploys loops for her version, given that the seeds of \u003cem>In C\u003c/em> were sown in Riley’s earlier experiments in cutting and looping tape.\u003c/p>\n\u003cp>\u003cstrong>The Music: \u003c/strong>Beiser’s vision is all about pulses, drones and the low C string of her instrument, which tends to ricochet off drummers Shane Shanahan and Matt Kilmer. She likes to unfurl long, singing cello lines over oscillating beats, creating grooves with the power to intoxicate or get you wired for an all-night road trip. In one section, she interleaves her voice with cello in a nod to the medieval vocal technique of hocketing. In another, she distorts her instrument and amps up the beat, creating a kind of headbanging grunge moment. Along the way, Beiser cuts the engine to provide a couple of calming rest stops.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MBqsViTL1G8\u003c/p>\n\u003ch3>Emily D’Angelo, \u003cem>Freezing\u003c/em>\u003c/h3>\n\u003cp>\u003cstrong>For Those Who Like: \u003c/strong>June Tabor, Kathleen Ferrier, voluptuous voices\u003c/p>\n\u003cp>\u003cstrong>The Story: \u003c/strong>Emerging opera stars aren’t supposed to release albums stuffed with folk and pop songs, but the velvet-voiced Canadian mezzo-soprano has done just that, tossing off old British ballads and a Randy Newman number with supreme beauty and homespun confidence. She can sing Mozart and Rossini as well as anyone today, and never mind at all that she opened the Metropolitan Opera season this fall — her curious mind, smart curation and inherently gorgeous instrument are enough to render this decidedly non-operatic album essential listening.\u003c/p>\n\u003cp>\u003cstrong>The Music: \u003c/strong>Spanning five centuries, D’Angelo’s eclectic vocal mixtape ranges from \u003cem>Grounded\u003c/em>, the brand new opera written for her by Jeanine Tesori, to a song by Elizabethan gloom master John Dowland, to a synth-laden arrangement of the English ballad “Cold Blows the Wind,” inspired by \u003ca href=\"https://www.npr.org/artists/16518232/ween\">Ween\u003c/a>. The title track is a fresh take of a Philip Glass/Suzanne Vega collaboration that unleashes a molten electric guitar. The mood of \u003cem>Freezing\u003c/em> is wistful, lovelorn and a little chilly, but D’Angelo’s buttery, burgundy-colored voice, concise diction and luxurious phrasing is your warm fire to keep away the cold.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4MkoTjjs1jg\u003c/p>\n\u003ch3>Christopher Rountree, \u003cem>3 BPM\u003c/em>\u003c/h3>\n\u003cp>\u003cstrong>For Those Who Like: \u003c/strong>Brian Eno, Julius Eastman, chill rooms\u003c/p>\n\u003cp>\u003cstrong>The Story:\u003c/strong> Composer-conductor Christopher Rountree is perhaps best known as the founder and leader of Wild Up, the Los Angeles-based new music outfit responsible for resuscitating (on four extraordinary albums) the lost music of Julius Eastman. This year, with help from his band, the piano duo Hocket and intrepid violist Nadia Sirota, Rountree released \u003cem>3 BPM\u003c/em>, a 28-minute safe haven for calming reflection. The music also serves as a lasting tribute to pianist and composer Sarah Gibson (one half of Hocket), \u003ca href=\"https://www.washingtonpost.com/obituaries/2024/07/19/sarah-gibson-composer-dead-obituary/\">who died\u003c/a> in July at 38 — a cruel gut punch to the new music community.\u003c/p>\n\u003cp>\u003cstrong>The Music: \u003c/strong>\u003cem>3 BPM \u003c/em>(three beats per minute) is a flight through tranquil spaces marked with little episodes of euphoria. Brian Eno’s ambient music may come to mind, and Eastman’s jubilance. But Rountree has crafted his own musical language here, one he’s called a musical framework for togetherness. A tolling piano and a whoosh of air usher us into the piece; by the time we reach our final stop with “Almanac,” a wheezy viola emerges and gently rolled piano chords bloom like a celestial portal opening, calling you to travel beyond yourself.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8RkhxEiXLtw\u003c/p>\n\u003ch3>Experiential Orchestra, \u003cem>American Counterpoints\u003c/em>\u003c/h3>\n\u003cp>\u003cstrong>For those Who Like: \u003c/strong>Bartók, violin concertos, musical archeology\u003c/p>\n\u003cp>\u003cstrong>The Story: \u003c/strong>This long overdue release spotlights two singular Black American composers whose music had fallen into neglect. Julia Perry found success in the 1950s after her \u003cem>Stabat Mater\u003c/em> debuted and a Guggenheim Fellowship funded her study with Nadia Boulanger in Paris. But the 1960s brought health and financial problems, and when she died in 1979 her music was all but forgotten. Coleridge-Taylor Perkinson’s music was also overlooked until after his death in 2004. A versatile pianist who collaborated with Marvin Gaye and Max Roach, Perkinson composed in a variety of idioms for television, film and the concert hall. He co-founded an orchestra and was a key figure at the Center for Black Music Research at Chicago’s Columbia College.\u003c/p>\n\u003cp>\u003cstrong>The Music:\u003c/strong> The album is anchored by Perry’s austere, sometimes Bartók-leaning Violin Concerto from 1968, whose score was left in disarray. This newly reconstructed version receives a probing performance by soloist Curtis Stewart and the Experiential Orchestra. Perry’s experimental style emerges in the darkly hued \u003cem>Symphony in One Movement for Violas and Basses\u003c/em>, while an almost Copland-like freshness pervades her Prelude for Strings. Perkinson proves a formidable presence in his Sinfonietta No. 1, composed when he was all of 22, the opening movement of which elegantly weaves strands of baroque counterpoint that would make Handel jealous. Stewart gets down and gritty for Perkinson’s \u003cem>Louisiana Blues Strut: A Cakewalk\u003c/em>, which, in its slurred and syncopated lines, conjures Black music from before the Civil War.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PiZftXoSL3o\u003c/p>\n\u003ch3>Žibuoklė Martinaitytė, \u003cem>Aletheia\u003c/em>\u003c/h3>\n\u003cp>\u003cstrong>For Those Who Like: \u003c/strong>Björk, Tanya Tagaq, choirs\u003c/p>\n\u003cp>\u003cstrong>The Story:\u003c/strong> Žibuoklė Martinaitytė, raised in Soviet-era Lithuania and now a denizen of New York, has emerged as a composer poised for maximum visibility. Those following her career understand her command of a symphony orchestra, via recordings released on the Finnish Ondine label. Her latest proves she may also be one of the leading choral composers of our time — a sonically shimmering album for unaccompanied chorus featuring magnificent performances by the Latvian Radio Choir, which continues to assert itself as perhaps the finest chorus singing today.\u003c/p>\n\u003cp>\u003cstrong>The Music:\u003c/strong> No actual words are sung on \u003cem>Aletheia\u003c/em>. Martinaitytė trusts in styles of vocalizing that communicate beyond language, not unlike Meredith Monk. The title track, composed during the onset of the war in Ukraine, gives voice to resilient people under siege in passages of bottled claustrophobia and joyous “whooping.” \u003cem>Chant des Voyelles\u003c/em>, where only vowels are sung, evokes clouds of heavenly synthesizers, radiant and breathtaking when the choir is in full cry. \u003cem>Ululations\u003c/em> is at once beautiful and terrifying, a symphonic weave of vocalizing that is halfway between howling and yodeling. In this complex music, the choir offers its signature unified blend of sounds, transparent and seemingly limitless in color and lighting.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pNPYRprKQ6Q\u003c/p>\n\u003ch3>Anna Clyne, \u003cem>Shorthand\u003c/em>\u003c/h3>\n\u003cp>\u003cstrong>For Those Who Like: \u003c/strong>Yo-Yo Ma, strings, mandolins\u003c/p>\n\u003cp>\u003cstrong>The Story: \u003c/strong>In college, British composer Anna Clyne made a last-minute pivot from literature to music. She was already 20 when she took up her first formal composition lessons, and after she moved to New York in 2002, she spent time as a florist and even contemplated investment banking. It was a glowing email from Steve Reich, telling her she was “the real deal” after looking over one of her pieces, that helped Clyne’s career to fully blossom. Today, she’s one of the most commissioned composers, writing music that can be experimental — she’s developed software to shapeshift the sounds of individual instruments in live symphonic performances — but always unapologetically melodic.\u003c/p>\n\u003cp>\u003cstrong>The Music: \u003c/strong>Yo-Yo Ma’s burnished cello tone caresses the lachrymose theme of the title track, a miniature cello concerto inspired by Tolstoy’s quote that “Music is the shorthand of emotion.” Clyne isn’t afraid to spin opulent, wistful melodies, nowhere more so than in the album’s impassioned centerpiece, \u003cem>Within Her Arms\u003c/em>, an elegy for strings written in response to the death of her mother. Mandolinist Avi Avital twinkles, shreds and sweetly serenades in the concerto \u003cem>Three Sisters\u003c/em>, inspired by the stars in Orion’s belt. \u003cem>Prince of Clouds\u003c/em>, a sensuous double concerto for two violins, finds committed soloists in Colin Jacobsen and Pekka Kuusisto. And throughout, the New York-based orchestra The Knights plays the music like it was written just for them.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Q3MFRRF189Q\u003c/p>\n\u003ch3>Aigul Akhmetshina, \u003cem>Aigul\u003c/em>\u003c/h3>\n\u003cp>\u003cstrong>For Those Who Like: \u003c/strong>Bizet’s \u003cem>Carmen\u003c/em>, the Republic of Bashkortostan, fresh opera stars\u003c/p>\n\u003cp>\u003cstrong>The Story: \u003c/strong>Mezzo-soprano Aigul Akhmetshina’s rise to fame reads like a fairy tale. Raised by a single mom in a rural village in Bashkortostan, she learned music on her grandfather’s accordion because space and finances precluded a piano in their small apartment. At just 14, she moved away to study, supporting herself by entertaining as a stilt walker and waiting tables. After being denied admission to a Moscow conservatory, and then suffering a debilitating car accident, she tossed all her singing awards in a box she labeled “Aigul’s Bulls***” and called it quits. But her teacher was persuasive. Akhmetshina rehabilitated her voice, landed in a young artists program in London (without speaking English) and, at 21, got her big break singing \u003cem>Carmen\u003c/em> at London’s storied Covent Garden.\u003c/p>\n\u003cp>\u003cstrong>The Music: \u003c/strong>Naturally, scenes from \u003cem>Carmen\u003c/em> dominate this debut album. Hearing her plush, aubergine-colored voice, coquettish and confident in the drama, one understands why she’s in top demand for the role. Better still are two arias from Massenet’s emotionally fraught \u003cem>Werther\u003c/em>. In the “Letter Scene,” where the character nervously reads letters from her troubled lover, you can hear a complex swirl of regret, fear and guilt in Akhmetshina’s voice. Selections from Bellini’s \u003cem>I Capuleti e I Montecchi\u003c/em> and Rossini’s \u003cem>La Cenerentola\u003c/em> and \u003cem>The Barber of Seville\u003c/em> show off her seamless agility throughout the registers, with ringing top notes and smoldering low ones. At 28, the young mezzo has a full career ahead, and opera fans will want to keep their ears open.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=spaekeaBiVE\u003c/p>\n\u003ch3>Jakob Lindberg, \u003cem>Robert De Visée: Theorbo Solos\u003c/em>\u003c/h3>\n\u003cp>\u003cstrong>For Those Who Like: \u003c/strong>guitars, Baroque elegance, quiet cups of tea\u003c/p>\n\u003cp>\u003cstrong>The Story:\u003c/strong> The French lutenist and composer Robert de Visée could often be found serenading his boss, Louis XIV, at his bedside. He also taught the monarch how to play the guitar. Fast forward about 300 years to the Swedish musician Jakob Lindberg, who as a teen picked up the guitar after hearing The Beatles, then turned to early music and studied in London. Now, in his early 70s, Lindberg is a lute magus who performs on his various instruments around the world.\u003c/p>\n\u003cp>\u003cstrong>The Music: \u003c/strong>In this collection of suites and pieces by de Visée, Lindberg deploys a particularly large theorbo — a member of the lute family, in this case a spectacular five-footer that boasts a kaleidoscope of colors and luxurious low bass strings. The “Musette” from the G-major suite offers a sparkling melody, steady bass line and strumming to imitate a bagpipe. But not all is delicate and rosy; deep pain is found in the low, thrumming strings in the “Tombeau” that de Visée wrote to mourn the deaths of his two daughters. This is an exquisite, quiet album for our very loud world.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZCbFcAG0jJY\u003c/p>\n\u003ch3>Timo Andres, \u003cem>The Blind Banister\u003c/em>\u003c/h3>\n\u003cp>\u003cstrong>For Those Who Like: \u003c/strong>Nico Muhly, piano concertos, Pulitzer finalists\u003c/p>\n\u003cp>\u003cstrong>The Story:\u003c/strong> Timo Andres, a thoughtful pianist-composer who turns 40 next year, has his agile fingers in many pies. Last year, he edited \u003cem>Philip Glass Piano Etudes\u003c/em>, a new edition of the music, which he performed in various venues. Earlier this year, his orchestrations graced the Sufjan Stevens-inspired Broadway show \u003cem>Illinoise\u003c/em>. And the title work of his third album, a piano concerto called \u003cem>The Blind Banister\u003c/em>, earned much-deserved street cred after it became a Pulitzer Prize finalist in 2016. This is the work’s recorded debut, with the composer as soloist and tailor-made accompaniment by the Metropolis Ensemble.\u003c/p>\n\u003cp>\u003cstrong>The Music: \u003c/strong>What goes up must come down in \u003cem>The Blind Banister\u003c/em>. The 20-minute concerto, inspired by Beethoven, presents a series of variations on a descending scale, which gets built up again, only to fall even harder — and lower on the keyboard — by the time warm string figures emerge in the coda. Often mesmerizing, \u003cem>Banister\u003c/em> is a beautiful journey that concludes with a satisfying jolt of release. \u003cem>Colorful History\u003c/em> is a darkly textured, cyclically driven solo piano work played by Andres, while \u003cem>Upstate Obscura\u003c/em>, a cello concerto, offers the attentive soloist Inbal Segev opportunities to soar at the top of her instrument’s register, chase themes in strings and winds and, finally, guide us through open spaces, pensive yet filled with promise.\u003c/p>\n\u003chr>\n\u003ch2>10 (Very) Honorable Mentions:\u003c/h2>\n\u003cp>\u003cstrong>Patricia Kopatchinskaja, Reto Bieri, Polina Leschenko:\u003c/strong> \u003cem>Take 3\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>John Luther Adams:\u003c/strong> \u003cem>An Atlas of Deep Time\u003c/em> (South Dakota Symphony)\u003c/p>\n\u003cp>\u003cstrong>Yuja Wang:\u003c/strong> \u003cem>The\u003c/em> \u003cem>Vienna Recital\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Yunchan Lim:\u003c/strong> \u003cem>Chopin Etudes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Christopher Cerrone:\u003c/strong> \u003cem>Beaufort Scales \u003c/em>(Lorelei Ensemble)\u003c/p>\n\u003cp>\u003cstrong>C.P.E. Bach:\u003c/strong> \u003cem>Symphonies — From Berlin to Hamburg\u003c/em> (Akademie fur Alte Musik Berlin)\u003c/p>\n\u003cp>\u003cstrong>Valentin Silvestrov:\u003c/strong> \u003cem>Postludium & Dedication\u003c/em> (Lithuanian National Symphony Orchestra)\u003c/p>\n\u003cp>\u003cstrong>Kurt Weill:\u003c/strong> \u003cem>The Kurt Weill Album\u003c/em> (Konzerthausorchester Berlin)\u003c/p>\n\u003cp>\u003cstrong>Danish String Quartet:\u003c/strong> \u003cem>Keel Road\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>John Zorn:\u003c/strong> \u003cem>Hannigan Sings Zorn, Volume One\u003c/em> (Barbara Hannigan)\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The year 2024 was an emotional roller coaster. Wars kept rampaging, a tortured election season further divided an already polarized nation and climate change served up the most scorching summer on record. Still, in the midst of the chaos, I found astonishing beauty in many places: Simone Biles’ performances at the Paris Olympics, the kaleidoscopic late-night aurora borealis light shows and in much soul-nourishing music that helped mitigate those low points in what remains a wild ride.