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"content": "\u003cfigure id=\"attachment_13965285\" class=\"wp-caption aligncenter\" style=\"max-width: 1696px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965285\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-scaled.jpeg\" alt=\"A book cover featuring an illustration of a black bird.\" width=\"1696\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-scaled.jpeg 1696w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-800x1208.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-1020x1540.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-160x242.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-768x1160.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-1017x1536.jpeg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/9780385547994-1356x2048.jpeg 1356w\" sizes=\"(max-width: 1696px) 100vw, 1696px\">\u003cfigcaption class=\"wp-caption-text\">‘Death at the Sign of the Rook’ by Kate Atkinson. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like a great city, the mystery genre is home to many different communities. There are police procedurals, locked-room teasers, hard-boiled detective yarns and the soothing small-town cozies you find on Acorn TV. One of the merrier neighborhoods is that of the meta-mystery — PBS’ \u003ca href=\"https://video.kqed.org/show/magpie-murders/\">\u003cem>Magpie Murders\u003c/em>\u003c/a> series is a great example — whose creators don’t simply tell a story. They lean into the artificiality of mysteries, highlighting and sometimes laying bare the gambits and tropes that keep us reading.\u003c/p>\n\u003cp>The latest arrival in this neighborhood is \u003cem>Death at the Sign of the Rook\u003c/em>, the sunny sixth entry in \u003ca href=\"https://www.kqed.org/arts/10136754/bragging-rights-great-lit-perfect-for-summer-reading\">Kate Atkinson\u003c/a>‘s addictive series about Jackson Brodie, a sometimes saturnine private detective with a German shepherd’s keen eye for abuse. Last time out, in \u003cem>Big Sky\u003c/em>, Brodie cracked a child molestation gang in a tale that recalled the real-life case of BBC entertainer \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/01/11/169146888/jimmy-savile-sexually-abused-hundreds-police-report-concludes\">Jimmy Savile\u003c/a>. Perhaps because that story was so grim — too nasty, really, for Atkinson’s generous style — she’s made this latest installment a lark. The book flirts with, and tweaks, Golden-Age mysteries like those of Agatha Christie.\u003c/p>\n\u003cp>[aside postid='arts_13964548']\u003cem>Death at the Sign of the Rook\u003c/em> begins with an invitation to a “Murder Mystery Weekend” at Burton Makepeace House, a Downton Abbey-like stately home in Yorkshire. There, we’re told, guests will engage in what sounds like a live-action version of the game \u003cem>Clue\u003c/em>, with actors playing all the parts. The invitation doesn’t mention that the weekend is being offered because Burton Makepeace’s owners, Lord and Lady Milton, are strapped for cash.\u003c/p>\n\u003cp>From the moment we read about a weekend devoted to solving a fake murder, we know there will be a real one. We also know that Brodie will wind up there. The question is how.\u003c/p>\n\u003cp>The answer starts with him being asked to find a painting stolen by the woman who’d been caring for his clients’ terminally ill mother. To track her down, he enlists the aid of Det. Constable Reggie Chase. She had investigated an earlier art theft at — where else? — Burton Makepeace.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, Atkinson loves a densely-populated story. Even as Brodie and Reggie pursue leads, the book takes us inside the heads of three other key characters, who’ve all lost something big: Simon, a village reverend, has lost his faith. Ben, an army major, lost his leg in Afghanistan, and with it his sense of purpose. And Lady Milton — whose thoughts are hilariously WASP-ish — has lost her privilege. We know that this trio will play a part in the Murder Mystery Weekend.\u003c/p>\n\u003cp>[aside postid='arts_13963133']The heart of the novel is, of course, Brodie, now in his 60s, grumpy about the changing world, but happy with his new Land Rover Defender. As the victim of an abusive father, he’s possessed of a strict code: “You were allowed to hit men — sometimes it was wrong not to — but not women, children, or dogs.” Six novels in, it’s clear that Atkinson treasures Brodie as an appealing fantasy, an ideal version of the flawed, all too human modern male, battered by experience but filled with decency and curiosity and gruff charm.\u003c/p>\n\u003cp>Of course, Atkinson also writes prize-winning literary fiction — her masterpiece is 2015’s \u003ca href=\"https://www.npr.org/2015/05/06/403127284/after-life-a-god-in-ruins-picks-up-the-epic-tale-of-the-todds\">\u003cem>A God in Ruins\u003c/em> \u003c/a>— yet she feels no need to cordon off the Brodie novels from her so-called “serious” ones. Her mysteries brim with the same warm attention to vulnerable souls, the same nifty wit — she uses parentheticals like a guillotine — and the same fascination with the world around her.\u003c/p>\n\u003cp>Indeed, Atkinson uses this latest mystery to ruminate on scads of things: politics, television programs, art theft, the horrors of war, the decline of religion, violence against women and the workings of old-fashioned mystery novels with their “bloodless plots.” Hers is not a fiction of zen astringency.\u003c/p>\n\u003cp>[aside postid='arts_13963659']On the contrary, \u003cem>Death at the Sign of the Rook\u003c/em> strews loose ends all over the Yorkshire countryside. Have I mentioned that there’s an escaped killer on the prowl? Or that a white-out blizzard is about to hit Burton Makepeace? Yet even as characters and events and ideas proliferate, Atkinson never loses sight of any of them. Her books always start out looking shaggy, but wind up being anything but.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>By the time we reach the Murder Mystery Weekend itself, all the book’s loose ends get woven together. And even though this novel makes fun of the classic murder mystery — with its baroque plots and too-neat solutions — Atkinson understands its delights. As everything clicks into place — and the mystery is solved — we let out a satisfied, \u003cem>Ahhh\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, Atkinson loves a densely-populated story. Even as Brodie and Reggie pursue leads, the book takes us inside the heads of three other key characters, who’ve all lost something big: Simon, a village reverend, has lost his faith. Ben, an army major, lost his leg in Afghanistan, and with it his sense of purpose. And Lady Milton — whose thoughts are hilariously WASP-ish — has lost her privilege. We know that this trio will play a part in the Murder Mystery Weekend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The heart of the novel is, of course, Brodie, now in his 60s, grumpy about the changing world, but happy with his new Land Rover Defender. As the victim of an abusive father, he’s possessed of a strict code: “You were allowed to hit men — sometimes it was wrong not to — but not women, children, or dogs.” Six novels in, it’s clear that Atkinson treasures Brodie as an appealing fantasy, an ideal version of the flawed, all too human modern male, battered by experience but filled with decency and curiosity and gruff charm.\u003c/p>\n\u003cp>Of course, Atkinson also writes prize-winning literary fiction — her masterpiece is 2015’s \u003ca href=\"https://www.npr.org/2015/05/06/403127284/after-life-a-god-in-ruins-picks-up-the-epic-tale-of-the-todds\">\u003cem>A God in Ruins\u003c/em> \u003c/a>— yet she feels no need to cordon off the Brodie novels from her so-called “serious” ones. Her mysteries brim with the same warm attention to vulnerable souls, the same nifty wit — she uses parentheticals like a guillotine — and the same fascination with the world around her.\u003c/p>\n\u003cp>Indeed, Atkinson uses this latest mystery to ruminate on scads of things: politics, television programs, art theft, the horrors of war, the decline of religion, violence against women and the workings of old-fashioned mystery novels with their “bloodless plots.” Hers is not a fiction of zen astringency.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Pesto the baby penguin is huge — both online and literally speaking.\u003c/p>\n\u003cp>The nine-month-old king penguin, who lives at the Sea Life Melbourne Aquarium in Australia, weighs about 46 pounds.\u003c/p>\n\u003cp>[aside postid='arts_13962787']That’s enormous, even by seabird standards. King penguins, the \u003ca href=\"https://detroitzoo.org/animal/king-penguin/#:~:text=King%20penguins%20are%20the%20second,to%20Antarctic%20and%20subantarctic%20islands.\">\u003cu>second-largest species\u003c/u>\u003c/a> of penguin, typically weigh 20 to 30 pounds when they’re fully grown.\u003c/p>\n\u003cp>“He’s officially the largest chick SEA LIFE Melbourne has ever seen, making him a huge hit with guests and fans around the world,” the \u003ca href=\"https://www.visitsealife.com/melbourne/whats-inside/animals/king-and-gentoo-penguins/visit-pesto/#gref\">\u003cu>aquarium says\u003c/u>\u003c/a>.\u003c/p>\n\u003cp>It credits his “hearty appetite” of 25 fish per day, as well as good genes and parenting: His biological dad, Blake, is the aquarium’s biggest and oldest penguin (and also “a bit of a ladies man”).