\u003c/p>\n\u003cp>I witnessed astounding performances this year, too many to describe in total. The \u003ca href=\"https://www.npr.org/artists/16354188/berlin-philharmonic-orchestra\">Berlin Philharmonic\u003c/a> proved that \u003ca href=\"https://www.npr.org/artists/15033227/antonin-dvorak\">Dvorak\u003c/a>‘s Seventh Symphony is the jewel in his crown, while the Royal Concertgebouw Orchestra luxuriated in \u003ca href=\"https://www.npr.org/artists/15438778/sergey-rachmaninov\">Rachmaninoff\u003c/a>‘s Second. Pianist \u003ca href=\"https://www.npr.org/artists/112055562/marc-andre-hamelin\">Marc-André Hamelin\u003c/a> paid homage to the \u003ca href=\"https://www.npr.org/artists/90901153/charles-ives\">Charles Ives\u003c/a> sesquicentennial with an uncanny performance of the knuckle-twisting “Concord” Sonata, and the redoubtable Evgeny Kissin offered electrifying \u003ca href=\"https://www.npr.org/artists/15866095/sergey-prokofiev\">Prokofiev\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15379968/frederic-chopin\">Chopin\u003c/a>. \u003ca href=\"https://www.npr.org/artists/89532661/meredith-monk\">Meredith Monk\u003c/a>, still spry in her 80s, danced and sang in her restorative theatre work \u003cem>Indra’s Net\u003c/em>. Soprano \u003ca href=\"https://www.npr.org/artists/940390176/julia-bullock\">Julia Bullock\u003c/a> delivered a diverse range of songs from \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a> to \u003ca href=\"https://www.npr.org/artists/89529197/francis-poulenc\">Francis Poulenc\u003c/a> in recital, and took the lead in a colorful version of \u003ca href=\"https://www.npr.org/artists/14996733/john-adams\">John Adams\u003c/a>‘ \u003cem>El Niño\u003c/em> at the \u003ca href=\"https://www.npr.org/artists/869938581/metropolitan-opera\">Metropolitan Opera\u003c/a>. \u003ca href=\"https://www.npr.org/artists/15189623/sigur-r-s\">Sigur Rós\u003c/a> toured with a full orchestra. And then, there was the seamless blend of the \u003ca href=\"https://www.npr.org/artists/570269172/estonian-philharmonic-chamber-choir\">Estonian Philharmonic Chamber Choir\u003c/a>, pairing \u003ca href=\"https://www.npr.org/artists/91476506/giovanni-pierluigi-da-palestrina\">Palestrina\u003c/a> with \u003ca href=\"https://www.npr.org/artists/16070552/arvo-part\">Arvo Pärt\u003c/a> in an unforgettable evening in a small church.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Naturally, not all of my favorite artists were touring this year, but many were in the studio, making terrific albums. The 10 recordings below, plus a few honorable mentions, kept my ears focused and delighted throughout the year. Opera singers Aigul Akhmetshina and \u003ca href=\"https://www.npr.org/artists/1050164280/emily-dangelo\">Emily D’Angelo\u003c/a> submitted two satisfying approaches — Akhmetshina releasing a standard arias album while D’Angelo filled hers mostly with folk and pop songs, imaginatively arranged.\u003c/p>\n\u003cp>Women composers, still too often overlooked in concert halls, have released amazing albums this year — a glittering symphonic tour-de-force from Mexico’s \u003ca href=\"https://www.npr.org/2024/10/04/nx-s1-5081260/the-borderless-music-of-gabriela-ortiz\">Gabriela Ortiz\u003c/a>, ethereal choral works by Lithuania’s Žibuoklė Martinaitytė and warm-hearted melodies for soloists and chamber orchestra from the Brit \u003ca href=\"https://www.npr.org/artists/884906471/anna-clyne\">Anna Clyne\u003c/a>. Lutenist Jakob Lindberg lowered my stubbornly high blood pressure, as did a shimmering ambient adventure from Christopher Rountree.\u003c/p>\n\u003cp>The albums below were sources of joy, introspection and hope for me this year. Perhaps they’ll do the same for you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rmnH7iFEYLk'\n title='//www.youtube.com/embed/rmnH7iFEYLk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 22px;font-weight: bold\">Gabriela Ortiz, \u003c/span>\u003cem style=\"font-size: 22px;font-weight: bold\">Revolución Diamantina\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>For Those Who Like: \u003c/strong>Stravinsky, social justice, Mexico\u003c/p>\n\u003cp>\u003cstrong>The Story:\u003c/strong> With a colorful family history in her native Mexico — including a grandfather who worked as Pancho Villa’s physician and parents who founded a popular Latin American folk group — Gabriela Ortiz has slowly emerged as one of today’s must-hear composers. Luckily, hearing her is easier than ever, as she’s in residence this season at Carnegie Hall. Her luminous orchestral works have been championed by star conductor Gustavo Dudamel, who calls her one of the most talented composers in the world and leads the Los Angeles Philharmonic on this dazzling album.\u003c/p>\n\u003cp>\u003cstrong>The Music: \u003c/strong>Ortiz says \u003ca href=\"https://www.npr.org/2024/10/04/nx-s1-5081260/the-borderless-music-of-gabriela-ortiz\">music has no borders\u003c/a>, and she practices what she preaches. Her compositional voice is singular, but the jagged rhythms in Act IV of this politically charged ballet almost out-Stravinsky Stravinsky, just moments after oscillating figures in the winds channel John Adams. A Huichol folk melody from Mexico’s western Sierra Madres inspires the colorful symphonic showpiece \u003cem>Kauyumari\u003c/em>, and in \u003cem>Altar de Cuerda\u003c/em>, an atmospheric violin concerto played with precision and passion by Maria Dueñas, you might hear the ghosts of 20th century modernists György Ligeti and Olivier Messiaen. With this album, the distinctive, hardworking composer finally relishes the spotlight she has deserved for years.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/F3e0Nim9XuM'\n title='//www.youtube.com/embed/F3e0Nim9XuM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Maya Beiser, \u003cem>Maya Beiser x Terry Riley: In C\u003c/em>\u003c/h3>\n\u003cp>\u003cstrong>For Those Who Like: \u003c/strong>Steve Reich, cellos, magic mushrooms\u003c/p>\n\u003cp>\u003cstrong>The Story:\u003c/strong> It’s pretty gutsy to take on a revered, pioneering piece of minimalism designed for a couple dozen people to play and reduce it to only a stack of cello loops and a pair of percussionists. But cellist Maya Beiser has triumphed, releasing one of the most groove-laden and listenable renditions of \u003ca href=\"https://www.kqed.org/arts/13967712/in-c-terry-riley-minimalism-music-history-maya-beiser\">\u003cem>In C\u003c/em>, Terry Riley\u003c/a>‘s enduring 60-year-old score. And it’s fitting that Beiser deploys loops for her version, given that the seeds of \u003cem>In C\u003c/em> were sown in Riley’s earlier experiments in cutting and looping tape.\u003c/p>\n\u003cp>\u003cstrong>The Music: \u003c/strong>Beiser’s vision is all about pulses, drones and the low C string of her instrument, which tends to ricochet off drummers Shane Shanahan and Matt Kilmer. She likes to unfurl long, singing cello lines over oscillating beats, creating grooves with the power to intoxicate or get you wired for an all-night road trip. In one section, she interleaves her voice with cello in a nod to the medieval vocal technique of hocketing. In another, she distorts her instrument and amps up the beat, creating a kind of headbanging grunge moment. Along the way, Beiser cuts the engine to provide a couple of calming rest stops.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MBqsViTL1G8'\n title='//www.youtube.com/embed/MBqsViTL1G8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Emily D’Angelo, \u003cem>Freezing\u003c/em>\u003c/h3>\n\u003cp>\u003cstrong>For Those Who Like: \u003c/strong>June Tabor, Kathleen Ferrier, voluptuous voices\u003c/p>\n\u003cp>\u003cstrong>The Story: \u003c/strong>Emerging opera stars aren’t supposed to release albums stuffed with folk and pop songs, but the velvet-voiced Canadian mezzo-soprano has done just that, tossing off old British ballads and a Randy Newman number with supreme beauty and homespun confidence. She can sing Mozart and Rossini as well as anyone today, and never mind at all that she opened the Metropolitan Opera season this fall — her curious mind, smart curation and inherently gorgeous instrument are enough to render this decidedly non-operatic album essential listening.\u003c/p>\n\u003cp>\u003cstrong>The Music: \u003c/strong>Spanning five centuries, D’Angelo’s eclectic vocal mixtape ranges from \u003cem>Grounded\u003c/em>, the brand new opera written for her by Jeanine Tesori, to a song by Elizabethan gloom master John Dowland, to a synth-laden arrangement of the English ballad “Cold Blows the Wind,” inspired by \u003ca href=\"https://www.npr.org/artists/16518232/ween\">Ween\u003c/a>. The title track is a fresh take of a Philip Glass/Suzanne Vega collaboration that unleashes a molten electric guitar. The mood of \u003cem>Freezing\u003c/em> is wistful, lovelorn and a little chilly, but D’Angelo’s buttery, burgundy-colored voice, concise diction and luxurious phrasing is your warm fire to keep away the cold.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4MkoTjjs1jg'\n title='//www.youtube.com/embed/4MkoTjjs1jg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Christopher Rountree, \u003cem>3 BPM\u003c/em>\u003c/h3>\n\u003cp>\u003cstrong>For Those Who Like: \u003c/strong>Brian Eno, Julius Eastman, chill rooms\u003c/p>\n\u003cp>\u003cstrong>The Story:\u003c/strong> Composer-conductor Christopher Rountree is perhaps best known as the founder and leader of Wild Up, the Los Angeles-based new music outfit responsible for resuscitating (on four extraordinary albums) the lost music of Julius Eastman. This year, with help from his band, the piano duo Hocket and intrepid violist Nadia Sirota, Rountree released \u003cem>3 BPM\u003c/em>, a 28-minute safe haven for calming reflection. The music also serves as a lasting tribute to pianist and composer Sarah Gibson (one half of Hocket), \u003ca href=\"https://www.washingtonpost.com/obituaries/2024/07/19/sarah-gibson-composer-dead-obituary/\">who died\u003c/a> in July at 38 — a cruel gut punch to the new music community.\u003c/p>\n\u003cp>\u003cstrong>The Music: \u003c/strong>\u003cem>3 BPM \u003c/em>(three beats per minute) is a flight through tranquil spaces marked with little episodes of euphoria. Brian Eno’s ambient music may come to mind, and Eastman’s jubilance. But Rountree has crafted his own musical language here, one he’s called a musical framework for togetherness. A tolling piano and a whoosh of air usher us into the piece; by the time we reach our final stop with “Almanac,” a wheezy viola emerges and gently rolled piano chords bloom like a celestial portal opening, calling you to travel beyond yourself.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8RkhxEiXLtw'\n title='//www.youtube.com/embed/8RkhxEiXLtw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Experiential Orchestra, \u003cem>American Counterpoints\u003c/em>\u003c/h3>\n\u003cp>\u003cstrong>For those Who Like: \u003c/strong>Bartók, violin concertos, musical archeology\u003c/p>\n\u003cp>\u003cstrong>The Story: \u003c/strong>This long overdue release spotlights two singular Black American composers whose music had fallen into neglect. Julia Perry found success in the 1950s after her \u003cem>Stabat Mater\u003c/em> debuted and a Guggenheim Fellowship funded her study with Nadia Boulanger in Paris. But the 1960s brought health and financial problems, and when she died in 1979 her music was all but forgotten. Coleridge-Taylor Perkinson’s music was also overlooked until after his death in 2004. A versatile pianist who collaborated with Marvin Gaye and Max Roach, Perkinson composed in a variety of idioms for television, film and the concert hall. He co-founded an orchestra and was a key figure at the Center for Black Music Research at Chicago’s Columbia College.\u003c/p>\n\u003cp>\u003cstrong>The Music:\u003c/strong> The album is anchored by Perry’s austere, sometimes Bartók-leaning Violin Concerto from 1968, whose score was left in disarray. This newly reconstructed version receives a probing performance by soloist Curtis Stewart and the Experiential Orchestra. Perry’s experimental style emerges in the darkly hued \u003cem>Symphony in One Movement for Violas and Basses\u003c/em>, while an almost Copland-like freshness pervades her Prelude for Strings. Perkinson proves a formidable presence in his Sinfonietta No. 1, composed when he was all of 22, the opening movement of which elegantly weaves strands of baroque counterpoint that would make Handel jealous. Stewart gets down and gritty for Perkinson’s \u003cem>Louisiana Blues Strut: A Cakewalk\u003c/em>, which, in its slurred and syncopated lines, conjures Black music from before the Civil War.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PiZftXoSL3o'\n title='//www.youtube.com/embed/PiZftXoSL3o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Žibuoklė Martinaitytė, \u003cem>Aletheia\u003c/em>\u003c/h3>\n\u003cp>\u003cstrong>For Those Who Like: \u003c/strong>Björk, Tanya Tagaq, choirs\u003c/p>\n\u003cp>\u003cstrong>The Story:\u003c/strong> Žibuoklė Martinaitytė, raised in Soviet-era Lithuania and now a denizen of New York, has emerged as a composer poised for maximum visibility. Those following her career understand her command of a symphony orchestra, via recordings released on the Finnish Ondine label. Her latest proves she may also be one of the leading choral composers of our time — a sonically shimmering album for unaccompanied chorus featuring magnificent performances by the Latvian Radio Choir, which continues to assert itself as perhaps the finest chorus singing today.\u003c/p>\n\u003cp>\u003cstrong>The Music:\u003c/strong> No actual words are sung on \u003cem>Aletheia\u003c/em>. Martinaitytė trusts in styles of vocalizing that communicate beyond language, not unlike Meredith Monk. The title track, composed during the onset of the war in Ukraine, gives voice to resilient people under siege in passages of bottled claustrophobia and joyous “whooping.” \u003cem>Chant des Voyelles\u003c/em>, where only vowels are sung, evokes clouds of heavenly synthesizers, radiant and breathtaking when the choir is in full cry. \u003cem>Ululations\u003c/em> is at once beautiful and terrifying, a symphonic weave of vocalizing that is halfway between howling and yodeling. In this complex music, the choir offers its signature unified blend of sounds, transparent and seemingly limitless in color and lighting.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pNPYRprKQ6Q'\n title='//www.youtube.com/embed/pNPYRprKQ6Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Anna Clyne, \u003cem>Shorthand\u003c/em>\u003c/h3>\n\u003cp>\u003cstrong>For Those Who Like: \u003c/strong>Yo-Yo Ma, strings, mandolins\u003c/p>\n\u003cp>\u003cstrong>The Story: \u003c/strong>In college, British composer Anna Clyne made a last-minute pivot from literature to music. She was already 20 when she took up her first formal composition lessons, and after she moved to New York in 2002, she spent time as a florist and even contemplated investment banking. It was a glowing email from Steve Reich, telling her she was “the real deal” after looking over one of her pieces, that helped Clyne’s career to fully blossom. Today, she’s one of the most commissioned composers, writing music that can be experimental — she’s developed software to shapeshift the sounds of individual instruments in live symphonic performances — but always unapologetically melodic.\u003c/p>\n\u003cp>\u003cstrong>The Music: \u003c/strong>Yo-Yo Ma’s burnished cello tone caresses the lachrymose theme of the title track, a miniature cello concerto inspired by Tolstoy’s quote that “Music is the shorthand of emotion.” Clyne isn’t afraid to spin opulent, wistful melodies, nowhere more so than in the album’s impassioned centerpiece, \u003cem>Within Her Arms\u003c/em>, an elegy for strings written in response to the death of her mother. Mandolinist Avi Avital twinkles, shreds and sweetly serenades in the concerto \u003cem>Three Sisters\u003c/em>, inspired by the stars in Orion’s belt. \u003cem>Prince of Clouds\u003c/em>, a sensuous double concerto for two violins, finds committed soloists in Colin Jacobsen and Pekka Kuusisto. And throughout, the New York-based orchestra The Knights plays the music like it was written just for them.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Q3MFRRF189Q'\n title='//www.youtube.com/embed/Q3MFRRF189Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Aigul Akhmetshina, \u003cem>Aigul\u003c/em>\u003c/h3>\n\u003cp>\u003cstrong>For Those Who Like: \u003c/strong>Bizet’s \u003cem>Carmen\u003c/em>, the Republic of Bashkortostan, fresh opera stars\u003c/p>\n\u003cp>\u003cstrong>The Story: \u003c/strong>Mezzo-soprano Aigul Akhmetshina’s rise to fame reads like a fairy tale. Raised by a single mom in a rural village in Bashkortostan, she learned music on her grandfather’s accordion because space and finances precluded a piano in their small apartment. At just 14, she moved away to study, supporting herself by entertaining as a stilt walker and waiting tables. After being denied admission to a Moscow conservatory, and then suffering a debilitating car accident, she tossed all her singing awards in a box she labeled “Aigul’s Bulls***” and called it quits. But her teacher was persuasive. Akhmetshina rehabilitated her voice, landed in a young artists program in London (without speaking English) and, at 21, got her big break singing \u003cem>Carmen\u003c/em> at London’s storied Covent Garden.\u003c/p>\n\u003cp>\u003cstrong>The Music: \u003c/strong>Naturally, scenes from \u003cem>Carmen\u003c/em> dominate this debut album. Hearing her plush, aubergine-colored voice, coquettish and confident in the drama, one understands why she’s in top demand for the role. Better still are two arias from Massenet’s emotionally fraught \u003cem>Werther\u003c/em>. In the “Letter Scene,” where the character nervously reads letters from her troubled lover, you can hear a complex swirl of regret, fear and guilt in Akhmetshina’s voice. Selections from Bellini’s \u003cem>I Capuleti e I Montecchi\u003c/em> and Rossini’s \u003cem>La Cenerentola\u003c/em> and \u003cem>The Barber of Seville\u003c/em> show off her seamless agility throughout the registers, with ringing top notes and smoldering low ones. At 28, the young mezzo has a full career ahead, and opera fans will want to keep their ears open.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/spaekeaBiVE'\n title='//www.youtube.com/embed/spaekeaBiVE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Jakob Lindberg, \u003cem>Robert De Visée: Theorbo Solos\u003c/em>\u003c/h3>\n\u003cp>\u003cstrong>For Those Who Like: \u003c/strong>guitars, Baroque elegance, quiet cups of tea\u003c/p>\n\u003cp>\u003cstrong>The Story:\u003c/strong> The French lutenist and composer Robert de Visée could often be found serenading his boss, Louis XIV, at his bedside. He also taught the monarch how to play the guitar. Fast forward about 300 years to the Swedish musician Jakob Lindberg, who as a teen picked up the guitar after hearing The Beatles, then turned to early music and studied in London. Now, in his early 70s, Lindberg is a lute magus who performs on his various instruments around the world.\u003c/p>\n\u003cp>\u003cstrong>The Music: \u003c/strong>In this collection of suites and pieces by de Visée, Lindberg deploys a particularly large theorbo — a member of the lute family, in this case a spectacular five-footer that boasts a kaleidoscope of colors and luxurious low bass strings. The “Musette” from the G-major suite offers a sparkling melody, steady bass line and strumming to imitate a bagpipe. But not all is delicate and rosy; deep pain is found in the low, thrumming strings in the “Tombeau” that de Visée wrote to mourn the deaths of his two daughters. This is an exquisite, quiet album for our very loud world.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZCbFcAG0jJY'\n title='//www.youtube.com/embed/ZCbFcAG0jJY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Timo Andres, \u003cem>The Blind Banister\u003c/em>\u003c/h3>\n\u003cp>\u003cstrong>For Those Who Like: \u003c/strong>Nico Muhly, piano concertos, Pulitzer finalists\u003c/p>\n\u003cp>\u003cstrong>The Story:\u003c/strong> Timo Andres, a thoughtful pianist-composer who turns 40 next year, has his agile fingers in many pies. Last year, he edited \u003cem>Philip Glass Piano Etudes\u003c/em>, a new edition of the music, which he performed in various venues. Earlier this year, his orchestrations graced the Sufjan Stevens-inspired Broadway show \u003cem>Illinoise\u003c/em>. And the title work of his third album, a piano concerto called \u003cem>The Blind Banister\u003c/em>, earned much-deserved street cred after it became a Pulitzer Prize finalist in 2016. This is the work’s recorded debut, with the composer as soloist and tailor-made accompaniment by the Metropolis Ensemble.\u003c/p>\n\u003cp>\u003cstrong>The Music: \u003c/strong>What goes up must come down in \u003cem>The Blind Banister\u003c/em>. The 20-minute concerto, inspired by Beethoven, presents a series of variations on a descending scale, which gets built up again, only to fall even harder — and lower on the keyboard — by the time warm string figures emerge in the coda. Often mesmerizing, \u003cem>Banister\u003c/em> is a beautiful journey that concludes with a satisfying jolt of release. \u003cem>Colorful History\u003c/em> is a darkly textured, cyclically driven solo piano work played by Andres, while \u003cem>Upstate Obscura\u003c/em>, a cello concerto, offers the attentive soloist Inbal Segev opportunities to soar at the top of her instrument’s register, chase themes in strings and winds and, finally, guide us through open spaces, pensive yet filled with promise.\u003c/p>\n\u003chr>\n\u003ch2>10 (Very) Honorable Mentions:\u003c/h2>\n\u003cp>\u003cstrong>Patricia Kopatchinskaja, Reto Bieri, Polina Leschenko:\u003c/strong> \u003cem>Take 3\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>John Luther Adams:\u003c/strong> \u003cem>An Atlas of Deep Time\u003c/em> (South Dakota Symphony)\u003c/p>\n\u003cp>\u003cstrong>Yuja Wang:\u003c/strong> \u003cem>The\u003c/em> \u003cem>Vienna Recital\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Yunchan Lim:\u003c/strong> \u003cem>Chopin Etudes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Christopher Cerrone:\u003c/strong> \u003cem>Beaufort Scales \u003c/em>(Lorelei Ensemble)\u003c/p>\n\u003cp>\u003cstrong>C.P.E. Bach:\u003c/strong> \u003cem>Symphonies — From Berlin to Hamburg\u003c/em> (Akademie fur Alte Musik Berlin)\u003c/p>\n\u003cp>\u003cstrong>Valentin Silvestrov:\u003c/strong> \u003cem>Postludium & Dedication\u003c/em> (Lithuanian National Symphony Orchestra)\u003c/p>\n\u003cp>\u003cstrong>Kurt Weill:\u003c/strong> \u003cem>The Kurt Weill Album\u003c/em> (Konzerthausorchester Berlin)\u003c/p>\n\u003cp>\u003cstrong>Danish String Quartet:\u003c/strong> \u003cem>Keel Road\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>NPR has an appetite for great recipes. Every year, when NPR staffers and critics offer their recommendations for \u003ca href=\"https://apps.npr.org/best-books/#view=covers&year=2024\">Books We Love\u003c/a> — NPR’s annual, year-end books guide — plenty of cookbooks get thrown into the mix. Here are 11 cookbooks with a broad array of recipes from (dare I say it?) Cooks We Love. If you’re hungry for more, head over to Books We Love for \u003ca href=\"https://apps.npr.org/best-books/#tags=cookbooks+%26+food&view=covers&year=2024\">NPR’s full menu of food recommendations for 2024. \u003c/a>\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/966x1200+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Fa3%2Fab%2F91e7d8ae4a0c910a5c95c6b894f7%2Famrikan.jpg\">\u003cfigcaption>\u003ccite> (W. W. Norton & Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Amrikan: 125 Recipes from the Indian American Diaspora’ by Khushbu Shah\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>Amrikan\u003c/em> is Khushbu Shah’s answer to “What is Indian food in America?” It’s a thoughtful celebration of adaptation: American influences on Indian foods, Indian influences on “American” foods and some untouched Indian classics.\u003c/p>\n\u003cp>This book was my introduction to Rajma — who knew that the humble kidney bean could be so swoon-worthy? I served it alongside the beautifully simple Cabbage Nu Shaak with some rice and yogurt, and the meal was a hit. I am also a convert of Shah’s Masala Deviled Eggs and Jaggery and Fennel Rice Krispie Treats. The photos are gorgeous and the recipes are concise and easy to follow, making this an inviting collection for a range of occasions. — \u003cem>Nicolette Khan, researcher and archivist, Research, Archives and Data Strategy\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1043x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Ffc%2F53%2F9a6f73b84b37836a9b1de0e68332%2Fdac-biet.jpg\">\u003cfigcaption>\u003ccite> (Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Đặc Biệt: An Extra-Special Vietnamese Cookbook’ by Nini Nguyen with Sarah Zorn\u003c/strong>\u003c/h2>\n\u003cp>According to New Orleans-based chef and teacher Nini Nguyen, “Đặc Biệt” translates loosely to “extra special,” a term that could also be applied to her first cookbook. In addition to the classics (pho, bánh cuón), Nguyen freely riffs on French and Vietnamese techniques and ingredients, as in the succulent and acidic Shaking Beef with Watercress Salad, or mouth-puckering, juicy Shrimp Caramelized with Tamarind. When you feel unadventurous, simple dishes like ginger-braised chicken and cabbage charred with garlic will do nicely. But chances are Nguyen will convince you, like me, to finally venture into shrimp paste territory. Don’t fear the fermented! — \u003ca href=\"https://www.tsusanchang.com/\">T. Susan Chang\u003c/a>\u003cem>, food writer\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1167x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Fb5%2F31%2Ffe221dc940c6b61591124aed97e2%2Fgreekish.jpg\">\u003cfigcaption>\u003ccite> (Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Greekish: Everyday Recipes with Greek Roots’ by Georgina Hayden\u003c/strong>\u003c/h2>\n\u003cp>Not everyone who loves Greek food is lucky enough to have a Yiayia to teach them to hand-roll dolmas and work with phyllo dough. Fans of the cuisine also don’t necessarily have the time it takes to lovingly prepare specialty dishes that would typically take hours or even days to come together. Enter Georgina Hayden with a collection of recipes inspired by her Greek-Cypriot heritage, adapted for busy home cooks. The flavors and dishes manage to feel both classic and fresh, inspiring Tuesday night dinner options that will transport your family. — \u003cem>Tayla Burney, director, Network Programming and Production\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1209x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F89%2F12%2F448033184b7abf6807a31e516d86%2Fmastering-the-art-of-plant-based-cooking.jpg\">\u003cfigcaption>\u003ccite> (Ten Speed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Mastering the Art of Plant-Based Cooking: Vegan Recipes, Tips, and Techniques’ by Joe Yonan\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>Washington Post\u003c/em> food editor Joe Yonan has been marching in a plant-forward direction for years now, but his latest offering is definitive. Flavor-building details add dimension to basics like Spiced Roasted Tomato Soup and Crunchy Kale Chips “Your Way.” Reach for handfuls of fresh herbs for eerily crablike Lion’s Mane Mushroom Cakes; raid the spice cabinet for Avocado Salad with Dukkah Croutons and Harissa.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bringing together two dozen vegan or vegetarian chefs and 300-plus recipes,\u003cem> Mastering the Art of Plant-Based Cooking\u003c/em> demonstrates once and for all that you needn’t sacrifice taste, texture or excitement in a vegan kitchen. — \u003ca href=\"https://www.tsusanchang.com/\">T. Susan Chang\u003c/a>, \u003cem>food writer\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1219x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F9c%2F55%2F750616054240969411f8d661655b%2Fmilk-street-365.jpg\">\u003cfigcaption>\u003ccite> (Voracious)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Milk Street 365: The All-Purpose Cookbook for Every Day of the Year’ by Christopher Kimball\u003c/strong>\u003c/h2>\n\u003cp>If you follow\u003cem> Milk Street Magazine\u003c/em> recipes, you’ll recognize the sweet spot: globally inspired, streamlined, about a dozen ingredients. You could cook for over a year from \u003cem>Milk Street 365 \u003c/em>without repeating yourself, and there isn’t a clinker in the bunch. Dry Fried Beef with Celery, Crisp Oven-Fried Cauliflower with Tahini-Yogurt Sauce, Coconut Curry Salmon, Turkey Herb-Mayo Parmesan Burgers: All are crowd-tested and most sail through weeknight prep in under an hour of active cooking time. Do you have, or know where to get, Thai basil, harissa, pomegranate molasses, poblano chiles? Then this one’s for you! — \u003ca href=\"https://www.tsusanchang.com/\">T. Susan Chang\u003c/a>, \u003cem>food writer\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1090x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Fb5%2F90%2F91b5538a41bb8c3f670e462bb864%2Fottolenghi-comfort.jpg\">\u003cfigcaption>\u003ccite> (Ten Speed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Ottolenghi Comfort: A Cookbook by Yotam Ottolenghi’ with Helen Goh\u003c/strong>\u003c/h2>\n\u003cp>Many celebrity chefs who churn out a yearly cookbook experience a certain mission creep. Not so with Yotam Ottolenghi and his team, who continue to deliver provocative, doable recipes with virtuoso consistency. Slather Curry Leaf Dukkah Butter over your trusty weeknight roast chicken; sizzle some sage leaves and hazelnuts to adorn your orecchiette.\u003c/p>\n\u003cp>While Ottolenghi and his cohorts don’t shy away from some far-flung terminology (Carrot and Vadouvan Quickbread, Peanut \u003cem>Rayu, Tortang Talong\u003c/em> Omelet) thoughtful explanations and substitutions offer a glide path to efficient feasts that make the most of your most obscure pantry items. — \u003ca href=\"https://www.tsusanchang.com/\">T. Susan Chang\u003c/a>, \u003cem>food writer\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1331x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F2a%2Fbb%2Fec3ea8f045c6aecf834797258411%2Fthe-salvisoul-cookbook.jpg\">\u003cfigcaption>\u003ccite> (Ten Speed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The SalviSoul Cookbook: Salvadoran Recipes and the Women Who Preserve Them’ by Karla Tatiana Vasquez\u003c/strong>\u003c/h2>\n\u003cp>Karla Tatiana Vasquez was born in El Salvador, but her family fled to Los Angeles because of war. Food became a way for her to stay connected to her culture. She began documenting recipes and stories of the women who preserve Salvadoran traditions. That work led to The SalviSoul Cookbook. It’s her tribute to El Salvador, its people and the diaspora. This is the first cookbook focused on Salvadoran food from a major U.S. publishing house. — \u003ca href=\"https://www.npr.org/people/706635122/milton-guevara\">Milton Guevara\u003c/a>, \u003cem>producer, \u003c/em>Morning Edition\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1167x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F0e%2F07%2F6f7b31f84df3ae60696600a24810%2Fsandwiches-of-history.jpg\">\u003cfigcaption>\u003ccite> (Harvard Common Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Sandwiches of History: The Cookbook: All the Best (and Most Surprising) Things People Have Put Between Slices of Bread’ by Barry W. Enderwick\u003c/strong>\u003c/h2>\n\u003cp>On social media, Barry W. Enderwick, aka \u003ca href=\"https://www.instagram.com/sandwichesofhistory/?hl=en\">@sandwichesofhistory\u003c/a>, makes sandwiches from all sorts of historical sources, to mixed results. In this cookbook, he’s given us a range of 50+ recipes from the classic (Croque Monsieur) to the unexpected (Pineapple Cucumber). Each recipe includes the cookbook and year it came from (\u003cem>Beverages and Sandwiches for Your Husband’s Friends\u003c/em>, 1893, is a particularly delightful example), as well as some light historical context. Sometimes he offers us his signature “Plus Ups” — ways to make an OK sandwich great (often adding heat, spice, texture or contrast).\u003c/p>\n\u003cp>The book is chatty and accessible, offering coaching and encouragement the way you would to a friend. To borrow a phrase from him, I recommend you give this cookbook … a go. — \u003cem>Melissa Kuypers, audio engineering and operations manager, NPR West\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1161x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F6d%2F84%2Fc375a24144ad8d5458916b4b3e36%2Fsprout-co-saladology.jpg\">\u003cfigcaption>\u003ccite> (Mitchell Beazley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Sprout & Co Saladology: Fresh Ideas for Delicious Salads’ by Theo Kirwan\u003c/strong>\u003c/h2>\n\u003cp>“I’d LOVE salad for dinner!” If you’re like me, you say it every summer — before traitorously throwing another slab of protein on the grill. Behold, a salad book for meat lovers! In \u003cem>Saladology\u003c/em>, restaurateur-farmer Theo Kirwan (who with his brother Jack runs Dublin’s Sprout & Co. franchise) assembles explosively flavored, globally inspired quasi-salads that stand alone as a meal: Shredded Chicken in Mala Sichuan Dressing, Vietnamese-Style Pork Meatballs with Rice Noodles and Lemon Grass Dressing, Smacked Cucumbers with Chili Crisp and Tahini, Miso Butter Bean Mash with Sauteed Leeks and Crispy Aromatics. A salad-esque splash of green appears in each, though lettuce is clearly optional. — \u003ca href=\"https://www.tsusanchang.com/\">T. Susan Chang\u003c/a>,\u003cem> food writer\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1220x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F99%2Fa1%2F23c2d8024a82b3a4d2b8d8be0471%2Fwhat-goes-with-what.jpg\">\u003cfigcaption>\u003ccite> (Flatiron Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘What Goes with What: 100 Recipes, 20 Charts, Endless Possibilities’ by Julia Turshen\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>What Goes With What\u003c/em> is the fifth accessible, unfussy cookbook from the highly organized brain of Julia Turshen. This time, each section begins with a formula and variations, in chart form. A great lettuce salad has a Base, a Crunchy Thing, a Rich Thing and a Dressing (e.g., chopped romaine, sliced pepperoncini, diced salami, pizzeria vinaigrette). Chicken-Zucchini Meatballs with Dill and Tahini (Meat + Binding + Seasoning + Sauce) light up the palate. The irony is, this book makes you feel so organized … you might just end up thinking you don’t need it. — \u003ca href=\"https://www.tsusanchang.com/\">T. Susan Chang\u003c/a>,\u003cem> food writer\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1275x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F75%2F34%2Fd0b0a5a0403db584bc9eea59c1bb%2Fwhen-southern-women-cook.jpg\">\u003cfigcaption>\u003ccite> (America’s Test Kitchen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘When Southern Women Cook: History, Lore, and 300 Recipes with Contributions from 70 Women Writers’ by America’s Test Kitchen\u003c/strong>\u003c/h2>\n\u003cp>This cookbook geek, and longtime Southern cook and eater, was thrilled to get this gorgeous tome from America’s Test Kitchen and the editors of \u003cem>Cook’s Country. \u003c/em>It’s a bible of Southern cuisine told via stories of remarkable women from the diverse cultures that make up the American South. Think chefs, farmers, seed savers, shrimpers, pitmasters, canning pioneers and even the queen of bootleggers!