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pesto has the distinct honor of being the only king penguin chick to hatch at this particular aquarium in all of 2024, after none were born last year.\u003c/p>\n\u003cp>Jacinta Early, the aquarium’s education supervisor, \u003ca href=\"https://apnews.com/article/pesto-penguin-australia-huge-chick-aquarium-45ccd55631d14a3f986f932ffbfcdc7a\">\u003cu>told the Associated Press\u003c/u>\u003c/a> on Friday that Pesto ate 53 pounds of fish — more than his own body weight — in the past week alone.\u003c/p>\n\u003cp>[aside postid='arts_13962216']As Pesto has grown in size, so too has his online fanbase.\u003c/p>\n\u003cp>He first went on display in April, but his following exploded earlier this month after the aquarium threw him a gender reveal, officially certifying his big boy status.\u003c/p>\n\u003cp>As the aquarium explained in \u003ca href=\"https://www.instagram.com/p/C_hJFZet0w1/?hl=en\">\u003cu>social media videos\u003c/u>\u003c/a>, a king penguin’s gender can’t be determined just by looking. Instead, staff had to send a blood sample off to a lab for testing.\u003c/p>\n\u003cp>“That was done a couple of weeks ago, and it’s finally come back to us to say he’s a boy,” says the voiceover on a video of the celebration, in which staff members can be seen cheering as someone cuts an undersea-themed cake filled with blue icing.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@sealifemelbourneaquarium/video/7413571851449879815\" data-video-id=\"7413571851449879815\">\n\u003csection>\u003ca title=\"@sealifemelbourneaquarium\" href=\"https://www.tiktok.com/@sealifemelbourneaquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">@sealifemelbourneaquarium\u003c/a>Our baby King Penguin Pesto is a…\u003ca title=\"♬ original sound - SEA LIFE Melbourne\" href=\"https://www.tiktok.com/music/original-sound-SEA-LIFE-Melbourne-7413572250252626705?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – SEA LIFE Melbourne\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Pesto has also gone viral in \u003ca href=\"https://www.tiktok.com/@squincx/video/7414376051293392146\">\u003cu>TikToks posted\u003c/u>\u003c/a> by aquarium visitors, which have racked up \u003ca href=\"https://www.tiktok.com/@tsukinikki/video/7408254227211930898\">\u003cu>millions of views\u003c/u>\u003c/a> in recent weeks.\u003c/p>\n\u003cp>Whether he’s waddling around or just standing in his enclosure, Pesto’s round figure and fuzzy brown feathers set him apart from the other penguins, with their black feathers and sleeker builds.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@squincx/video/7414376051293392146\" data-video-id=\"7414376051293392146\">\n\u003csection>\u003ca title=\"@squincx\" href=\"https://www.tiktok.com/@squincx?refer=embed\" target=\"_blank\" rel=\"noopener\">@squincx\u003c/a> \u003ca title=\"pestothepenguin\" href=\"https://www.tiktok.com/tag/pestothepenguin?refer=embed\" target=\"_blank\" rel=\"noopener\">#pestothepenguin\u003c/a> \u003ca title=\"melbourne\" href=\"https://www.tiktok.com/tag/melbourne?refer=embed\" target=\"_blank\" rel=\"noopener\">#melbourne\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"♬ original sound - steveJmillerofficial\" href=\"https://www.tiktok.com/music/original-sound-7303109285512891169?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – steveJmillerofficial\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Michaela Smale, a senior keeper at the aquarium, \u003ca href=\"https://www.9news.com.au/national/pesto-baby-penguin-chick-sea-life-melbourne-aquarium/ed94d85b-7b4c-40dc-a7a1-d53c4eedfb57\">\u003cu>told 9News\u003c/u>\u003c/a> that Pesto has reached more than 1.9 billion people around the world.\u003c/p>\n\u003cp>“We have seen an increase in social traffic, web traffic and, of course, footfall,” she added.\u003c/p>\n\u003cp>The aquarium even posted a TikTok this week of Pesto set to a Katy Perry song, urging the singer to come visit their VIP (very important penguin) in person.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@sealifemelbourneaquarium/video/7416593703499730183\" data-video-id=\"7416593703499730183\">\n\u003csection>\u003ca title=\"@sealifemelbourneaquarium\" href=\"https://www.tiktok.com/@sealifemelbourneaquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">@sealifemelbourneaquarium\u003c/a> From one icon to another—@katyperry come meet Pesto. 🐧💃 Catch this VIP (Very Important Penguin) at SEA LIFE Melbourne 🎶 \u003ca title=\"lifetimes\" href=\"https://www.tiktok.com/tag/lifetimes?refer=embed\" target=\"_blank\" rel=\"noopener\">#lifetimes\u003c/a> \u003ca title=\"♬ original sound - SEA LIFE Melbourne\" href=\"https://www.tiktok.com/music/original-sound-SEA-LIFE-Melbourne-7416593789898345232?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – SEA LIFE Melbourne\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>King penguin chicks shed their fuzzy brown down in favor of sleek black, white and orange feathers at around 10-12 months, which is just around the corner for Pesto.\u003c/p>\n\u003cp>The aquarium says he is \u003ca href=\"https://www.britannica.com/animal/king-penguin\">\u003cu>likely to slim down\u003c/u>\u003c/a> — probably closer to 33 pounds — once he develops his adult coat.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But he’ll always be a star.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pesto the baby penguin is huge — both online and literally speaking.\u003c/p>\n\u003cp>The nine-month-old king penguin, who lives at the Sea Life Melbourne Aquarium in Australia, weighs about 46 pounds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That’s enormous, even by seabird standards. King penguins, the \u003ca href=\"https://detroitzoo.org/animal/king-penguin/#:~:text=King%20penguins%20are%20the%20second,to%20Antarctic%20and%20subantarctic%20islands.\">\u003cu>second-largest species\u003c/u>\u003c/a> of penguin, typically weigh 20 to 30 pounds when they’re fully grown.\u003c/p>\n\u003cp>“He’s officially the largest chick SEA LIFE Melbourne has ever seen, making him a huge hit with guests and fans around the world,” the \u003ca href=\"https://www.visitsealife.com/melbourne/whats-inside/animals/king-and-gentoo-penguins/visit-pesto/#gref\">\u003cu>aquarium says\u003c/u>\u003c/a>.\u003c/p>\n\u003cp>It credits his “hearty appetite” of 25 fish per day, as well as good genes and parenting: His biological dad, Blake, is the aquarium’s biggest and oldest penguin (and also “a bit of a ladies man”).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pesto has the distinct honor of being the only king penguin chick to hatch at this particular aquarium in all of 2024, after none were born last year.\u003c/p>\n\u003cp>Jacinta Early, the aquarium’s education supervisor, \u003ca href=\"https://apnews.com/article/pesto-penguin-australia-huge-chick-aquarium-45ccd55631d14a3f986f932ffbfcdc7a\">\u003cu>told the Associated Press\u003c/u>\u003c/a> on Friday that Pesto ate 53 pounds of fish — more than his own body weight — in the past week alone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As Pesto has grown in size, so too has his online fanbase.\u003c/p>\n\u003cp>He first went on display in April, but his following exploded earlier this month after the aquarium threw him a gender reveal, officially certifying his big boy status.\u003c/p>\n\u003cp>As the aquarium explained in \u003ca href=\"https://www.instagram.com/p/C_hJFZet0w1/?hl=en\">\u003cu>social media videos\u003c/u>\u003c/a>, a king penguin’s gender can’t be determined just by looking. Instead, staff had to send a blood sample off to a lab for testing.\u003c/p>\n\u003cp>“That was done a couple of weeks ago, and it’s finally come back to us to say he’s a boy,” says the voiceover on a video of the celebration, in which staff members can be seen cheering as someone cuts an undersea-themed cake filled with blue icing.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@sealifemelbourneaquarium/video/7413571851449879815\" data-video-id=\"7413571851449879815\">\n\u003csection>\u003ca title=\"@sealifemelbourneaquarium\" href=\"https://www.tiktok.com/@sealifemelbourneaquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">@sealifemelbourneaquarium\u003c/a>Our baby King Penguin Pesto is a…\u003ca title=\"♬ original sound - SEA LIFE Melbourne\" href=\"https://www.tiktok.com/music/original-sound-SEA-LIFE-Melbourne-7413572250252626705?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – SEA LIFE Melbourne\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pesto has also gone viral in \u003ca href=\"https://www.tiktok.com/@squincx/video/7414376051293392146\">\u003cu>TikToks posted\u003c/u>\u003c/a> by aquarium visitors, which have racked up \u003ca href=\"https://www.tiktok.com/@tsukinikki/video/7408254227211930898\">\u003cu>millions of views\u003c/u>\u003c/a> in recent weeks.\u003c/p>\n\u003cp>Whether he’s waddling around or just standing in his enclosure, Pesto’s round figure and fuzzy brown feathers set him apart from the other penguins, with their black feathers and sleeker builds.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@squincx/video/7414376051293392146\" data-video-id=\"7414376051293392146\">\n\u003csection>\u003ca title=\"@squincx\" href=\"https://www.tiktok.com/@squincx?refer=embed\" target=\"_blank\" rel=\"noopener\">@squincx\u003c/a> \u003ca title=\"pestothepenguin\" href=\"https://www.tiktok.com/tag/pestothepenguin?refer=embed\" target=\"_blank\" rel=\"noopener\">#pestothepenguin\u003c/a> \u003ca title=\"melbourne\" href=\"https://www.tiktok.com/tag/melbourne?refer=embed\" target=\"_blank\" rel=\"noopener\">#melbourne\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"♬ original sound - steveJmillerofficial\" href=\"https://www.tiktok.com/music/original-sound-7303109285512891169?