\u003c/p>\n\u003cp>I love reading about the roots of Southern classics like hoecakes, shrimp and grits, pimiento cheese and tamale pie. This will be a go-to in my kitchen. I’ve already tried the pickled shrimp recipe, a huge hit on my game day table. Next up — Sweet Potato Corn Bread with Ginger Honey Butter, just in time for the holidays. — \u003ca href=\"https://www.npr.org/people/2100438/debbie-elliott\">Debbie Elliott\u003c/a>, \u003cem>correspondent, National Desk\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>This is just a fraction of the 350+ titles we included in Books We Love this year. \u003c/em>\u003c/strong>\u003ca href=\"https://apps.npr.org/best-books/#view=covers&year=2024\">\u003cstrong>\u003cem>Click here to check out this year’s titles, \u003c/em>\u003c/strong>\u003c/a>\u003cstrong>\u003cem>or browse nearly 4,000 books from the last 12 years.\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1934x1088+0+10/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F07%2Fac%2Ff6d903694d95aa8b0c5401ea6972%2F2024-books-we-love-covers.png\">\u003cfigcaption>\u003ccite> (NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>NPR has an appetite for great recipes. Every year, when NPR staffers and critics offer their recommendations for \u003ca href=\"https://apps.npr.org/best-books/#view=covers&year=2024\">Books We Love\u003c/a> — NPR’s annual, year-end books guide — plenty of cookbooks get thrown into the mix. Here are 11 cookbooks with a broad array of recipes from (dare I say it?) Cooks We Love. If you’re hungry for more, head over to Books We Love for \u003ca href=\"https://apps.npr.org/best-books/#tags=cookbooks+%26+food&view=covers&year=2024\">NPR’s full menu of food recommendations for 2024. \u003c/a>\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/966x1200+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Fa3%2Fab%2F91e7d8ae4a0c910a5c95c6b894f7%2Famrikan.jpg\">\u003cfigcaption>\u003ccite> (W. W. Norton & Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Amrikan: 125 Recipes from the Indian American Diaspora’ by Khushbu Shah\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>Amrikan\u003c/em> is Khushbu Shah’s answer to “What is Indian food in America?” It’s a thoughtful celebration of adaptation: American influences on Indian foods, Indian influences on “American” foods and some untouched Indian classics.\u003c/p>\n\u003cp>This book was my introduction to Rajma — who knew that the humble kidney bean could be so swoon-worthy? I served it alongside the beautifully simple Cabbage Nu Shaak with some rice and yogurt, and the meal was a hit. I am also a convert of Shah’s Masala Deviled Eggs and Jaggery and Fennel Rice Krispie Treats. The photos are gorgeous and the recipes are concise and easy to follow, making this an inviting collection for a range of occasions. — \u003cem>Nicolette Khan, researcher and archivist, Research, Archives and Data Strategy\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1043x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Ffc%2F53%2F9a6f73b84b37836a9b1de0e68332%2Fdac-biet.jpg\">\u003cfigcaption>\u003ccite> (Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Đặc Biệt: An Extra-Special Vietnamese Cookbook’ by Nini Nguyen with Sarah Zorn\u003c/strong>\u003c/h2>\n\u003cp>According to New Orleans-based chef and teacher Nini Nguyen, “Đặc Biệt” translates loosely to “extra special,” a term that could also be applied to her first cookbook. In addition to the classics (pho, bánh cuón), Nguyen freely riffs on French and Vietnamese techniques and ingredients, as in the succulent and acidic Shaking Beef with Watercress Salad, or mouth-puckering, juicy Shrimp Caramelized with Tamarind. When you feel unadventurous, simple dishes like ginger-braised chicken and cabbage charred with garlic will do nicely. But chances are Nguyen will convince you, like me, to finally venture into shrimp paste territory. Don’t fear the fermented! — \u003ca href=\"https://www.tsusanchang.com/\">T. Susan Chang\u003c/a>\u003cem>, food writer\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1167x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Fb5%2F31%2Ffe221dc940c6b61591124aed97e2%2Fgreekish.jpg\">\u003cfigcaption>\u003ccite> (Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Greekish: Everyday Recipes with Greek Roots’ by Georgina Hayden\u003c/strong>\u003c/h2>\n\u003cp>Not everyone who loves Greek food is lucky enough to have a Yiayia to teach them to hand-roll dolmas and work with phyllo dough. Fans of the cuisine also don’t necessarily have the time it takes to lovingly prepare specialty dishes that would typically take hours or even days to come together. Enter Georgina Hayden with a collection of recipes inspired by her Greek-Cypriot heritage, adapted for busy home cooks. The flavors and dishes manage to feel both classic and fresh, inspiring Tuesday night dinner options that will transport your family. — \u003cem>Tayla Burney, director, Network Programming and Production\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1209x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F89%2F12%2F448033184b7abf6807a31e516d86%2Fmastering-the-art-of-plant-based-cooking.jpg\">\u003cfigcaption>\u003ccite> (Ten Speed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Mastering the Art of Plant-Based Cooking: Vegan Recipes, Tips, and Techniques’ by Joe Yonan\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>Washington Post\u003c/em> food editor Joe Yonan has been marching in a plant-forward direction for years now, but his latest offering is definitive. Flavor-building details add dimension to basics like Spiced Roasted Tomato Soup and Crunchy Kale Chips “Your Way.” Reach for handfuls of fresh herbs for eerily crablike Lion’s Mane Mushroom Cakes; raid the spice cabinet for Avocado Salad with Dukkah Croutons and Harissa.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bringing together two dozen vegan or vegetarian chefs and 300-plus recipes,\u003cem> Mastering the Art of Plant-Based Cooking\u003c/em> demonstrates once and for all that you needn’t sacrifice taste, texture or excitement in a vegan kitchen. — \u003ca href=\"https://www.tsusanchang.com/\">T. Susan Chang\u003c/a>, \u003cem>food writer\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1219x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F9c%2F55%2F750616054240969411f8d661655b%2Fmilk-street-365.jpg\">\u003cfigcaption>\u003ccite> (Voracious)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Milk Street 365: The All-Purpose Cookbook for Every Day of the Year’ by Christopher Kimball\u003c/strong>\u003c/h2>\n\u003cp>If you follow\u003cem> Milk Street Magazine\u003c/em> recipes, you’ll recognize the sweet spot: globally inspired, streamlined, about a dozen ingredients. You could cook for over a year from \u003cem>Milk Street 365 \u003c/em>without repeating yourself, and there isn’t a clinker in the bunch. Dry Fried Beef with Celery, Crisp Oven-Fried Cauliflower with Tahini-Yogurt Sauce, Coconut Curry Salmon, Turkey Herb-Mayo Parmesan Burgers: All are crowd-tested and most sail through weeknight prep in under an hour of active cooking time. Do you have, or know where to get, Thai basil, harissa, pomegranate molasses, poblano chiles? Then this one’s for you! — \u003ca href=\"https://www.tsusanchang.com/\">T. Susan Chang\u003c/a>, \u003cem>food writer\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1090x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Fb5%2F90%2F91b5538a41bb8c3f670e462bb864%2Fottolenghi-comfort.jpg\">\u003cfigcaption>\u003ccite> (Ten Speed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Ottolenghi Comfort: A Cookbook by Yotam Ottolenghi’ with Helen Goh\u003c/strong>\u003c/h2>\n\u003cp>Many celebrity chefs who churn out a yearly cookbook experience a certain mission creep. Not so with Yotam Ottolenghi and his team, who continue to deliver provocative, doable recipes with virtuoso consistency. Slather Curry Leaf Dukkah Butter over your trusty weeknight roast chicken; sizzle some sage leaves and hazelnuts to adorn your orecchiette.\u003c/p>\n\u003cp>While Ottolenghi and his cohorts don’t shy away from some far-flung terminology (Carrot and Vadouvan Quickbread, Peanut \u003cem>Rayu, Tortang Talong\u003c/em> Omelet) thoughtful explanations and substitutions offer a glide path to efficient feasts that make the most of your most obscure pantry items. — \u003ca href=\"https://www.tsusanchang.com/\">T. Susan Chang\u003c/a>, \u003cem>food writer\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1331x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F2a%2Fbb%2Fec3ea8f045c6aecf834797258411%2Fthe-salvisoul-cookbook.jpg\">\u003cfigcaption>\u003ccite> (Ten Speed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The SalviSoul Cookbook: Salvadoran Recipes and the Women Who Preserve Them’ by Karla Tatiana Vasquez\u003c/strong>\u003c/h2>\n\u003cp>Karla Tatiana Vasquez was born in El Salvador, but her family fled to Los Angeles because of war. Food became a way for her to stay connected to her culture. She began documenting recipes and stories of the women who preserve Salvadoran traditions. That work led to The SalviSoul Cookbook. It’s her tribute to El Salvador, its people and the diaspora. This is the first cookbook focused on Salvadoran food from a major U.S. publishing house. — \u003ca href=\"https://www.npr.org/people/706635122/milton-guevara\">Milton Guevara\u003c/a>, \u003cem>producer, \u003c/em>Morning Edition\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1167x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F0e%2F07%2F6f7b31f84df3ae60696600a24810%2Fsandwiches-of-history.jpg\">\u003cfigcaption>\u003ccite> (Harvard Common Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Sandwiches of History: The Cookbook: All the Best (and Most Surprising) Things People Have Put Between Slices of Bread’ by Barry W. Enderwick\u003c/strong>\u003c/h2>\n\u003cp>On social media, Barry W. Enderwick, aka \u003ca href=\"https://www.instagram.com/sandwichesofhistory/?hl=en\">@sandwichesofhistory\u003c/a>, makes sandwiches from all sorts of historical sources, to mixed results. In this cookbook, he’s given us a range of 50+ recipes from the classic (Croque Monsieur) to the unexpected (Pineapple Cucumber). Each recipe includes the cookbook and year it came from (\u003cem>Beverages and Sandwiches for Your Husband’s Friends\u003c/em>, 1893, is a particularly delightful example), as well as some light historical context. Sometimes he offers us his signature “Plus Ups” — ways to make an OK sandwich great (often adding heat, spice, texture or contrast).\u003c/p>\n\u003cp>The book is chatty and accessible, offering coaching and encouragement the way you would to a friend. To borrow a phrase from him, I recommend you give this cookbook … a go. — \u003cem>Melissa Kuypers, audio engineering and operations manager, NPR West\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1161x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F6d%2F84%2Fc375a24144ad8d5458916b4b3e36%2Fsprout-co-saladology.jpg\">\u003cfigcaption>\u003ccite> (Mitchell Beazley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Sprout & Co Saladology: Fresh Ideas for Delicious Salads’ by Theo Kirwan\u003c/strong>\u003c/h2>\n\u003cp>“I’d LOVE salad for dinner!” If you’re like me, you say it every summer — before traitorously throwing another slab of protein on the grill. Behold, a salad book for meat lovers! In \u003cem>Saladology\u003c/em>, restaurateur-farmer Theo Kirwan (who with his brother Jack runs Dublin’s Sprout & Co. franchise) assembles explosively flavored, globally inspired quasi-salads that stand alone as a meal: Shredded Chicken in Mala Sichuan Dressing, Vietnamese-Style Pork Meatballs with Rice Noodles and Lemon Grass Dressing, Smacked Cucumbers with Chili Crisp and Tahini, Miso Butter Bean Mash with Sauteed Leeks and Crispy Aromatics. A salad-esque splash of green appears in each, though lettuce is clearly optional. — \u003ca href=\"https://www.tsusanchang.com/\">T. Susan Chang\u003c/a>,\u003cem> food writer\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1220x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F99%2Fa1%2F23c2d8024a82b3a4d2b8d8be0471%2Fwhat-goes-with-what.jpg\">\u003cfigcaption>\u003ccite> (Flatiron Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘What Goes with What: 100 Recipes, 20 Charts, Endless Possibilities’ by Julia Turshen\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>What Goes With What\u003c/em> is the fifth accessible, unfussy cookbook from the highly organized brain of Julia Turshen. This time, each section begins with a formula and variations, in chart form. A great lettuce salad has a Base, a Crunchy Thing, a Rich Thing and a Dressing (e.g., chopped romaine, sliced pepperoncini, diced salami, pizzeria vinaigrette). Chicken-Zucchini Meatballs with Dill and Tahini (Meat + Binding + Seasoning + Sauce) light up the palate. The irony is, this book makes you feel so organized … you might just end up thinking you don’t need it. — \u003ca href=\"https://www.tsusanchang.com/\">T. Susan Chang\u003c/a>,\u003cem> food writer\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1275x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F75%2F34%2Fd0b0a5a0403db584bc9eea59c1bb%2Fwhen-southern-women-cook.jpg\">\u003cfigcaption>\u003ccite> (America’s Test Kitchen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘When Southern Women Cook: History, Lore, and 300 Recipes with Contributions from 70 Women Writers’ by America’s Test Kitchen\u003c/strong>\u003c/h2>\n\u003cp>This cookbook geek, and longtime Southern cook and eater, was thrilled to get this gorgeous tome from America’s Test Kitchen and the editors of \u003cem>Cook’s Country. \u003c/em>It’s a bible of Southern cuisine told via stories of remarkable women from the diverse cultures that make up the American South. Think chefs, farmers, seed savers, shrimpers, pitmasters, canning pioneers and even the queen of bootleggers!\u003c/p>\n\u003cp>I love reading about the roots of Southern classics like hoecakes, shrimp and grits, pimiento cheese and tamale pie. This will be a go-to in my kitchen. I’ve already tried the pickled shrimp recipe, a huge hit on my game day table. Next up — Sweet Potato Corn Bread with Ginger Honey Butter, just in time for the holidays. — \u003ca href=\"https://www.npr.org/people/2100438/debbie-elliott\">Debbie Elliott\u003c/a>, \u003cem>correspondent, National Desk\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>This is just a fraction of the 350+ titles we included in Books We Love this year. \u003c/em>\u003c/strong>\u003ca href=\"https://apps.npr.org/best-books/#view=covers&year=2024\">\u003cstrong>\u003cem>Click here to check out this year’s titles, \u003c/em>\u003c/strong>\u003c/a>\u003cstrong>\u003cem>or browse nearly 4,000 books from the last 12 years.\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1934x1088+0+10/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F07%2Fac%2Ff6d903694d95aa8b0c5401ea6972%2F2024-books-we-love-covers.png\">\u003cfigcaption>\u003ccite> (NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13969030\" class=\"wp-caption aligncenter\" style=\"max-width: 1374px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969030\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time.png\" alt=\"A book cover featuring a landscape painting of a coast line and cloudy skies.\" width=\"1374\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time.png 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-800x1164.