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – steveJmillerofficial\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Michaela Smale, a senior keeper at the aquarium, \u003ca href=\"https://www.9news.com.au/national/pesto-baby-penguin-chick-sea-life-melbourne-aquarium/ed94d85b-7b4c-40dc-a7a1-d53c4eedfb57\">\u003cu>told 9News\u003c/u>\u003c/a> that Pesto has reached more than 1.9 billion people around the world.\u003c/p>\n\u003cp>“We have seen an increase in social traffic, web traffic and, of course, footfall,” she added.\u003c/p>\n\u003cp>The aquarium even posted a TikTok this week of Pesto set to a Katy Perry song, urging the singer to come visit their VIP (very important penguin) in person.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@sealifemelbourneaquarium/video/7416593703499730183\" data-video-id=\"7416593703499730183\">\n\u003csection>\u003ca title=\"@sealifemelbourneaquarium\" href=\"https://www.tiktok.com/@sealifemelbourneaquarium?refer=embed\" target=\"_blank\" rel=\"noopener\">@sealifemelbourneaquarium\u003c/a> From one icon to another—@katyperry come meet Pesto. 🐧💃 Catch this VIP (Very Important Penguin) at SEA LIFE Melbourne 🎶 \u003ca title=\"lifetimes\" href=\"https://www.tiktok.com/tag/lifetimes?refer=embed\" target=\"_blank\" rel=\"noopener\">#lifetimes\u003c/a> \u003ca title=\"♬ original sound - SEA LIFE Melbourne\" href=\"https://www.tiktok.com/music/original-sound-SEA-LIFE-Melbourne-7416593789898345232?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – SEA LIFE Melbourne\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>King penguin chicks shed their fuzzy brown down in favor of sleek black, white and orange feathers at around 10-12 months, which is just around the corner for Pesto.\u003c/p>\n\u003cp>The aquarium says he is \u003ca href=\"https://www.britannica.com/animal/king-penguin\">\u003cu>likely to slim down\u003c/u>\u003c/a> — probably closer to 33 pounds — once he develops his adult coat.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But he’ll always be a star.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "casa-bonita-mi-amor-documentary-review-south-park-creators-parker-stone",
"title": "‘South Park’ Creators Renovate a Beloved Restaurant and Find Nostalgia Is Pricey",
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"headTitle": "‘South Park’ Creators Renovate a Beloved Restaurant and Find Nostalgia Is Pricey | KQED",
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"content": "\u003cp>Maybe because most of us come from somewhere else, Americans just love replicas of foreign places — William Randolph Hearst’s \u003ca href=\"https://www.kqed.org/arts/13886781/californias-trailblazing-female-architect-built-lavishly-lived-simply\">faux European castle\u003c/a> in San Simeon, Calif.; Paris Las Vegas with its half-size Eiffel Tower and mini Louvre; or the mock Alpine village you find in, of all places, Helen, Ga. Creating a giddy atmosphere that Umberto Eco dubbed “hyperreality,” such crazily ambitious simulacra fill nearly everyone with childish delight.\u003c/p>\n\u003cp>This includes \u003ca href=\"https://www.npr.org/2011/05/19/136142322/book-of-mormon-creators-on-their-broadway-smash\">Trey Parker and Matt Stone\u003c/a> of \u003cem>South Park\u003c/em> and \u003cem>The\u003c/em> \u003cem>Book of Mormon\u003c/em> fame. Although notorious for their cynical humor, both harbor a profound affection for one of the places they adored as kids: Casa Bonita, a 50,000 square foot attraction in a Lakewood, Colo., strip mall that has been dubbed the Disneyland of Mexican restaurants. It’s an Anglo businessman’s fantastical riff on an old Mexican village, one decked out with Old West outlaws, volcanoes, cliff divers and even a gorilla that runs through caverns studded with stalactites.\u003c/p>\n\u003cp>[aside postid='arts_13960040']More than half a century after opening in 1974 — complete with TV ads featuring Ricardo Montalban! — this once-spectacular crowd-puller had fallen on such desperate times that it was doomed to close. Then it was bought out of bankruptcy “as is” by Stone and Parker, who vowed to save the beloved Colorado landmark and return it to its former glory.\u003c/p>\n\u003cp>Their battle to do so is the subject of the enjoyable new documentary \u003cem>¡Casa Bonita, Mi Amor!\u003c/em> Directed by Arthur Bradford and produced by MTV Documentary Films, the movie’s a treat, weaving together great archival footage, excerpts from \u003cem>South Park\u003c/em> and Elvis’ movie \u003cem>Fun in Acapulco\u003c/em>, plus countless scenes of Parker and Stone’s amused horror when they hear the latest reason why their labor of love is becoming a money-pit.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I4TkkS7xePY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After a zippy capsule history of Casa Bonita, with its Pepto-Bismol-pink facade and blue fountain out front, the movie returns to the present to show everything it takes to recreate a mecca whose true meaning lay in the feelings it once induced. Because the original Casa Bonita was legendary for lousy food, they bring on an executive chef, Dana Rodriguez, who’s been nominated for James Beard Awards. She takes Parker to Oaxaca so he can soak up the atmosphere and get inspired.\u003c/p>\n\u003cp>Yet wondrous inspiration bumps into un-wondrous reality. Turns out that their new property is a dilapidated death trap in which everything — electricity, plumbing, air conditioning — must be redone. A renovation originally budgeted at $6 million suddenly balloons to a new estimate of $20 million plus.\u003c/p>\n\u003cp>[aside postid='arts_13964208']Now, as \u003cem>¡Casa Bonita Mi Amor!\u003c/em> chronicles the high price of nostalgia, it also offers an offhand glimpse at one of pop culture’s signature creative teams. It doesn’t take long to spot the differences between the two longtime friends — Parker is clearly the dreamy, creative one; Stone the shrewd whetstone on which he sharpens his ideas. What you may find surprising is the secret sentimentality of guys whose comedy takes such pride in finding nothing sacred. Parker, in particular, betrays a sweetness in his romantic attachment to the innocent pleasures of childhood. He’s also a perfectionist. We see his artistic process, fussing over and tweaking every creative detail of the project.\u003c/p>\n\u003cp>As their crew desperately races to have everything perfect by opening day — spending even more millions along the way — it becomes clear that Parker and Stone are chasing a ghost or maybe a paradox. The original Casa Bonita was a 1970s inauthentic version of 19th-century Mexico, but to recapture its magic this new version can’t be the same Casa Bonita that Parker remembers so fondly. Just as Indiana Jones’ movies had to use top-drawer talent to emulate cheap, old movie serials, so their restaurant has to meet today’s expectations — tastier food, sharper entertainment — or visitors won’t find it as thrilling as the original. To feel the same, it has to be different.\u003c/p>\n\u003cp>By the time Casa Bonita finally reopens — there is a happy ending — Parker and Stone have done something that could hardly be more quintessentially American: They’ve spent a fortune to make a copy of a Mexican-themed restaurant that’s actually better than the original.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘¡Casa Bonita, Mi Amor!’ opens in the Bay Area on Sept. 17, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe because most of us come from somewhere else, Americans just love replicas of foreign places — William Randolph Hearst’s \u003ca href=\"https://www.kqed.org/arts/13886781/californias-trailblazing-female-architect-built-lavishly-lived-simply\">faux European castle\u003c/a> in San Simeon, Calif.; Paris Las Vegas with its half-size Eiffel Tower and mini Louvre; or the mock Alpine village you find in, of all places, Helen, Ga. Creating a giddy atmosphere that Umberto Eco dubbed “hyperreality,” such crazily ambitious simulacra fill nearly everyone with childish delight.\u003c/p>\n\u003cp>This includes \u003ca href=\"https://www.npr.org/2011/05/19/136142322/book-of-mormon-creators-on-their-broadway-smash\">Trey Parker and Matt Stone\u003c/a> of \u003cem>South Park\u003c/em> and \u003cem>The\u003c/em> \u003cem>Book of Mormon\u003c/em> fame. Although notorious for their cynical humor, both harbor a profound affection for one of the places they adored as kids: Casa Bonita, a 50,000 square foot attraction in a Lakewood, Colo., strip mall that has been dubbed the Disneyland of Mexican restaurants. It’s an Anglo businessman’s fantastical riff on an old Mexican village, one decked out with Old West outlaws, volcanoes, cliff divers and even a gorilla that runs through caverns studded with stalactites.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>More than half a century after opening in 1974 — complete with TV ads featuring Ricardo Montalban! — this once-spectacular crowd-puller had fallen on such desperate times that it was doomed to close. Then it was bought out of bankruptcy “as is” by Stone and Parker, who vowed to save the beloved Colorado landmark and return it to its former glory.\u003c/p>\n\u003cp>Their battle to do so is the subject of the enjoyable new documentary \u003cem>¡Casa Bonita, Mi Amor!