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-1020x1485.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-768x1118.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-1055x1536.png 1055w\" sizes=\"(max-width: 1374px) 100vw, 1374px\">\u003cfigcaption class=\"wp-caption-text\">‘Time of the Child’ by Niall Williams. \u003ccite>(Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A village “on the western edge of a wet nowhere” populated by men who drink too much and women who smile too little. Throw in cows, an addled priest, an abandoned baby and a thick cloud cover of shame and you have the elements for a quintessential Irish story.\u003c/p>\n\u003cp>So quintessential, in fact, I’ve held off reading Niall Williams for a long time, despite hearing raves about his work. My skepticism, it turns out, was misplaced. I’ve just emerged from a Niall Williams binge with a belated appreciation for his writing, which invests specificity and life in characters and places easily reduced to clichés.\u003c/p>\n\u003cp>[aside postid='arts_13968936']\u003cem>Time of the Child \u003c/em>is Williams’ latest novel, a companion piece, rather than a sequel to, his 2019 novel, \u003cem>This Is Happiness. \u003c/em>Both books are set in the rural village of Faha — a town in the far west of Ireland whose inhabitants, we’re told, possess “the translucent flesh that came from living in an absolute humidity.”\u003c/p>\n\u003cp>\u003cem>Time of the Child\u003c/em> takes place in the weeks leading up to Christmas 1962 and opens — and closes — on a set piece of Mass at the parish church, where most of the village gathers. In between lies a story that feels, at once, realistic in its rough and comic everyday unfolding and mythic in its riffs on the grand themes of despair and spiritual redemption.\u003c/p>\n\u003cp>Jack Troy is the town doctor and central character here. He’s a melancholy contained man who, we’re told, “carrie[s] himself in a manner that [the townspeople of] Faha might have summarized as \u003cem>Not like us.\u003c/em>” Dr. Troy lost his wife and then the older woman he unexpectedly fell in love with, who’s now also dead. Keeping house for him is his 29-year-old daughter, Ronnie, the eldest of three sisters; the one who remained at home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ronnie, too, is a semi-enigma to the townspeople: Our narrator tells us that “Added to [her] reserve was not only the screened lives of all women in the parish at the time, but the marginal natures of all writers, for Ronnie Troy’s closest companion was her notebook.”\u003c/p>\n\u003cp>[aside postid='arts_13968840']Dr. Troy has become haunted by despair and by a particularly heartrending question: “\u003cem>Why does no one love my daughter?” \u003c/em>The answer, he fears, is his own glowering presence that may have repelled one especially promising suitor.\u003c/p>\n\u003cp>Inspired by what we’re told is a “mixed fuel of … brandy … [and] a parent’s fear of the unmade world after them,” Dr. Troy, uncharacteristically, resolves on a bizarre scheme to make things right. As the saying goes: “Man plans, God laughs.”\u003c/p>\n\u003cp>Instead of unfolding the Troy family narrative chronologically, Williams layers it on top of other simultaneous storylines, all of which are graced with language as bracing as salt spray from the chill Atlantic. We follow, for instance, the wanderings of Jude Quinlan, a 12-year-old “on the rope-bridge between man and boy.”\u003c/p>\n\u003cp>Jude’s father drinks and gambles and his mother, Mamie, possesses “the anxious look of one married to an instability.” Listen to how Williams moves fluidly from the mundane to the wider lens of the numinous in these snippets from an extended passage where Jude helps to unload a van full of Christmas toys for the town fair:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>There were toy soldiers, kits for flying gliders, … skittles in a net, balls, bats. … dolls of one expression but many dresses, …\u003c/p>\n\u003cp>For Jude, carrying everything from the van … was as close has he would get to handling any of these things. He had no resentment or bitterness. Rather, from nearness to the marvelous something rubbed off on him …\u003c/p>\n\u003cp>The other thing, the one that only occurred to him years later when he would recall what happened that day, was that what he was carrying out of the van that December morning was his childhood.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>[aside postid='arts_13968980']For those who believe in such phenomena, Jude will be the instrument for bringing a miracle — a Christmas miracle complete with a baby and a virginal mother, no less — into this story. The other miracle here is a literary one: \u003cem>Time of the Child\u003c/em> itself, which gives readers that singular experience of nearness to the marvelous.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Time of the Child’ by Niall Williams is out now, via Bloomsbury Publishing.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13969030\" class=\"wp-caption aligncenter\" style=\"max-width: 1374px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969030\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time.png\" alt=\"A book cover featuring a landscape painting of a coast line and cloudy skies.\" width=\"1374\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time.png 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-800x1164.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-1020x1485.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-768x1118.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-1055x1536.png 1055w\" sizes=\"(max-width: 1374px) 100vw, 1374px\">\u003cfigcaption class=\"wp-caption-text\">‘Time of the Child’ by Niall Williams. \u003ccite>(Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A village “on the western edge of a wet nowhere” populated by men who drink too much and women who smile too little. Throw in cows, an addled priest, an abandoned baby and a thick cloud cover of shame and you have the elements for a quintessential Irish story.\u003c/p>\n\u003cp>So quintessential, in fact, I’ve held off reading Niall Williams for a long time, despite hearing raves about his work. My skepticism, it turns out, was misplaced. I’ve just emerged from a Niall Williams binge with a belated appreciation for his writing, which invests specificity and life in characters and places easily reduced to clichés.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Time of the Child \u003c/em>is Williams’ latest novel, a companion piece, rather than a sequel to, his 2019 novel, \u003cem>This Is Happiness. \u003c/em>Both books are set in the rural village of Faha — a town in the far west of Ireland whose inhabitants, we’re told, possess “the translucent flesh that came from living in an absolute humidity.”\u003c/p>\n\u003cp>\u003cem>Time of the Child\u003c/em> takes place in the weeks leading up to Christmas 1962 and opens — and closes — on a set piece of Mass at the parish church, where most of the village gathers. In between lies a story that feels, at once, realistic in its rough and comic everyday unfolding and mythic in its riffs on the grand themes of despair and spiritual redemption.\u003c/p>\n\u003cp>Jack Troy is the town doctor and central character here. He’s a melancholy contained man who, we’re told, “carrie[s] himself in a manner that [the townspeople of] Faha might have summarized as \u003cem>Not like us.\u003c/em>” Dr. Troy lost his wife and then the older woman he unexpectedly fell in love with, who’s now also dead. Keeping house for him is his 29-year-old daughter, Ronnie, the eldest of three sisters; the one who remained at home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ronnie, too, is a semi-enigma to the townspeople: Our narrator tells us that “Added to [her] reserve was not only the screened lives of all women in the parish at the time, but the marginal natures of all writers, for Ronnie Troy’s closest companion was her notebook.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Dr. Troy has become haunted by despair and by a particularly heartrending question: “\u003cem>Why does no one love my daughter?” \u003c/em>The answer, he fears, is his own glowering presence that may have repelled one especially promising suitor.\u003c/p>\n\u003cp>Inspired by what we’re told is a “mixed fuel of … brandy … [and] a parent’s fear of the unmade world after them,” Dr. Troy, uncharacteristically, resolves on a bizarre scheme to make things right. As the saying goes: “Man plans, God laughs.”\u003c/p>\n\u003cp>Instead of unfolding the Troy family narrative chronologically, Williams layers it on top of other simultaneous storylines, all of which are graced with language as bracing as salt spray from the chill Atlantic. We follow, for instance, the wanderings of Jude Quinlan, a 12-year-old “on the rope-bridge between man and boy.”\u003c/p>\n\u003cp>Jude’s father drinks and gambles and his mother, Mamie, possesses “the anxious look of one married to an instability.” Listen to how Williams moves fluidly from the mundane to the wider lens of the numinous in these snippets from an extended passage where Jude helps to unload a van full of Christmas toys for the town fair:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>There were toy soldiers, kits for flying gliders, … skittles in a net, balls, bats. … dolls of one expression but many dresses, …\u003c/p>\n\u003cp>For Jude, carrying everything from the van … was as close has he would get to handling any of these things. He had no resentment or bitterness. Rather, from nearness to the marvelous something rubbed off on him …\u003c/p>\n\u003cp>The other thing, the one that only occurred to him years later when he would recall what happened that day, was that what he was carrying out of the van that December morning was his childhood.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For those who believe in such phenomena, Jude will be the instrument for bringing a miracle — a Christmas miracle complete with a baby and a virginal mother, no less — into this story. The other miracle here is a literary one: \u003cem>Time of the Child\u003c/em> itself, which gives readers that singular experience of nearness to the marvelous.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Time of the Child’ by Niall Williams is out now, via Bloomsbury Publishing.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-2024-christmas-movies-hanukkah-hot-frosty-netflix-lifetime-hallmark",
"title": "Our 2024 Holiday Movie Guide, With Hanukkah, ‘Hot Frosty’ and All",
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"content": "\u003cp>As is tradition, we find ourselves once again in the heart of holiday movie season. This year’s installments include everything from a snowman who “comes to life,” shirtless Chad Michael Murray, Jack Black as Satan, and two Donna Kelce cameos. An exhaustive list would be prohibitive for both my editorial resources and your patience, but holiday movies are too dear to too many people to skip an update about what’s shaking in this particular glittery snow globe.\u003c/p>\n\u003cp>Here, we’ve broken down the highlights of the season, from the heavy-hitters to new franchise installments and goofy titles. There are casting surprises (like stars of \u003cem>The Office\u003c/em>), and Hanukkah movies on the way. Many of these TV movies are out as of Thanksgiving, but we’ve noted the premiere dates of those yet to come.\u003c/p>\n\u003cp>Let’s take a tour through some highlights.\u003c/p>\n\u003ch2>High-profile entries\u003c/h2>\n\u003cp>Every year, a few holiday TV movies poke their heads above the sea of films made for the die-hards — the people who can tell you off the tops of their heads exactly which frequent lead starred opposite Brandon Routh in \u003cem>The Nine Lives of Christmas\u003c/em> — and become known to the wider population.\u003c/p>\n\u003cp>(It was Kimberley Sustad, obviously. She’s not only been a great lead for Hallmark, but she’s now writing for them, too.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here are a few that may reach you even if you are not a close follower of this space. They lean toward Netflix, simply because of its size and reach, as well as the fact that Netflix makes fewer movies and makes a bigger deal out of each of them than some of the other providers.\u003c/p>\n\u003ch2>‘Hot Frosty’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=Dmi794YO-0w\u003c/p>\n\u003cp>Social media may have given you the lowdown on \u003cem>Hot Frosty\u003c/em>, which ran for many days at the very top of Netflix’s list of hottest movies. But just in case: \u003cem>Hot Frosty \u003c/em>stars Lacey Chabert (of \u003cem>Party of Five\u003c/em>, \u003cem>Mean Girls\u003c/em>, and roughly 15 prior Christmas movies by my count) and Dustin Milligan (\u003cem>Schitt’s Creek\u003c/em>). She plays a woman who puts a magic scarf on a very realistic snowman who comes to life; he plays the “comes to life.”\u003c/p>\n\u003cp>What follows is a very, very silly — but fortunately self-aware — little comedy also starring Craig Robinson and Joe Lo Truglio (in a \u003cem>Brooklyn Nine-Nine\u003c/em> reunion) as local law enforcement. They are in pursuit of the snowman because they believe him to be a dangerous streaker. That’s right: a dangerous streaker. I mean, he did come to life without pants on.\u003c/p>\n\u003ch2>‘The Merry Gentlemen’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=G80Q8-MJM1A\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>Speaking of coming to life without pants on: I’ve always thought the holiday movie market needs more exotic dancers. Netflix comes through with \u003cem>The Merry Gentlemen\u003c/em>, in which Chad Michael Murray (of \u003cem>One Tree Hill\u003c/em>) and some other shirtless fellows save Christmas. He meets a woman, played by Britt Robertson, who wants desperately to save her parents’ struggling small music venue, The Rhythm Room (!).\u003c/p>\n\u003cp>She comes up with an idea: a PG-13 all-male revue featuring hot men she happens to know in her personal life. My favorite supporting Merry Gentleman: a local played by Maxwell Caulfield, who looked great in \u003cem>Grease 2 \u003c/em>when he was in his early 20s and looks great in this in his 60s. You go, Maxwell Caulfield. Don’t you let them touch your chest hair, either. (This, by the way, is the film that has dethroned \u003cem>Hot Frosty \u003c/em>atop the Netflix Top 10 list as of this writing.)\u003c/p>\n\u003ch2>‘Holiday Touchdown: A Chiefs Love Story’\u003c/h2>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=syuN4M-wa9s\u003c/p>\n\u003cp>When Hallmark announced \u003cem>Holiday Touchdown: A Chiefs Love Story \u003c/em>(Nov. 30) over the summer, it seemed perfectly clear that its intent was to capitalize on the whole Taylor Swift-and-Travis Kelce thing. And don’t get me wrong: That’s true. (Donna Kelce has a cameo — although hilariously, she also has one in Hallmark’s \u003cem>Christmas on Call\u003c/em>, which takes place in Philadelphia. No favoritism for Mama Kelce!) \u003cem>Holiday Touchdown\u003c/em> was also made as a partnership with the team, much like Hallmark partnerships that have existed in the past with locations like Dollywood (\u003cem>\u003ca href=\"https://www.hallmarkchannel.com/christmas-at-dollywood\">Christmas at Dollywood\u003c/a>\u003c/em>), the Plaza Hotel (\u003cem>\u003ca href=\"https://www.hallmarkchannel.com/christmas-at-the-plaza/about-christmas-at-the-plaza\">Christmas at the Plaza\u003c/a>\u003c/em>) and the Biltmore Estate (\u003cem>\u003ca href=\"https://www.hallmarkchannel.com/a-biltmore-christmas\">A Biltmore Christmas\u003c/a>\u003c/em>).\u003c/p>\n\u003cp>[aside postid='arts_13921477']But \u003cem>Holiday Touchdown\u003c/em> is not directly inspired by the Travis/Taylor story. It’s about a woman (Hunter King) whose family is obsessed with the Kansas City Chiefs, and they’re being considered as part of the team’s Fan Of The Year contest. (… Sure.) She meets a guy (Tyler Hynes) who works for the team and becomes the family’s handler for the contest while also falling for her (an enormous conflict of interest, tssk). There’s a magic hat (sure!), there are many (many many) Kansas City cameos and references, and there is an avalanche of Chiefs branding. This one might be a B for regular Hallmark-ers, but it’s an A for Kansas City locals and anybody who’s ever shared a sports team obsession with people they love.\u003c/p>\n\u003cp>And here’s the twist! There \u003cem>is\u003c/em> a movie that looks directly Travis/Taylor inspired, and it’s over on Lifetime. Called \u003cem>\u003ca href=\"https://play.mylifetime.com/movies/christmas-in-the-spotlight/preview-christmas-in-the-spotlight\">Christmas in the Spotlight\u003c/a>\u003c/em>, it is about a pop megastar and a football player — he’s just not a Chiefs player. Glad we could clear this up.