\u003c/em> Directed by Arthur Bradford and produced by MTV Documentary Films, the movie’s a treat, weaving together great archival footage, excerpts from \u003cem>South Park\u003c/em> and Elvis’ movie \u003cem>Fun in Acapulco\u003c/em>, plus countless scenes of Parker and Stone’s amused horror when they hear the latest reason why their labor of love is becoming a money-pit.\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/I4TkkS7xePY'\n title='//www.youtube.com/embed/I4TkkS7xePY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After a zippy capsule history of Casa Bonita, with its Pepto-Bismol-pink facade and blue fountain out front, the movie returns to the present to show everything it takes to recreate a mecca whose true meaning lay in the feelings it once induced. Because the original Casa Bonita was legendary for lousy food, they bring on an executive chef, Dana Rodriguez, who’s been nominated for James Beard Awards. She takes Parker to Oaxaca so he can soak up the atmosphere and get inspired.\u003c/p>\n\u003cp>Yet wondrous inspiration bumps into un-wondrous reality. Turns out that their new property is a dilapidated death trap in which everything — electricity, plumbing, air conditioning — must be redone. A renovation originally budgeted at $6 million suddenly balloons to a new estimate of $20 million plus.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, as \u003cem>¡Casa Bonita Mi Amor!\u003c/em> chronicles the high price of nostalgia, it also offers an offhand glimpse at one of pop culture’s signature creative teams. It doesn’t take long to spot the differences between the two longtime friends — Parker is clearly the dreamy, creative one; Stone the shrewd whetstone on which he sharpens his ideas. What you may find surprising is the secret sentimentality of guys whose comedy takes such pride in finding nothing sacred. Parker, in particular, betrays a sweetness in his romantic attachment to the innocent pleasures of childhood. He’s also a perfectionist. We see his artistic process, fussing over and tweaking every creative detail of the project.\u003c/p>\n\u003cp>As their crew desperately races to have everything perfect by opening day — spending even more millions along the way — it becomes clear that Parker and Stone are chasing a ghost or maybe a paradox. The original Casa Bonita was a 1970s inauthentic version of 19th-century Mexico, but to recapture its magic this new version can’t be the same Casa Bonita that Parker remembers so fondly. Just as Indiana Jones’ movies had to use top-drawer talent to emulate cheap, old movie serials, so their restaurant has to meet today’s expectations — tastier food, sharper entertainment — or visitors won’t find it as thrilling as the original. To feel the same, it has to be different.\u003c/p>\n\u003cp>By the time Casa Bonita finally reopens — there is a happy ending — Parker and Stone have done something that could hardly be more quintessentially American: They’ve spent a fortune to make a copy of a Mexican-themed restaurant that’s actually better than the original.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘¡Casa Bonita, Mi Amor!’ opens in the Bay Area on Sept. 17, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Over the years I’ve seen more than my share of dysfunctional-family movies and terminal-illness movies, and even the good ones have trouble sidestepping clichés. So it says something that \u003cem>His Three Daughters\u003c/em>, which is about a dysfunctional family coping with a terminal illness, doesn’t feel like a retread.\u003c/p>\n\u003cp>The writer-director Azazel Jacobs has a knack for putting a fresh, intelligent spin on familiar material, from the high-school misfit comedy \u003ca href=\"https://www.npr.org/2011/07/05/137501757/terri-a-troubled-teen-moping-in-comfort\">\u003cem>Terri\u003c/em>\u003c/a> to the playful marital drama \u003cem>The Lovers\u003c/em>. His latest, \u003cem>His Three Daughters\u003c/em>, is a sharply written and beautifully modulated chamber piece, set over a few days inside a Lower Manhattan apartment where three women have gathered to bid farewell to their father, Vincent, who’s in hospice care.\u003c/p>\n\u003cp>[aside postid='arts_13964088']C\u003ca href=\"https://www.npr.org/2020/11/24/938685004/carrie-coon-on-the-leftovers-fargo-and-the-nest\">arrie Coon\u003c/a> plays Katie, the oldest of the three sisters. She lives in Brooklyn with her husband and teenage daughter, but she hasn’t been around to visit her dad much lately. \u003ca href=\"https://www.kqed.org/arts/13891309/wandavision-the-next-era-of-the-mcu-will-be-televised\">Elizabeth Olsen\u003c/a> plays the youngest, Christina, who’s flown in from her home thousands of miles away.\u003c/p>\n\u003cp>And then there’s Rachel — that’s \u003ca href=\"https://www.kqed.org/arts/13924192/no-lie-natasha-lyonne-is-unforgettable-in-poker-face\">Natasha Lyonne\u003c/a>. She lives with Vincent in this apartment and has been looking after him for some time. Rachel is estranged from her two sisters, for reasons that aren’t initially clear. Jacobs drops us right into the thick of the tension, then gradually fills in the larger picture.\u003c/p>\n\u003cp>Some of the friction stems from the fact that Katie and Christina are essentially outsiders on Rachel’s turf. Rachel can claim some moral high ground, since she’s been taking care of their dad while they’ve been busy living their lives and raising families of their own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Adding to the two-against-one dynamic is the fact that Rachel isn’t biologically related to her sisters or their father. After Vincent’s first wife died, he married Rachel’s mom and raised Rachel as his own. As Rachel makes needlessly clear to her sisters, she’s no less his daughter than they are.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K0jwAP2fS1E&t=17s\u003c/p>\n\u003cp>There are money and class issues, too; Katie looks down on Rachel, claiming all she does is smoke weed all day and make money through sports gambling. And then there’s the matter of real estate. In one contentious conversation, Katie insinuates that Rachel has been taking care of Vincent partly because of her enviable living situation.\u003c/p>\n\u003cp>In this and every other scene, the acting and the writing have such specificity that you feel you know these characters intimately. Few actors can make anger more mesmerizing than Coon, and her Katie is testy and judgmental, even — or especially — when she tries to seem reasonable.\u003c/p>\n\u003cp>It’s hard not to side a lot of the time with Lyonne’s Rachel, who lets the expletives fly as she pushes back defensively against Katie’s insinuations. That leaves Christina in the tough role of peacemaker. She’s earnest and open-hearted by nature, something that comes out when she describes her Deadhead past. In Olsen’s quietly moving performance, we see a woman who often suppresses her feelings to spare those of others.\u003c/p>\n\u003cp>[aside postid='arts_13964353']What distinguishes \u003cem>His Three Daughters\u003c/em> from so many movies of its type is that while it’s certainly talky, it never feels as if the characters are trying to explain themselves to you. Rather than coughing up large chunks of backstory, their interactions have the pull of honest, free-flowing conversation.\u003c/p>\n\u003cp>Much of the dialogue is taken up with the practical and wholly relatable end-of-life details: the difficulties of writing an obituary, or arranging a do-not-resuscitate order, or even dealing with a well-meaning but slightly exasperating hospice care worker. I haven’t seen many movies that so acutely understand the role food plays in a situation like this, where the act of cooking meals for your family or making sure there’s always fresh coffee can be both a drag and a welcome distraction.\u003c/p>\n\u003cp>Vincent himself is off-camera for most of the movie, sleeping quietly in his room, though Jacobs wisely gives him — and Jay O. Sanders, the actor playing him — a beautiful moment in the film’s last act.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question hanging over \u003cem>His Three Daughters\u003c/em> is whether the sisters will overcome their estrangement and remain family after Vincent’s gone. Jacobs doesn’t force a resolution, though he does end on a note of hard-won understanding that I found both optimistic and deeply affecting. He’s made a movie that, in the shadow of death, says something essential about how we live.\u003c/p>\n\u003cdiv class=\"npr-transcript\">\n\u003chr>\n\u003cp>\u003cem>‘His Three Daughters’ is in movie theaters nationwide now. It begins streaming on Netflix on Sept. 20, 2024.\u003c/em>\u003c/p>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Adding to the two-against-one dynamic is the fact that Rachel isn’t biologically related to her sisters or their father. After Vincent’s first wife died, he married Rachel’s mom and raised Rachel as his own. As Rachel makes needlessly clear to her sisters, she’s no less his daughter than they are.\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/K0jwAP2fS1E'\n title='//www.youtube.com/embed/K0jwAP2fS1E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are money and class issues, too; Katie looks down on Rachel, claiming all she does is smoke weed all day and make money through sports gambling. And then there’s the matter of real estate. In one contentious conversation, Katie insinuates that Rachel has been taking care of Vincent partly because of her enviable living situation.\u003c/p>\n\u003cp>In this and every other scene, the acting and the writing have such specificity that you feel you know these characters intimately. Few actors can make anger more mesmerizing than Coon, and her Katie is testy and judgmental, even — or especially — when she tries to seem reasonable.\u003c/p>\n\u003cp>It’s hard not to side a lot of the time with Lyonne’s Rachel, who lets the expletives fly as she pushes back defensively against Katie’s insinuations. That leaves Christina in the tough role of peacemaker. She’s earnest and open-hearted by nature, something that comes out when she describes her Deadhead past. In Olsen’s quietly moving performance, we see a woman who often suppresses her feelings to spare those of others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What distinguishes \u003cem>His Three Daughters\u003c/em> from so many movies of its type is that while it’s certainly talky, it never feels as if the characters are trying to explain themselves to you. Rather than coughing up large chunks of backstory, their interactions have the pull of honest, free-flowing conversation.\u003c/p>\n\u003cp>Much of the dialogue is taken up with the practical and wholly relatable end-of-life details: the difficulties of writing an obituary, or arranging a do-not-resuscitate order, or even dealing with a well-meaning but slightly exasperating hospice care worker. I haven’t seen many movies that so acutely understand the role food plays in a situation like this, where the act of cooking meals for your family or making sure there’s always fresh coffee can be both a drag and a welcome distraction.\u003c/p>\n\u003cp>Vincent himself is off-camera for most of the movie, sleeping quietly in his room, though Jacobs wisely gives him — and Jay O. Sanders, the actor playing him — a beautiful moment in the film’s last act.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question hanging over \u003cem>His Three Daughters\u003c/em> is whether the sisters will overcome their estrangement and remain family after Vincent’s gone. Jacobs doesn’t force a resolution, though he does end on a note of hard-won understanding that I found both optimistic and deeply affecting. He’s made a movie that, in the shadow of death, says something essential about how we live.\u003c/p>\n\u003cdiv class=\"npr-transcript\">\n\u003chr>\n\u003cp>\u003cem>‘His Three Daughters’ is in movie theaters nationwide now. It begins streaming on Netflix on Sept. 20, 2024.\u003c/em>\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Emmy Awards on Sunday night didn’t offer up one single show that outperformed all the rest. Instead, a few shows split most of the major categories, without too many surprises. (There was perhaps one). Hosts Eugene and Dan Levy did their best to keep things moving, and as always, everyone was very thankful. Here are a few takeaways from the ceremony and the Emmy season.\u003c/p>\n\u003ch3>‘Shōgun’ was the sweeping historical drama that swept the top categories.\u003c/h3>\n\u003cfigure id=\"attachment_13964235\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964235\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun.png\" alt=\"A large group of men and women in evening wear on an awards stage.\" width=\"2000\" height=\"1309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-1536x1005.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-1920x1257.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The team from ‘Shōgun’ accepts the Emmy award for outstanding drama series. \u003ccite>(Phil McCarten/Invision/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Shōgun \u003c/em>is the biggest Emmy winner this year, after 14 awards last weekend at the Creative Arts ceremony and four on Sunday night. The show took home outstanding drama series, in addition to awards for lead actor Hiroyuki Sanada, lead actress Anna Sawai, and director Frederick E.O. Toye.\u003c/p>\n\u003cp>Sweeping historical epics are not as popular as they once were, and over and over, FX and Hulu were praised for being willing to support an expensive period piece that was largely in Japanese with subtitles. It’s going to be interesting to see whether there is any effort in the next couple of years to pursue these sweeping epic series like the ones that used to air in the ’70s and ’80s, like \u003cem>North and South \u003c/em>or \u003cem>The Thorn Birds\u003c/em>.\u003c/p>\n\u003ch3>It’s hard to make an exciting awards show when it’s too soon after the last show.\u003c/h3>\n\u003cp>The last Emmy Awards \u003ca href=\"https://www.npr.org/2024/01/16/1224865471/emmys-awards-succession-beef-the-bear\">\u003cu>were only in January of this year\u003c/u>\u003c/a>, after being delayed by the actors’ and writers’ strikes. Thus, we just did all of the celebrating of beloved shows, the saluting of people who are in \u003cem>The Bear \u003c/em>and \u003cem>Hacks\u003c/em>, and discussions of how important television is to people. It might seem like the difference between a year and 8.5 months isn’t that much, but it did indeed feel like we just did this, and it felt a little lifeless as a result. Not because there’s anything wrong with the winners, but just because … you know, we just did this.\u003c/p>\n\u003ch3>‘Baby Reindeer’ cleaned up, and its creator hopes it will prove a point.\u003c/h3>\n\u003cfigure id=\"attachment_13964236\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964236\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer.png\" alt=\"A white man in a tuxedo holds up two awards triumphantly.\" width=\"2000\" height=\"1340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-1020x683.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-768x515.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-1536x1029.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-1920x1286.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richard Gadd, winner of the outstanding limited or anthology series for ‘Baby Reindeer.’ \u003ccite>(Robyn Beck/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Netflix series created by Richard Gadd won awards for lead actor, supporting actress, writing, and outstanding limited series. It may be in the \u003ca href=\"https://www.npr.org/2024/09/13/nx-s1-5104147/baby-reindeer-netflix-martha-lawsuit\">\u003cu>middle of a lawsuit\u003c/u>\u003c/a> from the woman who says she inspired the stalker played by Jessica Gunning, but that didn’t bother Emmy voters, who gave Gadd three opportunities to make speeches. He took the opportunity to point out that the show didn’t have established intellectual property, didn’t have established stars, and became a hit anyway. It would be lovely to think that Netflix — and other outlets — will take the lesson that risks can pay off.\u003c/p>\n\u003ch3>‘Hacks’ came up big, and ‘The Bear’ may have run into a category problem.\u003c/h3>\n\u003cfigure id=\"attachment_13964237\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964237\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean.png\" alt=\"A mature woman in an evening gown stands on stage holding an award before a large audience.\" width=\"2000\" height=\"1375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-800x550.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-1020x701.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-768x528.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-1536x1056.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-1920x1320.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jean Smart won the Emmy for outstanding lead actress in a comedy series for her performance in ‘Hacks.’ \u003ccite>(Danny Moloshok/Invision/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Bear\u003c/em>, which was a sensation at the Emmys in January, did very well in the comedy categories. It won for lead actor (Jeremy Allen White), it won for supporting actor (Ebon Moss Bachrach), it won for supporting actress (Liza Colón-Zayas), and it won for directing, for the episode “Fishes.” (Keep in mind that these are awards for season two, not the most recent season.) The one acting category in which \u003cem>The Bear\u003c/em> didn’t win was lead actress, where Ayo Edebiri lost to Jean Smart after winning in the supporting actress category last year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was a bit of a sign of things to come during the ceremony: \u003cem>Hacks \u003c/em>also picked up the critical award for comedy writing (for the episode “Bulletproof”). And then, unlike at the most recent Emmys, \u003cem>The Bear \u003c/em>did not win outstanding comedy series; \u003cem>Hacks \u003c/em>did. Given that there was a biting joke in the monologue from hosts Eugene and Dan Levy about the widespread sense that \u003cem>The Bear \u003c/em>doesn’t belong in the comedy category in the first place, and given the laugh it got, it may be that some people who were perfectly happy to reward the wonderful performances on the show were ultimately hesitant to give the award for outstanding comedy series to something they don’t consider a comedy.\u003c/p>\n\u003ch3>The shtick between awards was … fine?\u003c/h3>\n\u003cfigure id=\"attachment_13964238\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads.png\" alt=\"A Black man, a Latino man and a white man, all wearing nice suits, sit on a leather couch together.\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-1920x1279.