\u003c/p>\n\u003ch2>‘Our Little Secret’\u003c/h2>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=fcc9G9PXTEE\u003c/p>\n\u003cp>Lindsay Lohan was very charming in last year’s \u003ca href=\"https://www.kqed.org/arts/13921477/lindsay-lohan-christmas-movie-netflix-falling-for-christmas\">\u003cem>Falling for Christmas \u003c/em>\u003c/a>on Netflix; this year, she’s back with \u003cem>Our Little Secret\u003c/em>, in which she plays a woman who goes to spend the holidays with the family of her new boyfriend and runs into — dun! — her old boyfriend, who’s dating her new boyfriend’s sister. Kristin Chenoweth has the time of her life as the prospective mother-in-law, and Lindsay Lohan is, yet again, a durably charismatic lead who’s still got her comedy chops.\u003c/p>\n\u003ch2>Franchises and sequels\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=IO2Vov72T3Q\u003c/p>\n\u003cp>You may remember 2022’s \u003cem>Three Wise Men and a Baby\u003c/em>, starring three of Hallmark’s top leading men — Andrew Walker, Tyler Hynes and Paul Campbell, or as I admit I knew them for a long time while thoroughly enjoying their work, “that one guy,” “that other guy,” and “oh sure that guy.”\u003c/p>\n\u003cp>[aside postid='arts_13939153']They were brothers stuck caring for a baby over the holidays. Naturally, we now get the sequel titled \u003cem>Three Wiser Men and a Boy\u003c/em>. This is mostly a straight-up family comedy; it’s one of several Hallmark is doing this year that are not really romcoms even if they have romance elements. And, driven by the charm of the three leads, it’s a lot of fun. (These stories are co-written by Campbell and … Kimberley Sustad!)\u003c/p>\n\u003cp>As a side note, it’s been interesting to see Hallmark lean into the popularity of their male leads, who, for a long time, were treated as largely interchangeable partners for higher-profile actresses. They’re even airing a reality show this year called \u003cem>Finding Mr. Christmas\u003c/em>, hosted by Jonathan Bennett, in which men compete for a spot in a Hallmark movie called \u003cem>Happy Howlidays\u003c/em>\u003cem>,\u003c/em> which will then air on Dec. 21.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j94E_7uwYPI\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>Also up: BET+’s \u003cem>Brewster’s Millions: Christmas \u003c/em>(Dec. 5), a sequel about the niece of Montgomery Brewster, played by Richard Pryor in the 1985 movie. Perhaps not the sequel we were expecting this year, but hey — long waits before stories get picked up again are the norm at this point.\u003c/p>\n\u003cp>We should also note a momentous franchise retirement: Between 2018 and 2023, Hallmark made the loosely connected films \u003cem>Time for Me to Come Home for Christmas\u003c/em>, \u003cem>Time for You to Come Home for Christmas\u003c/em>, \u003cem>Time for Him to Come Home for Christmas\u003c/em>, \u003cem>Time for Her to Come Home for Christmas\u003c/em>, \u003cem>Time for Them to Come Home for Christmas\u003c/em>, and \u003cem>Time for Us to Come Home for Christmas\u003c/em>. Perhaps owing to their exhaustion of the most familiar personal pronouns, they have seemingly completed this series.\u003c/p>\n\u003ch2>What is that title?\u003c/h2>\n\u003cp>Sometimes, the most enjoyable part of previewing holiday movies is looking ahead to the titles that will quite understandably make you wonder whether you are hallucinating — and then assuring you that you are not. Here are some of my favorite titles of 2024.\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>A Very Merry Beauty Salon\u003cbr>\n\u003c/em>\u003c/strong>\u003cspan style=\"font-size: 16px;font-weight: 400\">Lifetime, Dec. 7\u003c/span>\u003c/h2>\n\u003cp>Tia Mowry plays a salon owner who is preparing for a charity ball, and she meets a dashing wine CEO, and what’s not to like about that?\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>The Holiday Junkie\u003cbr>\n\u003c/em>\u003c/strong>\u003cspan style=\"font-size: 16px;font-weight: 400\">Lifetime, Dec. 14\u003c/span>\u003c/h2>\n\u003cp>Jennifer Love Hewitt co-wrote, directed and stars in this story about a woman who works with her mother as a decorator with a special fondness for Christmas. After her mom dies, she meets a Grinchy man who can perhaps help her deal with grief and also kissing.\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>A ’90s Christmas\u003cbr>\n\u003c/em>\u003c/strong>\u003cspan style=\"font-size: 16px;font-weight: 400\">Hallmark, Nov. 29\u003c/span>\u003c/h2>\n\u003cp>I am deeply wounded by the suggestion that the ’90s are ready for their nostalgia run (I know, I know, you don’t have to tell me how the math plays out), but here we are. This one is about a woman who seemingly goes back to 1999 with the help of … an enchanted Uber? (The description says “a mysterious rideshare experience.” I think that means “enchanted Uber.”)\u003c/p>\n\u003ch2>Fun with casting\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=91L4X-XNBzU\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>\u003cem>Confessions of a Christmas Letter \u003c/em>(Hallmark) is about a mom played by Angela Kinsey (of \u003cem>The Office\u003c/em>) who loves her family very much but struggles with her desire to write a competitively braggy Christmas letter about them. Her ultimate goal? To impress the man at the post office who keeps a “Hall of Fame” of Christmas letters. He is played by Brian Baumgartner (who played Kevin on \u003cem>The Office\u003c/em>). So she hires a novelist to spend two weeks writing one for her (uh, I am AVAILABLE FOR THIS GIG). While sparks do fly between said novelist and her daughter, this movie is mostly about this woman’s efforts to accept her imperfect family Christmas as the one that’s perfect for them.\u003c/p>\n\u003cp>\u003cem>Holiday Mismatch \u003c/em>(Hallmark) features two moms who don’t get along, who accidentally set up their adult children and then have to try to get them to break up. The moms are played by Beth Broderick and Caroline Rhea, who spent years playing the two aunts on \u003cem>Sabrina The Teenage Witch\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3n1GUmAhoTs\u003c/p>\n\u003cp>Something quite different: Jack Black’s holiday movie highlight up to this point might be, well, \u003cem>The Holiday\u003c/em>. But this season, on Paramount+, in \u003cem>Dear Santa\u003c/em>, he shows up as Satan (yep), after a kid’s misspelling accidentally summons the wrong higher power at Christmas. Also around for this one: Keegan-Michael Key and Post Malone. In some ways, it’s mostly surprising that Jack Black hasn’t played Satan before now.\u003c/p>\n\u003ch2>What about Hanukkah?\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=Tohd6NlQDXc\u003c/p>\n\u003cp>When the big purveyors of holiday movies do Hanukkah, the results can be mixed, to say the least. BUT. Hallmark made an excellent Hanukkah one last year called \u003cem>Round and Round\u003c/em>, so I have higher hopes for these entries than I used to. This year, Hallmark has two. One, called \u003cem>Leah’s Perfect Gift\u003c/em> (Dec. 8), is about a Jewish woman who loves Christmas (though she doesn’t celebrate it) and welcomes the chance to participate with her boyfriend’s family, only to find things are more complicated than they might seem. It sounds like a tough premise to get perfectly right, but also maybe like a chance for some interesting storytelling.\u003c/p>\n\u003cp>More straightforward-sounding is \u003cem>Hanukkah on the Rocks \u003c/em>(Dec. 13), in which a corporate lawyer ends up bartending for “quirky regulars” at a Chicago bar, goes on a quest for Hanukkah candles, and that’s about the size of that.\u003c/p>\n\u003ch2>Also of note\u003c/h2>\n\u003cp>Most Hallmark Christmas movies have until very recently had a pretty consistent soft-rom-com tone, but it feels like they’re starting to branch out a little. I enjoyed \u003cem>The Christmas Charade\u003c/em>, which is about a woman who gets wrapped up in a spy operation. It reminded me of ’80s shows I adored like \u003cem>Remington Steele\u003c/em>, where beautiful and well-dressed people have adventures while flirting. More of this, say I!\u003c/p>\n\u003cp>\u003cem>The 5-Year Christmas Party \u003c/em>(Hallmark) floats on the outstanding chemistry between Katie Findlay and Jordan Fisher, who play old friends who keep being tempted to make out all the time. It’s lovely and quite funny, and while I was watching this one, I had the thought: “It’s nice that women characters in Hallmark movies are sometimes allowed to have short hair now.”\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=6ooAi6la7xU\u003c/p>\n\u003cp>To say that Hallmark has a sketchy relationship with diversity is an understatement, but I liked \u003cem>Christmas with the Singhs\u003c/em>, which tries to engage with difference in a more straightforward way than their past TV movies. This one is about what it’s like to try to manage families with different holiday traditions when they’re joined by marriage.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CdW5MdKk_-s\u003c/p>\n\u003cp>As a person with a long history of watching \u003cem>The Amazing Race\u003c/em>, I had a great time with \u003cem>Jingle Bell Run \u003c/em>(Hallmark), which follows two people thrown together on a team for what amounts to a Christmas-themed \u003cem>Amazing Race\u003c/em>. Obviously they fall in love, and it’s super-charming. It stars Ashley Williams and Andrew Walker, who are two of the bigger stars in the Hallmark firmament, and it even gently acknowledges once or twice that they’re getting older, which is very welcome. (I mean, it happens.)\u003c/p>\n\u003cp>[aside postid='arts_13922004']If you like Finland, or dogs, perhaps you’re up for \u003cem>The Finnish Line\u003c/em> (Hallmark, Dec. 1), which is about dogsledding. As a person who has parasocial relationships with many internet dogs, including some sled dogs, this spoke to me personally. (Although I don’t think its grasp on the realities of mushing is terribly firm.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So grab a blanket, grab your cocoa, grab a snuggly person or pet or just your warmest sweater, and enjoy some of the standard and not-so-standard offerings of the holiday season.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As is tradition, we find ourselves once again in the heart of holiday movie season. This year’s installments include everything from a snowman who “comes to life,” shirtless Chad Michael Murray, Jack Black as Satan, and two Donna Kelce cameos. An exhaustive list would be prohibitive for both my editorial resources and your patience, but holiday movies are too dear to too many people to skip an update about what’s shaking in this particular glittery snow globe.\u003c/p>\n\u003cp>Here, we’ve broken down the highlights of the season, from the heavy-hitters to new franchise installments and goofy titles. There are casting surprises (like stars of \u003cem>The Office\u003c/em>), and Hanukkah movies on the way. Many of these TV movies are out as of Thanksgiving, but we’ve noted the premiere dates of those yet to come.\u003c/p>\n\u003cp>Let’s take a tour through some highlights.\u003c/p>\n\u003ch2>High-profile entries\u003c/h2>\n\u003cp>Every year, a few holiday TV movies poke their heads above the sea of films made for the die-hards — the people who can tell you off the tops of their heads exactly which frequent lead starred opposite Brandon Routh in \u003cem>The Nine Lives of Christmas\u003c/em> — and become known to the wider population.\u003c/p>\n\u003cp>(It was Kimberley Sustad, obviously. She’s not only been a great lead for Hallmark, but she’s now writing for them, too.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here are a few that may reach you even if you are not a close follower of this space. They lean toward Netflix, simply because of its size and reach, as well as the fact that Netflix makes fewer movies and makes a bigger deal out of each of them than some of the other providers.\u003c/p>\n\u003ch2>‘Hot Frosty’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Dmi794YO-0w'\n title='//www.youtube.com/embed/Dmi794YO-0w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Social media may have given you the lowdown on \u003cem>Hot Frosty\u003c/em>, which ran for many days at the very top of Netflix’s list of hottest movies. But just in case: \u003cem>Hot Frosty \u003c/em>stars Lacey Chabert (of \u003cem>Party of Five\u003c/em>, \u003cem>Mean Girls\u003c/em>, and roughly 15 prior Christmas movies by my count) and Dustin Milligan (\u003cem>Schitt’s Creek\u003c/em>). She plays a woman who puts a magic scarf on a very realistic snowman who comes to life; he plays the “comes to life.”\u003c/p>\n\u003cp>What follows is a very, very silly — but fortunately self-aware — little comedy also starring Craig Robinson and Joe Lo Truglio (in a \u003cem>Brooklyn Nine-Nine\u003c/em> reunion) as local law enforcement. They are in pursuit of the snowman because they believe him to be a dangerous streaker. That’s right: a dangerous streaker. I mean, he did come to life without pants on.\u003c/p>\n\u003ch2>‘The Merry Gentlemen’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/G80Q8-MJM1A'\n title='//www.youtube.com/embed/G80Q8-MJM1A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>Speaking of coming to life without pants on: I’ve always thought the holiday movie market needs more exotic dancers. Netflix comes through with \u003cem>The Merry Gentlemen\u003c/em>, in which Chad Michael Murray (of \u003cem>One Tree Hill\u003c/em>) and some other shirtless fellows save Christmas. He meets a woman, played by Britt Robertson, who wants desperately to save her parents’ struggling small music venue, The Rhythm Room (!).\u003c/p>\n\u003cp>She comes up with an idea: a PG-13 all-male revue featuring hot men she happens to know in her personal life. My favorite supporting Merry Gentleman: a local played by Maxwell Caulfield, who looked great in \u003cem>Grease 2 \u003c/em>when he was in his early 20s and looks great in this in his 60s. You go, Maxwell Caulfield. Don’t you let them touch your chest hair, either. (This, by the way, is the film that has dethroned \u003cem>Hot Frosty \u003c/em>atop the Netflix Top 10 list as of this writing.)\u003c/p>\n\u003ch2>‘Holiday Touchdown: A Chiefs Love Story’\u003c/h2>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/syuN4M-wa9s'\n title='//www.youtube.com/embed/syuN4M-wa9s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When Hallmark announced \u003cem>Holiday Touchdown: A Chiefs Love Story \u003c/em>(Nov. 30) over the summer, it seemed perfectly clear that its intent was to capitalize on the whole Taylor Swift-and-Travis Kelce thing. And don’t get me wrong: That’s true. (Donna Kelce has a cameo — although hilariously, she also has one in Hallmark’s \u003cem>Christmas on Call\u003c/em>, which takes place in Philadelphia. No favoritism for Mama Kelce!) \u003cem>Holiday Touchdown\u003c/em> was also made as a partnership with the team, much like Hallmark partnerships that have existed in the past with locations like Dollywood (\u003cem>\u003ca href=\"https://www.hallmarkchannel.com/christmas-at-dollywood\">Christmas at Dollywood\u003c/a>\u003c/em>), the Plaza Hotel (\u003cem>\u003ca href=\"https://www.hallmarkchannel.com/christmas-at-the-plaza/about-christmas-at-the-plaza\">Christmas at the Plaza\u003c/a>\u003c/em>) and the Biltmore Estate (\u003cem>\u003ca href=\"https://www.hallmarkchannel.com/a-biltmore-christmas\">A Biltmore Christmas\u003c/a>\u003c/em>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But \u003cem>Holiday Touchdown\u003c/em> is not directly inspired by the Travis/Taylor story. It’s about a woman (Hunter King) whose family is obsessed with the Kansas City Chiefs, and they’re being considered as part of the team’s Fan Of The Year contest. (… Sure.) She meets a guy (Tyler Hynes) who works for the team and becomes the family’s handler for the contest while also falling for her (an enormous conflict of interest, tssk). There’s a magic hat (sure!), there are many (many many) Kansas City cameos and references, and there is an avalanche of Chiefs branding. This one might be a B for regular Hallmark-ers, but it’s an A for Kansas City locals and anybody who’s ever shared a sports team obsession with people they love.\u003c/p>\n\u003cp>And here’s the twist! There \u003cem>is\u003c/em> a movie that looks directly Travis/Taylor inspired, and it’s over on Lifetime. Called \u003cem>\u003ca href=\"https://play.mylifetime.com/movies/christmas-in-the-spotlight/preview-christmas-in-the-spotlight\">Christmas in the Spotlight\u003c/a>\u003c/em>, it is about a pop megastar and a football player — he’s just not a Chiefs player. Glad we could clear this up.