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">TV dads Damon Wayans, left, George Lopez and Jesse Tyler Ferguson presented the Emmy Award for Outstanding lead actor in a comedy series. \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>As with many awards shows, Emmys night featured a recurring bit between awards presentations. This evening featured a series of groups of actors who had some connection to each other: TV moms, TV dads, TV doctors, TV lawyers, TV coaches. There was even a pairing of Ron Howard and Henry Winkler to mark the 50th (!!) anniversary of \u003cem>Happy Days\u003c/em>. But these moments always seem to be somehow less than the sum of their parts, and this year was no exception. There are a lot of TV dads; just picking three and having them present together on a set that looks like a living room to deliver patter that sounds exactly like the patter on every other awards show doesn’t really celebrate anything except whoever booked the talent for the telecast. One point for having Winkler punch the jukebox on the diner set to get it to play, though, just like Fonzie used to do. That was fun.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Emmy Awards on Sunday night didn’t offer up one single show that outperformed all the rest. Instead, a few shows split most of the major categories, without too many surprises. (There was perhaps one). Hosts Eugene and Dan Levy did their best to keep things moving, and as always, everyone was very thankful. Here are a few takeaways from the ceremony and the Emmy season.\u003c/p>\n\u003ch3>‘Shōgun’ was the sweeping historical drama that swept the top categories.\u003c/h3>\n\u003cfigure id=\"attachment_13964235\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964235\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun.png\" alt=\"A large group of men and women in evening wear on an awards stage.\" width=\"2000\" height=\"1309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-1536x1005.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-1920x1257.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The team from ‘Shōgun’ accepts the Emmy award for outstanding drama series. \u003ccite>(Phil McCarten/Invision/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Shōgun \u003c/em>is the biggest Emmy winner this year, after 14 awards last weekend at the Creative Arts ceremony and four on Sunday night. The show took home outstanding drama series, in addition to awards for lead actor Hiroyuki Sanada, lead actress Anna Sawai, and director Frederick E.O. Toye.\u003c/p>\n\u003cp>Sweeping historical epics are not as popular as they once were, and over and over, FX and Hulu were praised for being willing to support an expensive period piece that was largely in Japanese with subtitles. It’s going to be interesting to see whether there is any effort in the next couple of years to pursue these sweeping epic series like the ones that used to air in the ’70s and ’80s, like \u003cem>North and South \u003c/em>or \u003cem>The Thorn Birds\u003c/em>.\u003c/p>\n\u003ch3>It’s hard to make an exciting awards show when it’s too soon after the last show.\u003c/h3>\n\u003cp>The last Emmy Awards \u003ca href=\"https://www.npr.org/2024/01/16/1224865471/emmys-awards-succession-beef-the-bear\">\u003cu>were only in January of this year\u003c/u>\u003c/a>, after being delayed by the actors’ and writers’ strikes. Thus, we just did all of the celebrating of beloved shows, the saluting of people who are in \u003cem>The Bear \u003c/em>and \u003cem>Hacks\u003c/em>, and discussions of how important television is to people. It might seem like the difference between a year and 8.5 months isn’t that much, but it did indeed feel like we just did this, and it felt a little lifeless as a result. Not because there’s anything wrong with the winners, but just because … you know, we just did this.\u003c/p>\n\u003ch3>‘Baby Reindeer’ cleaned up, and its creator hopes it will prove a point.\u003c/h3>\n\u003cfigure id=\"attachment_13964236\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964236\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer.png\" alt=\"A white man in a tuxedo holds up two awards triumphantly.\" width=\"2000\" height=\"1340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-1020x683.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-768x515.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-1536x1029.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-1920x1286.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richard Gadd, winner of the outstanding limited or anthology series for ‘Baby Reindeer.’ \u003ccite>(Robyn Beck/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Netflix series created by Richard Gadd won awards for lead actor, supporting actress, writing, and outstanding limited series. It may be in the \u003ca href=\"https://www.npr.org/2024/09/13/nx-s1-5104147/baby-reindeer-netflix-martha-lawsuit\">\u003cu>middle of a lawsuit\u003c/u>\u003c/a> from the woman who says she inspired the stalker played by Jessica Gunning, but that didn’t bother Emmy voters, who gave Gadd three opportunities to make speeches. He took the opportunity to point out that the show didn’t have established intellectual property, didn’t have established stars, and became a hit anyway. It would be lovely to think that Netflix — and other outlets — will take the lesson that risks can pay off.\u003c/p>\n\u003ch3>‘Hacks’ came up big, and ‘The Bear’ may have run into a category problem.\u003c/h3>\n\u003cfigure id=\"attachment_13964237\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964237\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean.png\" alt=\"A mature woman in an evening gown stands on stage holding an award before a large audience.\" width=\"2000\" height=\"1375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-800x550.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-1020x701.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-768x528.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-1536x1056.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-1920x1320.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jean Smart won the Emmy for outstanding lead actress in a comedy series for her performance in ‘Hacks.’ \u003ccite>(Danny Moloshok/Invision/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Bear\u003c/em>, which was a sensation at the Emmys in January, did very well in the comedy categories. It won for lead actor (Jeremy Allen White), it won for supporting actor (Ebon Moss Bachrach), it won for supporting actress (Liza Colón-Zayas), and it won for directing, for the episode “Fishes.” (Keep in mind that these are awards for season two, not the most recent season.) The one acting category in which \u003cem>The Bear\u003c/em> didn’t win was lead actress, where Ayo Edebiri lost to Jean Smart after winning in the supporting actress category last year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was a bit of a sign of things to come during the ceremony: \u003cem>Hacks \u003c/em>also picked up the critical award for comedy writing (for the episode “Bulletproof”). And then, unlike at the most recent Emmys, \u003cem>The Bear \u003c/em>did not win outstanding comedy series; \u003cem>Hacks \u003c/em>did. Given that there was a biting joke in the monologue from hosts Eugene and Dan Levy about the widespread sense that \u003cem>The Bear \u003c/em>doesn’t belong in the comedy category in the first place, and given the laugh it got, it may be that some people who were perfectly happy to reward the wonderful performances on the show were ultimately hesitant to give the award for outstanding comedy series to something they don’t consider a comedy.\u003c/p>\n\u003ch3>The shtick between awards was … fine?\u003c/h3>\n\u003cfigure id=\"attachment_13964238\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads.png\" alt=\"A Black man, a Latino man and a white man, all wearing nice suits, sit on a leather couch together.\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-1920x1279.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">TV dads Damon Wayans, left, George Lopez and Jesse Tyler Ferguson presented the Emmy Award for Outstanding lead actor in a comedy series. \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>As with many awards shows, Emmys night featured a recurring bit between awards presentations. This evening featured a series of groups of actors who had some connection to each other: TV moms, TV dads, TV doctors, TV lawyers, TV coaches. There was even a pairing of Ron Howard and Henry Winkler to mark the 50th (!!) anniversary of \u003cem>Happy Days\u003c/em>. But these moments always seem to be somehow less than the sum of their parts, and this year was no exception. There are a lot of TV dads; just picking three and having them present together on a set that looks like a living room to deliver patter that sounds exactly like the patter on every other awards show doesn’t really celebrate anything except whoever booked the talent for the telecast. One point for having Winkler punch the jukebox on the diner set to get it to play, though, just like Fonzie used to do. That was fun.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-penguin-batman-spinoff-hbo-max-review-colin-farrell",
"title": "Yes, ‘The Penguin’ Is Another Batman Spin-Off. It’s Also One of 2024’s Best Shows",
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"content": "\u003cp>Maybe you’ve heard: They’re making another Batman-without-Batman show.\u003c/p>\n\u003cp>I know, right? \u003cem>Another \u003c/em>one.\u003c/p>\n\u003cp>As a concept, Batman-without-Batman is a big slobbery tennis ball, and the culture is the Golden Retriever who keeps dropping it in your lap and looking up at you expectantly. Who could blame you for shooing the mutt away, right? Enough is enough.\u003c/p>\n\u003cp>Consider: First there was \u003ca href=\"https://www.imdb.com/title/tt0312098/\">\u003cem>\u003cu>Birds of Prey\u003c/u>\u003c/em>\u003c/a>. Then there was \u003ca href=\"https://www.imdb.com/title/tt3749900/?ref_=fn_al_tt_1\">\u003cem>\u003cu>Gotham\u003c/u>\u003c/em>\u003c/a>. Then there was \u003ca href=\"https://www.imdb.com/title/tt1043813/?ref_=fn_al_tt_1\">\u003cem>\u003cu>Titans\u003c/u>\u003c/em>\u003c/a>. Then there was \u003ca href=\"https://www.imdb.com/title/tt8712204/?ref_=fn_al_tt_1\">\u003cem>\u003cu>Batwoman\u003c/u>\u003c/em>\u003c/a>. Then there was \u003ca href=\"https://www.imdb.com/title/tt16418896/?ref_=fn_al_tt_2\">\u003cem>\u003cu>Gotham Knights\u003c/u>\u003c/em>\u003c/a>. Somewhere in there, they made a \u003ca href=\"https://www.imdb.com/title/tt8425532/?ref_=fn_al_tt_1\">\u003cu>whole, entire show about Batman’s butler\u003c/u>\u003c/a>. \u003cem>Before he became his butler\u003c/em>.\u003c/p>\n\u003cp>There have been Batman without Batman movies, too. The ham-handed \u003ca href=\"https://www.imdb.com/title/tt7286456/\">\u003cem>\u003cu>Joker\u003c/u>\u003c/em>\u003c/a>, of course. And its upcoming \u003ca href=\"https://www.imdb.com/title/tt11315808/?ref_=fn_al_tt_2\">\u003cu>sequel\u003c/u>\u003c/a>. \u003ca href=\"https://www.imdb.com/title/tt1386697/?ref_=fn_al_tt_1\">\u003cem>\u003cu>Suicide Squad\u003c/u>\u003c/em>\u003c/a>, and its \u003ca href=\"https://www.imdb.com/title/tt6334354/?ref_=fn_al_tt_2\">\u003cu>sequel, or reboot, or whatever\u003c/u>\u003c/a>. The \u003ca href=\"https://www.imdb.com/title/tt7713068/?ref_=nm_flmg_t_8_act\">\u003cem>\u003cu>Birds of Prey\u003c/u>\u003c/em>\u003c/a> one. That \u003ca href=\"https://www.imdb.com/title/tt6718412/\">\u003cem>\u003cu>Batgirl\u003c/u>\u003c/em>\u003c/a> one that got shelved.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And now they’re making \u003cem>The Penguin\u003c/em>. Yeah: A whole show about the very C-listiest of C-list Batman villains. What’s next? \u003ca href=\"https://villains.lol/penny-plunderer/\">\u003cem>\u003cu>Penny Plunderer: The Rock Opera\u003c/u>\u003c/em>\u003c/a>?\u003c/p>\n\u003cp>[aside postid='arts_13963967']Maybe you’ve heard about this latest entry in the weirdly burgeoning Everything But the Bat genre, and you said, “I’ma pass.” Perfectly understandable. Reasonable, even.\u003c/p>\n\u003cp>Then maybe you heard that this \u003cem>The Penguin \u003c/em>show was tied into \u003ca href=\"https://www.imdb.com/title/tt1877830/\">\u003cu>the latest Batman movie\u003c/u>\u003c/a>, directed by Matt Reeves. And maybe you liked that 2022 movie a bit, inasmuch as it felt like a clean break from what came before, and it had a solid take. Robert Pattinson was a more emo, wounded version of Batsy. The world of Gotham more rich and seedy. And now that you think of it, Colin Farrell’s choice to bury his toothsome face under pounds of latex and play that movie’s Penguin as a volatile mob underboss with a “dese-and-dose” Brooklyn accent thicker than bolognese — that was a big swing, and it was pretty funny.\u003c/p>\n\u003cp>I’m here to tell you — and no one is more surprised than me, I \u003cem>assure \u003c/em>you — that if you skipped \u003cem>The Penguin\u003c/em>, you’d be making a big mistake, and missing out on one of the best television series of the year.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sfJG6IiA_s8&t=14s\u003c/p>\n\u003ch3>“I’m squawkin’ here! I’m squawkin’ here!”\u003c/h3>\n\u003cp>\u003cem>The Penguin\u003c/em> is set in the immediate aftermath of 2022’s \u003cem>The Batman\u003c/em>, which saw the Riddler flood Gotham City, killing thousands. Mob underboss Oswald Cobb (Colin Farrell) resolves to exploit the chaos and take over Gotham’s criminal underworld. To do so, he must play his own crime family, the Falcones, led by Alberto Falcone (Michael Zegen), against their rivals the Maronis, led by Salvatore Maroni (Clancy Brown) and Nadia Maroni (Shohreh Aghdashloo).\u003c/p>\n\u003cp>In this endeavor he is assisted, reluctantly at first, by young Victor (Rhenzy Feliz), a would-be criminal who lost his home and his family in the flood.\u003c/p>\n\u003cp>The arrival of Alberto’s sister Sofia Falcone complicates Oz’s rise to power — in a ruthlessly fun way. That’s because Sofia is played by the great Cristin Milioti, who brings raw emotion and dark humor to her portrayal of a woman who just spent 10 years in Arkham Asylum for the murder of several young sex workers.\u003c/p>\n\u003cfigure id=\"attachment_13964178\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964178\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina.png\" alt=\"A woman with dark hair and pale skin stands in a courtyard wearing a smart white suit\" width=\"2000\" height=\"1275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-800x510.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-1020x650.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-768x490.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-1536x979.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-1920x1224.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sofia Falcone (Cristin Milioti) stares daggers. And axes. And sledgehammers. And machine guns. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And at the center of it all is Farrell, emoting the holy hell out of his every movement and line reading, so Oz emerges as a deeply wounded, doleful figure who just happens to delight in violence. He’s at once needy and impulsive, a combination of traits that places him in danger again and again, though he’s clever enough to talk his way out of it. Usually.\u003c/p>\n\u003cp>Farrell’s commitment to the bit will turn some viewers off, I suspect. He goes big, and his Oz is a creature of bluster and outsized, ever-shifting moods — never moreso than when he dotes on his mother, played with canny intelligence by the great Deirdre O’Connell. I loved their scenes together, as both actors bring a crackling intensity that made me temporarily forget I was watching Farrell through several layers of prosthetics. For some, however, Farrell’s histrionic take, that comically broad accent, and the fat suit will be too much — to them, he will come off like Ratso Rizzo with Tony Soprano’s BMI.\u003c/p>\n\u003ch3>Woke up this morning/Got yourself a gunsel\u003c/h3>\n\u003cp>Speaking of Big Tony: The surface similarities between \u003cem>The Sopranos\u003c/em> and \u003cem>The Penguin\u003c/em> are hard to ignore: Both depict rival crime families, betrayals, shifting allegiances, vendettas, and both revolve around a sociopathic mobster capable of horrible violence who’s also an open emotional wound. Like \u003cem>The Sopranos\u003c/em>, \u003cem>The Penguin\u003c/em> is a psychological drama dressed up in mob clothing: It delivers its pulpy, satisfying thrills alongside its more esoteric, intellectual pleasures.\u003c/p>\n\u003cp>[aside postid='arts_13963775']But the similarities don’t end there: There was always something incisive about \u003cem>The Sopranos\u003c/em> — for all its brutality and soapiness, it found humanity in the inhumane and soulfulness in even the most soulless act. Its characters were crude, but the way the show understood them, and presented them to us, was elegant.\u003c/p>\n\u003cp>\u003cem>The Penguin\u003c/em> doesn’t reach the heights of \u003cem>The Sopranos\u003c/em>, but it similarly seeks to examine the roots of violence, and it comes away with some pretty ugly answers. Compelling, but ugly.\u003c/p>\n\u003cp>The secret to that riveting quality is the series’ willingness — no, eagerness — to go beyond the comics to locate something new in an 83-year-old character originally created for children. In the very first scene of the first episode, we get a bracingly clear sense of who this Oswald Cobb is, as he reminisces with Zegen’s Alberto Falcone about a made guy from Oz’s old neighborhood who commanded respect. Farrell is perfectly calibrated here, and lets us see how hungrily Oz pines to be loved and admired — and how quickly and lethally he reacts when that love and admiration is denied him.\u003c/p>\n\u003cfigure id=\"attachment_13964179\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964179\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom.png\" alt=\"An older woman looks pleadingly up at someone in a dimly lit room.\" width=\"2000\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-800x477.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-1020x608.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-768x458.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-1536x915.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-1920x1144.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oz is a momma’s boy; you would be too, if your mom was played by Deirdre O’Connell. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where shows like \u003cem>Gotham \u003c/em>and \u003cem>Batwoman \u003c/em>delighted in offering their audiences winking references to people, places and things in the Bat-canon, \u003cem>The Penguin\u003c/em> gives the established lore a wide berth, preferring to build a world of its own. When familiar aspects do show up, as in a flashback episode depicting Sofia’s stint in Arkham Asylum, the show does good, hard work to make them fresh and — in the case of Arkham, anyway — harrowing. (Seriously: That episode is a tough sit.)