\u003c/p>\n\u003ch2>‘Our Little Secret’\u003c/h2>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fcc9G9PXTEE'\n title='//www.youtube.com/embed/fcc9G9PXTEE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lindsay Lohan was very charming in last year’s \u003ca href=\"https://www.kqed.org/arts/13921477/lindsay-lohan-christmas-movie-netflix-falling-for-christmas\">\u003cem>Falling for Christmas \u003c/em>\u003c/a>on Netflix; this year, she’s back with \u003cem>Our Little Secret\u003c/em>, in which she plays a woman who goes to spend the holidays with the family of her new boyfriend and runs into — dun! — her old boyfriend, who’s dating her new boyfriend’s sister. Kristin Chenoweth has the time of her life as the prospective mother-in-law, and Lindsay Lohan is, yet again, a durably charismatic lead who’s still got her comedy chops.\u003c/p>\n\u003ch2>Franchises and sequels\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IO2Vov72T3Q'\n title='//www.youtube.com/embed/IO2Vov72T3Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You may remember 2022’s \u003cem>Three Wise Men and a Baby\u003c/em>, starring three of Hallmark’s top leading men — Andrew Walker, Tyler Hynes and Paul Campbell, or as I admit I knew them for a long time while thoroughly enjoying their work, “that one guy,” “that other guy,” and “oh sure that guy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>They were brothers stuck caring for a baby over the holidays. Naturally, we now get the sequel titled \u003cem>Three Wiser Men and a Boy\u003c/em>. This is mostly a straight-up family comedy; it’s one of several Hallmark is doing this year that are not really romcoms even if they have romance elements. And, driven by the charm of the three leads, it’s a lot of fun. (These stories are co-written by Campbell and … Kimberley Sustad!)\u003c/p>\n\u003cp>As a side note, it’s been interesting to see Hallmark lean into the popularity of their male leads, who, for a long time, were treated as largely interchangeable partners for higher-profile actresses. They’re even airing a reality show this year called \u003cem>Finding Mr. Christmas\u003c/em>, hosted by Jonathan Bennett, in which men compete for a spot in a Hallmark movie called \u003cem>Happy Howlidays\u003c/em>\u003cem>,\u003c/em> which will then air on Dec. 21.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/j94E_7uwYPI'\n title='//www.youtube.com/embed/j94E_7uwYPI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>Also up: BET+’s \u003cem>Brewster’s Millions: Christmas \u003c/em>(Dec. 5), a sequel about the niece of Montgomery Brewster, played by Richard Pryor in the 1985 movie. Perhaps not the sequel we were expecting this year, but hey — long waits before stories get picked up again are the norm at this point.\u003c/p>\n\u003cp>We should also note a momentous franchise retirement: Between 2018 and 2023, Hallmark made the loosely connected films \u003cem>Time for Me to Come Home for Christmas\u003c/em>, \u003cem>Time for You to Come Home for Christmas\u003c/em>, \u003cem>Time for Him to Come Home for Christmas\u003c/em>, \u003cem>Time for Her to Come Home for Christmas\u003c/em>, \u003cem>Time for Them to Come Home for Christmas\u003c/em>, and \u003cem>Time for Us to Come Home for Christmas\u003c/em>. Perhaps owing to their exhaustion of the most familiar personal pronouns, they have seemingly completed this series.\u003c/p>\n\u003ch2>What is that title?\u003c/h2>\n\u003cp>Sometimes, the most enjoyable part of previewing holiday movies is looking ahead to the titles that will quite understandably make you wonder whether you are hallucinating — and then assuring you that you are not. Here are some of my favorite titles of 2024.\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>A Very Merry Beauty Salon\u003cbr>\n\u003c/em>\u003c/strong>\u003cspan style=\"font-size: 16px;font-weight: 400\">Lifetime, Dec. 7\u003c/span>\u003c/h2>\n\u003cp>Tia Mowry plays a salon owner who is preparing for a charity ball, and she meets a dashing wine CEO, and what’s not to like about that?\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>The Holiday Junkie\u003cbr>\n\u003c/em>\u003c/strong>\u003cspan style=\"font-size: 16px;font-weight: 400\">Lifetime, Dec. 14\u003c/span>\u003c/h2>\n\u003cp>Jennifer Love Hewitt co-wrote, directed and stars in this story about a woman who works with her mother as a decorator with a special fondness for Christmas. After her mom dies, she meets a Grinchy man who can perhaps help her deal with grief and also kissing.\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>A ’90s Christmas\u003cbr>\n\u003c/em>\u003c/strong>\u003cspan style=\"font-size: 16px;font-weight: 400\">Hallmark, Nov. 29\u003c/span>\u003c/h2>\n\u003cp>I am deeply wounded by the suggestion that the ’90s are ready for their nostalgia run (I know, I know, you don’t have to tell me how the math plays out), but here we are. This one is about a woman who seemingly goes back to 1999 with the help of … an enchanted Uber? (The description says “a mysterious rideshare experience.” I think that means “enchanted Uber.”)\u003c/p>\n\u003ch2>Fun with casting\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/91L4X-XNBzU'\n title='//www.youtube.com/embed/91L4X-XNBzU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>\u003cem>Confessions of a Christmas Letter \u003c/em>(Hallmark) is about a mom played by Angela Kinsey (of \u003cem>The Office\u003c/em>) who loves her family very much but struggles with her desire to write a competitively braggy Christmas letter about them. Her ultimate goal? To impress the man at the post office who keeps a “Hall of Fame” of Christmas letters. He is played by Brian Baumgartner (who played Kevin on \u003cem>The Office\u003c/em>). So she hires a novelist to spend two weeks writing one for her (uh, I am AVAILABLE FOR THIS GIG). While sparks do fly between said novelist and her daughter, this movie is mostly about this woman’s efforts to accept her imperfect family Christmas as the one that’s perfect for them.\u003c/p>\n\u003cp>\u003cem>Holiday Mismatch \u003c/em>(Hallmark) features two moms who don’t get along, who accidentally set up their adult children and then have to try to get them to break up. The moms are played by Beth Broderick and Caroline Rhea, who spent years playing the two aunts on \u003cem>Sabrina The Teenage Witch\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3n1GUmAhoTs'\n title='//www.youtube.com/embed/3n1GUmAhoTs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Something quite different: Jack Black’s holiday movie highlight up to this point might be, well, \u003cem>The Holiday\u003c/em>. But this season, on Paramount+, in \u003cem>Dear Santa\u003c/em>, he shows up as Satan (yep), after a kid’s misspelling accidentally summons the wrong higher power at Christmas. Also around for this one: Keegan-Michael Key and Post Malone. In some ways, it’s mostly surprising that Jack Black hasn’t played Satan before now.\u003c/p>\n\u003ch2>What about Hanukkah?\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Tohd6NlQDXc'\n title='//www.youtube.com/embed/Tohd6NlQDXc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When the big purveyors of holiday movies do Hanukkah, the results can be mixed, to say the least. BUT. Hallmark made an excellent Hanukkah one last year called \u003cem>Round and Round\u003c/em>, so I have higher hopes for these entries than I used to. This year, Hallmark has two. One, called \u003cem>Leah’s Perfect Gift\u003c/em> (Dec. 8), is about a Jewish woman who loves Christmas (though she doesn’t celebrate it) and welcomes the chance to participate with her boyfriend’s family, only to find things are more complicated than they might seem. It sounds like a tough premise to get perfectly right, but also maybe like a chance for some interesting storytelling.\u003c/p>\n\u003cp>More straightforward-sounding is \u003cem>Hanukkah on the Rocks \u003c/em>(Dec. 13), in which a corporate lawyer ends up bartending for “quirky regulars” at a Chicago bar, goes on a quest for Hanukkah candles, and that’s about the size of that.\u003c/p>\n\u003ch2>Also of note\u003c/h2>\n\u003cp>Most Hallmark Christmas movies have until very recently had a pretty consistent soft-rom-com tone, but it feels like they’re starting to branch out a little. I enjoyed \u003cem>The Christmas Charade\u003c/em>, which is about a woman who gets wrapped up in a spy operation. It reminded me of ’80s shows I adored like \u003cem>Remington Steele\u003c/em>, where beautiful and well-dressed people have adventures while flirting. More of this, say I!\u003c/p>\n\u003cp>\u003cem>The 5-Year Christmas Party \u003c/em>(Hallmark) floats on the outstanding chemistry between Katie Findlay and Jordan Fisher, who play old friends who keep being tempted to make out all the time. It’s lovely and quite funny, and while I was watching this one, I had the thought: “It’s nice that women characters in Hallmark movies are sometimes allowed to have short hair now.”\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6ooAi6la7xU'\n title='//www.youtube.com/embed/6ooAi6la7xU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To say that Hallmark has a sketchy relationship with diversity is an understatement, but I liked \u003cem>Christmas with the Singhs\u003c/em>, which tries to engage with difference in a more straightforward way than their past TV movies. This one is about what it’s like to try to manage families with different holiday traditions when they’re joined by marriage.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CdW5MdKk_-s'\n title='//www.youtube.com/embed/CdW5MdKk_-s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As a person with a long history of watching \u003cem>The Amazing Race\u003c/em>, I had a great time with \u003cem>Jingle Bell Run \u003c/em>(Hallmark), which follows two people thrown together on a team for what amounts to a Christmas-themed \u003cem>Amazing Race\u003c/em>. Obviously they fall in love, and it’s super-charming. It stars Ashley Williams and Andrew Walker, who are two of the bigger stars in the Hallmark firmament, and it even gently acknowledges once or twice that they’re getting older, which is very welcome. (I mean, it happens.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If you like Finland, or dogs, perhaps you’re up for \u003cem>The Finnish Line\u003c/em> (Hallmark, Dec. 1), which is about dogsledding. As a person who has parasocial relationships with many internet dogs, including some sled dogs, this spoke to me personally. (Although I don’t think its grasp on the realities of mushing is terribly firm.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So grab a blanket, grab your cocoa, grab a snuggly person or pet or just your warmest sweater, and enjoy some of the standard and not-so-standard offerings of the holiday season.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/news/11936480/the-science-behind-hangovers\">Hangover\u003c/a> cures are a dime a dozen. Guzzle a few raw eggs. Take an aspirin before bed. Chug a beer in the morning.\u003c/p>\n\u003cp>These remedies promise to banish some of the nasty symptoms that can come with drinking way too much alcohol: headache, nausea, vertigo, anxiety — or all of the above.\u003c/p>\n\u003cp>[aside postid='arts_13968478']But is there truth to any of these claims? Unfortunately, no, says Dr. \u003ca href=\"https://www.uhhospitals.org/doctors/Marino-Ryan-1275948648\">Ryan Marino\u003c/a>, a medical toxicologist and an emergency physician at University Hospitals Cleveland Medical Center. “I wish there was some magic drink everyone could have, but there isn’t.”\u003c/p>\n\u003cp>The only surefire way to prevent a hangover is to abstain from drinking, he says. And once you have a hangover, the only thing that will get you over it is time.\u003c/p>\n\u003cp>If you plan to drink alcohol and want to reduce potential symptoms, practice moderation, he says. That means limiting your alcohol intake to one drink a day or less for women, and two drinks a day or less for men, according to the Department of Health and Human Services.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Experts break down the science behind six common hangover myths — and explain how alcohol affects your body.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968713\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-scaled.jpeg\" alt=\"A black hip flask stands before a very dark shadow.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/p>\n\u003ch2>Myth: All hangovers are the same.\u003c/h2>\n\u003cp>The symptoms and severity of your hangover — like your alcohol tolerance — depends on many factors, says Marino. That includes age, weight, gender, ethnicity, family history, nutritional status, smoker status, mood, health conditions or whether you’re taking any medications.\u003c/p>\n\u003cp>[aside postid='arts_13968491']“Your hangover is going to be different from everyone else you know,” he says. For example, while one person might experience headaches and vomiting after just one drink, another might throw back whiskey gingers all night and wake up feeling tired but otherwise unscathed.\u003c/p>\n\u003cp>In fact, some people may not experience any symptoms. According to \u003ca href=\"https://pmc.ncbi.nlm.nih.gov/articles/PMC6761819/#:~:text=A%20survey%20by%20Harburg%20and,least%20some%20of%20the%20time.\">one study\u003c/a>, about 25% of people who drink to intoxication don’t have hangovers at all.\u003c/p>\n\u003cp>The length of hangovers can also vary. They can last 24 hours or longer depending on how much you drank, according to the National Institute on Alcohol Abuse and Alcoholism.\u003c/p>\n\u003ch2>Myth: You can prevent a hangover by drinking water or using hydration supplements.\u003c/h2>\n\u003cp>Alcohol increases urine production, so it’s true that dehydration can often contribute to the hurt of a hangover.\u003c/p>\n\u003cp>But that’s only one symptom of over-imbibing, says Marino. Drinking can cause inflammation, gastrointestinal irritation, disrupted sleep and low blood sugar. It also exposes you to acetaldehyde, a toxic byproduct produced when your body metabolizes alcohol, that can damage your cells and tissues.\u003c/p>\n\u003cp>Don’t expect products like sports drinks, vitamin-infused patches or hydration packets to work any miracles before or after a night on the town, says Marino. While they may keep you hydrated, they likely won’t address any other hangover symptoms.\u003c/p>\n\u003cp>But drinking water or other hydrating beverages during a night out is still a good idea, he says. It can help you practice moderation and remind you to space out your drinks.\u003c/p>\n\u003ch2>Myth: A “hair of the dog” can stop a hangover in its tracks.\u003c/h2>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/4500x3000+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F33%2F26%2F232a5ac44ae7b97b7fef052c180e%2Flk-dry-january-newsletter-harlan-3.jpg\" alt=\"Some people say that that consuming another drink will cure your hangover. In reality, you're just delaying any negative symptoms that may arise when the alcohol leaves your system, says Dr. Ryan Marino, a medical toxicologist and an emergency physician. \">\u003cfigcaption>Some people say that that consuming another drink will cure your hangover. In reality, you’re just delaying any negative symptoms that may arise when the alcohol leaves your system, says \u003ca href=\"https://www.uhhospitals.org/doctors/Marino-Ryan-1275948648\">Dr. Ryan Marino\u003c/a>, a medical toxicologist and an emergency physician.\u003cbr>\n\u003ccite> (Photo illustration by Becky Harlan | NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some people think that a “hair of the dog,” an alcoholic beverage consumed the morning after a night of heavy drinking, can help cure a hangover.\u003c/p>\n\u003cp>It may offer some temporary relief by raising your alcohol levels and masking symptoms like jitteriness or anxiety, says Marino. “But your hangover is just going to be pushed down the road.”\u003c/p>\n\u003cp>[aside postid='arts_13968257']A hangover can be a mild form of alcohol withdrawal, according to the NIAAA. Hangover symptoms peak — and likely, feel their worst — when the body’s blood alcohol concentration returns to zero.\u003c/p>\n\u003cp>Eventually, that bloody mary you had at brunch will leave your system, and you’ll have to deal with the aftermath. You’re not doing yourself any favors by piling on, says Marino.\u003c/p>\n\u003ch2>Myth: Beer before liquor, never been sicker. Liquor before beer, in the clear.\u003c/h2>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/4500x3000+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F66%2F5e%2Fb9fb39c04623a123ee7d74884404%2Flk-dry-january-newsletter-harlan-4-copy.jpg\" alt=\"The severity of your hangover does not depend on the order of drinks you consume, says Marino.\">\u003cfigcaption>The severity of your hangover does not depend on the order of drinks you consume, says Marino. \u003ccite> (Photo Illustration by Becky Harlan | NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some people swear by this adage. But in general, it’s not the order of alcohol that determines the severity of your hangover, says Marino. It’s how much you consume.\u003c/p>\n\u003cp>You’re likely to drink more alcohol in a shorter amount of time if you kick off your night with hard liquor, he says. It makes you inebriated faster — and you may feel inclined to drink more than you would slowly sipping a beer.\u003c/p>\n\u003cp>Some kinds of liquors may make hangovers more unpleasant. According to research, dark liquors like bourbon and brandy contain higher levels of congeners, or the chemicals produced during the fermentation process that give an alcohol its distinctive taste, smell and color. Generally speaking, \u003ca href=\"https://pmc.ncbi.nlm.nih.gov/articles/PMC3674844/\">the more congeners an alcohol has, the worse the hangover is likely to be\u003c/a>.\u003c/p>\n\u003ch2>Myth: Taking painkillers before bed can help you get ahead of hangover symptoms.\u003c/h2>\n\u003cp>While it’s a common practice to reach for over-the-counter pain relievers to try and minimize your headache in the morning, Marino says you could potentially do a lot more harm than good.\u003c/p>\n\u003cp>[aside postid='arts_13968600']Consuming just one alcoholic drink a day with non-steroidal anti-inflammatory drugs like Advil, Aleve or aspirin can increase your risk of gastrointestinal bleeding by 37%, \u003ca href=\"https://www.niaaa.nih.gov/health-professionals-communities/core-resource-on-alcohol/alcohol-medication-interactions-potentially-dangerous-mixes#:~:text=Combining%20them%20with%20alcohol%20significantly%20increases%20the%20risk.&text=Consuming%20up%20to%201%20drink,over%2Dthe%2Dcounter%20analgesic.\">\u003cu>according to the NIAAA.\u003c/u>\u003c/a>\u003c/p>\n\u003cp>When you combine alcohol with drugs containing acetaminophen, like Tylenol, you run the risk of liver damage, according to the NIAAA. Ingesting too much of one or both substances can be toxic to the liver. For that reason, the Food and Drug Administration advises against drinking when taking any medicine that includes acetaminophen.\u003c/p>\n\u003cp>If you’re taking any type of medication, proceed with caution, says Marino. \u003cstrong>“\u003c/strong>Even if your medication doesn’t have a label that says ‘Do not take with alcohol’, that doesn’t mean you can’t be affected.”\u003c/p>\n\u003ch2>Myth: Hangover symptoms are physical.\u003c/h2>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/4500x3000+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F2b%2Fc3%2Fdf7ad02e432c9b7ebd346e6db046%2Flk-dry-january-newsletter-harlan-2.jpg\" alt=\"While alcohol can initially have a calming effect, for many people it has the opposite effect once it starts to leave your system, says Dr. Nzinga Harrison, a physician specializing in psychiatry and addiction medicine.\">\u003cfigcaption>While alcohol can initially have a calming effect, for many people it has the opposite effect once it starts to leave your system, says \u003ca href=\"https://www.nzingaharrisonmd.com/\">Dr. Nzinga Harrison\u003c/a>, a physician specializing in psychiatry and addiction medicine. \u003ccite> (Photo illustration by Becky Harlan | NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It can also affect your mental health. Drinking too much can make you feel overwhelmed, irritated or on edge. And there’s a term for it that’s been trending on social media: “hangxiety.”\u003c/p>\n\u003cp>While alcohol can initially have a calming effect, your body can rebound as it leaves your system, causing a surge in adrenaline, a racing heartbeat or feelings of worry or stress, says \u003ca href=\"https://www.nzingaharrisonmd.com/\">Dr. Nzinga Harrison\u003c/a>, a physician specializing in psychiatry and addiction medicine.\u003c/p>\n\u003cp>It’s a tricky symptom to identify. You can experience hangxiety after even just one drink, says Harrison. And “it can come before physical symptoms or without physical symptoms at all.”\u003c/p>\n\u003cp>[aside postid='arts_13968602']To combat hangxiety, Harrison suggests doing activities to bring down your adrenaline levels, like mindfulness and meditation, and bring up your dopamine — like spending time with friends and getting lots of sunshine.\u003c/p>\n\u003cp>And while the only way to fully prevent hangxiety and hangovers is to abstain from alcohol, she says it helps to go into social situations in the best possible headspace. Before you go to that party, drink water, eat well and make sure you’re surrounded by people who make you feel positive and connected.\u003c/p>\n\u003cp>“All of that biologically and psychologically may not prevent the hangxiety entirely, but will decrease the severity of the hangxiety,” says Harrison.\u003c/p>\n\u003cp>\u003cem>A quick note: If alcohol is causing you stress or harm, seek medical advice. There are a variety of treatments, including counseling, medications and support groups, to help people who want to end that dependency. This includes Alcoholics Anonymous, which has helped countless people. This \u003c/em>\u003ca href=\"https://alcoholtreatment.niaaa.nih.gov/\">\u003cem>\u003cu>NIAAA guide\u003c/u>\u003c/em>\u003c/a>\u003cem> can help you find a program that’s right for you.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The digital story was edited by Malaka Gharib. The visual producer is Beck Harlan.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Want more Life Kit? Subscribe to our weekly newsletter and get expert advice on topics like money, relationships, health and more. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/life-kit\">\u003cem>Click here to subscribe now\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But is there truth to any of these claims? Unfortunately, no, says Dr. \u003ca href=\"https://www.uhhospitals.org/doctors/Marino-Ryan-1275948648\">Ryan Marino\u003c/a>, a medical toxicologist and an emergency physician at University Hospitals Cleveland Medical Center. “I wish there was some magic drink everyone could have, but there isn’t.”\u003c/p>\n\u003cp>The only surefire way to prevent a hangover is to abstain from drinking, he says. And once you have a hangover, the only thing that will get you over it is time.\u003c/p>\n\u003cp>If you plan to drink alcohol and want to reduce potential symptoms, practice moderation, he says. That means limiting your alcohol intake to one drink a day or less for women, and two drinks a day or less for men, according to the Department of Health and Human Services.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Experts break down the science behind six common hangover myths — and explain how alcohol affects your body.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968713\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-scaled.jpeg\" alt=\"A black hip flask stands before a very dark shadow.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/p>\n\u003ch2>Myth: All hangovers are the same.\u003c/h2>\n\u003cp>The symptoms and severity of your hangover — like your alcohol tolerance — depends on many factors, says Marino. That includes age, weight, gender, ethnicity, family history, nutritional status, smoker status, mood, health conditions or whether you’re taking any medications.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Your hangover is going to be different from everyone else you know,” he says. For example, while one person might experience headaches and vomiting after just one drink, another might throw back whiskey gingers all night and wake up feeling tired but otherwise unscathed.\u003c/p>\n\u003cp>In fact, some people may not experience any symptoms. According to \u003ca href=\"https://pmc.ncbi.nlm.nih.gov/articles/PMC6761819/#:~:text=A%20survey%20by%20Harburg%20and,least%20some%20of%20the%20time.\">one study\u003c/a>, about 25% of people who drink to intoxication don’t have hangovers at all.\u003c/p>\n\u003cp>The length of hangovers can also vary. They can last 24 hours or longer depending on how much you drank, according to the National Institute on Alcohol Abuse and Alcoholism.\u003c/p>\n\u003ch2>Myth: You can prevent a hangover by drinking water or using hydration supplements.\u003c/h2>\n\u003cp>Alcohol increases urine production, so it’s true that dehydration can often contribute to the hurt of a hangover.\u003c/p>\n\u003cp>But that’s only one symptom of over-imbibing, says Marino. Drinking can cause inflammation, gastrointestinal irritation, disrupted sleep and low blood sugar. It also exposes you to acetaldehyde, a toxic byproduct produced when your body metabolizes alcohol, that can damage your cells and tissues.\u003c/p>\n\u003cp>Don’t expect products like sports drinks, vitamin-infused patches or hydration packets to work any miracles before or after a night on the town, says Marino. While they may keep you hydrated, they likely won’t address any other hangover symptoms.\u003c/p>\n\u003cp>But drinking water or other hydrating beverages during a night out is still a good idea, he says. It can help you practice moderation and remind you to space out your drinks.\u003c/p>\n\u003ch2>Myth: A “hair of the dog” can stop a hangover in its tracks.\u003c/h2>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/4500x3000+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F33%2F26%2F232a5ac44ae7b97b7fef052c180e%2Flk-dry-january-newsletter-harlan-3.jpg\" alt=\"Some people say that that consuming another drink will cure your hangover. In reality, you're just delaying any negative symptoms that may arise when the alcohol leaves your system, says Dr. Ryan Marino, a medical toxicologist and an emergency physician. \">\u003cfigcaption>Some people say that that consuming another drink will cure your hangover. In reality, you’re just delaying any negative symptoms that may arise when the alcohol leaves your system, says \u003ca href=\"https://www.uhhospitals.org/doctors/Marino-Ryan-1275948648\">Dr. Ryan Marino\u003c/a>, a medical toxicologist and an emergency physician.\u003cbr>\n\u003ccite> (Photo illustration by Becky Harlan | NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some people think that a “hair of the dog,” an alcoholic beverage consumed the morning after a night of heavy drinking, can help cure a hangover.\u003c/p>\n\u003cp>It may offer some temporary relief by raising your alcohol levels and masking symptoms like jitteriness or anxiety, says Marino. “But your hangover is just going to be pushed down the road.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A hangover can be a mild form of alcohol withdrawal, according to the NIAAA. Hangover symptoms peak — and likely, feel their worst — when the body’s blood alcohol concentration returns to zero.\u003c/p>\n\u003cp>Eventually, that bloody mary you had at brunch will leave your system, and you’ll have to deal with the aftermath. You’re not doing yourself any favors by piling on, says Marino.\u003c/p>\n\u003ch2>Myth: Beer before liquor, never been sicker. Liquor before beer, in the clear.\u003c/h2>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/4500x3000+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F66%2F5e%2Fb9fb39c04623a123ee7d74884404%2Flk-dry-january-newsletter-harlan-4-copy.jpg\" alt=\"The severity of your hangover does not depend on the order of drinks you consume, says Marino.\">\u003cfigcaption>The severity of your hangover does not depend on the order of drinks you consume, says Marino. \u003ccite> (Photo Illustration by Becky Harlan | NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some people swear by this adage. But in general, it’s not the order of alcohol that determines the severity of your hangover, says Marino. It’s how much you consume.\u003c/p>\n\u003cp>You’re likely to drink more alcohol in a shorter amount of time if you kick off your night with hard liquor, he says. It makes you inebriated faster — and you may feel inclined to drink more than you would slowly sipping a beer.\u003c/p>\n\u003cp>Some kinds of liquors may make hangovers more unpleasant. According to research, dark liquors like bourbon and brandy contain higher levels of congeners, or the chemicals produced during the fermentation process that give an alcohol its distinctive taste, smell and color. Generally speaking, \u003ca href=\"https://pmc.ncbi.nlm.nih.gov/articles/PMC3674844/\">the more congeners an alcohol has, the worse the hangover is likely to be\u003c/a>.\u003c/p>\n\u003ch2>Myth: Taking painkillers before bed can help you get ahead of hangover symptoms.\u003c/h2>\n\u003cp>While it’s a common practice to reach for over-the-counter pain relievers to try and minimize your headache in the morning, Marino says you could potentially do a lot more harm than good.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Consuming just one alcoholic drink a day with non-steroidal anti-inflammatory drugs like Advil, Aleve or aspirin can increase your risk of gastrointestinal bleeding by 37%, \u003ca href=\"https://www.niaaa.nih.gov/health-professionals-communities/core-resource-on-alcohol/alcohol-medication-interactions-potentially-dangerous-mixes#:~:text=Combining%20them%20with%20alcohol%20significantly%20increases%20the%20risk.&text=Consuming%20up%20to%201%20drink,over%2Dthe%2Dcounter%20analgesic.\">\u003cu>according to the NIAAA.\u003c/u>\u003c/a>\u003c/p>\n\u003cp>When you combine alcohol with drugs containing acetaminophen, like Tylenol, you run the risk of liver damage, according to the NIAAA. Ingesting too much of one or both substances can be toxic to the liver. For that reason, the Food and Drug Administration advises against drinking when taking any medicine that includes acetaminophen.\u003c/p>\n\u003cp>If you’re taking any type of medication, proceed with caution, says Marino. \u003cstrong>“\u003c/strong>Even if your medication doesn’t have a label that says ‘Do not take with alcohol’, that doesn’t mean you can’t be affected.”\u003c/p>\n\u003ch2>Myth: Hangover symptoms are physical.\u003c/h2>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/4500x3000+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F2b%2Fc3%2Fdf7ad02e432c9b7ebd346e6db046%2Flk-dry-january-newsletter-harlan-2.jpg\" alt=\"While alcohol can initially have a calming effect, for many people it has the opposite effect once it starts to leave your system, says Dr. Nzinga Harrison, a physician specializing in psychiatry and addiction medicine.\">\u003cfigcaption>While alcohol can initially have a calming effect, for many people it has the opposite effect once it starts to leave your system, says \u003ca href=\"https://www.nzingaharrisonmd.com/\">Dr. Nzinga Harrison\u003c/a>, a physician specializing in psychiatry and addiction medicine. \u003ccite> (Photo illustration by Becky Harlan | NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It can also affect your mental health. Drinking too much can make you feel overwhelmed, irritated or on edge. And there’s a term for it that’s been trending on social media: “hangxiety.”\u003c/p>\n\u003cp>While alcohol can initially have a calming effect, your body can rebound as it leaves your system, causing a surge in adrenaline, a racing heartbeat or feelings of worry or stress, says \u003ca href=\"https://www.nzingaharrisonmd.com/\">Dr. Nzinga Harrison\u003c/a>, a physician specializing in psychiatry and addiction medicine.\u003c/p>\n\u003cp>It’s a tricky symptom to identify. You can experience hangxiety after even just one drink, says Harrison. And “it can come before physical symptoms or without physical symptoms at all.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To combat hangxiety, Harrison suggests doing activities to bring down your adrenaline levels, like mindfulness and meditation, and bring up your dopamine — like spending time with friends and getting lots of sunshine.\u003c/p>\n\u003cp>And while the only way to fully prevent hangxiety and hangovers is to abstain from alcohol, she says it helps to go into social situations in the best possible headspace. Before you go to that party, drink water, eat well and make sure you’re surrounded by people who make you feel positive and connected.\u003c/p>\n\u003cp>“All of that biologically and psychologically may not prevent the hangxiety entirely, but will decrease the severity of the hangxiety,” says Harrison.\u003c/p>\n\u003cp>\u003cem>A quick note: If alcohol is causing you stress or harm, seek medical advice. There are a variety of treatments, including counseling, medications and support groups, to help people who want to end that dependency. This includes Alcoholics Anonymous, which has helped countless people. This \u003c/em>\u003ca href=\"https://alcoholtreatment.niaaa.nih.gov/\">\u003cem>\u003cu>NIAAA guide\u003c/u>\u003c/em>\u003c/a>\u003cem> can help you find a program that’s right for you.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The digital story was edited by Malaka Gharib. The visual producer is Beck Harlan.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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