\u003c/p>\n\u003ch3>The cure for superhero fatigue?\u003c/h3>\n\u003cp>There’s been a certain sameness to superhero fare, I’m sure you will agree. And a thinness.\u003c/p>\n\u003cp>Shows like\u003cem> The Boys\u003c/em> and \u003cem>Invincible \u003c/em>(and movies like \u003cem>Deadpool & Wolverine\u003c/em>, for that matter), traffic in the kind of glib, nihilistic humor and grisly violence that always makes me feel like I’m hanging out with a 14-year-old self-styled edgelord who keeps giggling at how much he thinks he’s getting away with.\u003c/p>\n\u003cp>[aside postid='arts_13963546']But the sunnier, more family-oriented superhero fare of the CW and Marvel — your \u003cem>The Flash\u003c/em>, your \u003cem>Superman and Lois\u003c/em>, your \u003cem>Stargirl\u003c/em>, your \u003cem>Echo \u003c/em>and \u003cem>She-Hulk\u003c/em> and \u003cem>Secret Invasion \u003c/em>and so, so many others — they’re hidebound by their format. Their comparatively straightforward plotting is meant to create content you can fold your laundry to. When characters exchange dialogue, that dialogue exists solely to convey the information required for the plot to move forward, not anything so esoteric as delineating character or revealing insights. That’s because these shows are beholden to network executives who place a premium on absolute clarity, on never leaving a viewer even momentarily unsure or confused or god forbid, challenged in any meaningful way. The worry is, amid a glut of streaming options, a confused viewer is a viewer that clicks away, to be lost forever.\u003c/p>\n\u003cp>(There’s a third category of superhero show that neatly avoids the sameness/thinness trap by being blithely, even exultantly weird. It’s a tiny one, in that it encompasses only three series — the crazypants \u003cem>Legion\u003c/em>, which ran for three seasons on FX, the bananapants \u003cem>Doom Patrol\u003c/em>, which ran for four seasons on DC Universe and then Max, and the crazytown \u003cem>The Umbrella Academy, \u003c/em>which just dropped its fourth and final season on Netflix.)\u003c/p>\n\u003cp>\u003cem>The Penguin\u003c/em> doesn’t slot neatly into any of these categories: it isn’t glib, it isn’t formulaic, and it isn’t particularly weird. What it is, however, is pretty great, because it concerns itself with digging deeper under the surface than previous superhero shows have bothered to do — and going harder.\u003c/p>\n\u003cp>It’s a series that allows individual moments to linger for their own sake. A shared look, or an exchange of dialogue, will be allowed to hang in the air for long seconds, doing absolutely nothing to move the plot forward, but doing absolutely everything to define the characters involved. As a result, our understanding of those characters deepens and complicates, moving us to invest more greatly in these people, and in this world.\u003c/p>\n\u003cp>(Plus, the first episode supplies us with the funniest, most deftly characterizing Dolly Parton needle-drop ever put to screen.)\u003c/p>\n\u003cp>But as the show barrels toward its satisfying if operatically tragic conclusion, certain rote, recognizable elements of the comic book Penguin begin to creep in — a top hat here, a cigarette holder there, etc. They’re not the kind of winking, elbow-to-the-ribs references that weighed down so many previous Batman-without-Batman shows, but they’re frustrating nonetheless. The Oswald Cobb you’ve been watching for eight episodes is a singular creation, with his own demons, his own motivations. Watching him even start to conform to the corporate-mandated style guide may be inevitable, but I don’t have to like it.\u003c/p>\n\u003cp>[aside postid='arts_13961629']In the end, \u003cem>The Penguin\u003c/em> is the tale of a thug who becomes a boss, and the sacrifices he all-too-willingly makes along the way. That it succeeds as thoroughly as it does may be surprising, given its provenance as yet another Batman-without-Batman nugget of Warner’s IP, but the creators’ refusal to coast on what has gone before, and their willingness to let Farrell and Milioti dig into their characters so we can all sit back and watch them work with what they’ve unearthed is what makes for greatly satisfying TV.\u003c/p>\n\u003cp>\u003cem>The Penguin\u003c/em> may not represent the cure for superhero fatigue, but it delivers a powerful dose of medicine that can treat its symptoms.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Penguin’ begins streaming on Max on Sept. 19, 2024. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe you’ve heard: They’re making another Batman-without-Batman show.\u003c/p>\n\u003cp>I know, right? \u003cem>Another \u003c/em>one.\u003c/p>\n\u003cp>As a concept, Batman-without-Batman is a big slobbery tennis ball, and the culture is the Golden Retriever who keeps dropping it in your lap and looking up at you expectantly. Who could blame you for shooing the mutt away, right? Enough is enough.\u003c/p>\n\u003cp>Consider: First there was \u003ca href=\"https://www.imdb.com/title/tt0312098/\">\u003cem>\u003cu>Birds of Prey\u003c/u>\u003c/em>\u003c/a>. Then there was \u003ca href=\"https://www.imdb.com/title/tt3749900/?ref_=fn_al_tt_1\">\u003cem>\u003cu>Gotham\u003c/u>\u003c/em>\u003c/a>. Then there was \u003ca href=\"https://www.imdb.com/title/tt1043813/?ref_=fn_al_tt_1\">\u003cem>\u003cu>Titans\u003c/u>\u003c/em>\u003c/a>. Then there was \u003ca href=\"https://www.imdb.com/title/tt8712204/?ref_=fn_al_tt_1\">\u003cem>\u003cu>Batwoman\u003c/u>\u003c/em>\u003c/a>. Then there was \u003ca href=\"https://www.imdb.com/title/tt16418896/?ref_=fn_al_tt_2\">\u003cem>\u003cu>Gotham Knights\u003c/u>\u003c/em>\u003c/a>. Somewhere in there, they made a \u003ca href=\"https://www.imdb.com/title/tt8425532/?ref_=fn_al_tt_1\">\u003cu>whole, entire show about Batman’s butler\u003c/u>\u003c/a>. \u003cem>Before he became his butler\u003c/em>.\u003c/p>\n\u003cp>There have been Batman without Batman movies, too. The ham-handed \u003ca href=\"https://www.imdb.com/title/tt7286456/\">\u003cem>\u003cu>Joker\u003c/u>\u003c/em>\u003c/a>, of course. And its upcoming \u003ca href=\"https://www.imdb.com/title/tt11315808/?ref_=fn_al_tt_2\">\u003cu>sequel\u003c/u>\u003c/a>. \u003ca href=\"https://www.imdb.com/title/tt1386697/?ref_=fn_al_tt_1\">\u003cem>\u003cu>Suicide Squad\u003c/u>\u003c/em>\u003c/a>, and its \u003ca href=\"https://www.imdb.com/title/tt6334354/?ref_=fn_al_tt_2\">\u003cu>sequel, or reboot, or whatever\u003c/u>\u003c/a>. The \u003ca href=\"https://www.imdb.com/title/tt7713068/?ref_=nm_flmg_t_8_act\">\u003cem>\u003cu>Birds of Prey\u003c/u>\u003c/em>\u003c/a> one. That \u003ca href=\"https://www.imdb.com/title/tt6718412/\">\u003cem>\u003cu>Batgirl\u003c/u>\u003c/em>\u003c/a> one that got shelved.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And now they’re making \u003cem>The Penguin\u003c/em>. Yeah: A whole show about the very C-listiest of C-list Batman villains. What’s next? \u003ca href=\"https://villains.lol/penny-plunderer/\">\u003cem>\u003cu>Penny Plunderer: The Rock Opera\u003c/u>\u003c/em>\u003c/a>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Maybe you’ve heard about this latest entry in the weirdly burgeoning Everything But the Bat genre, and you said, “I’ma pass.” Perfectly understandable. Reasonable, even.\u003c/p>\n\u003cp>Then maybe you heard that this \u003cem>The Penguin \u003c/em>show was tied into \u003ca href=\"https://www.imdb.com/title/tt1877830/\">\u003cu>the latest Batman movie\u003c/u>\u003c/a>, directed by Matt Reeves. And maybe you liked that 2022 movie a bit, inasmuch as it felt like a clean break from what came before, and it had a solid take. Robert Pattinson was a more emo, wounded version of Batsy. The world of Gotham more rich and seedy. And now that you think of it, Colin Farrell’s choice to bury his toothsome face under pounds of latex and play that movie’s Penguin as a volatile mob underboss with a “dese-and-dose” Brooklyn accent thicker than bolognese — that was a big swing, and it was pretty funny.\u003c/p>\n\u003cp>I’m here to tell you — and no one is more surprised than me, I \u003cem>assure \u003c/em>you — that if you skipped \u003cem>The Penguin\u003c/em>, you’d be making a big mistake, and missing out on one of the best television series of the year.\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/sfJG6IiA_s8'\n title='//www.youtube.com/embed/sfJG6IiA_s8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>“I’m squawkin’ here! I’m squawkin’ here!”\u003c/h3>\n\u003cp>\u003cem>The Penguin\u003c/em> is set in the immediate aftermath of 2022’s \u003cem>The Batman\u003c/em>, which saw the Riddler flood Gotham City, killing thousands. Mob underboss Oswald Cobb (Colin Farrell) resolves to exploit the chaos and take over Gotham’s criminal underworld. To do so, he must play his own crime family, the Falcones, led by Alberto Falcone (Michael Zegen), against their rivals the Maronis, led by Salvatore Maroni (Clancy Brown) and Nadia Maroni (Shohreh Aghdashloo).\u003c/p>\n\u003cp>In this endeavor he is assisted, reluctantly at first, by young Victor (Rhenzy Feliz), a would-be criminal who lost his home and his family in the flood.\u003c/p>\n\u003cp>The arrival of Alberto’s sister Sofia Falcone complicates Oz’s rise to power — in a ruthlessly fun way. That’s because Sofia is played by the great Cristin Milioti, who brings raw emotion and dark humor to her portrayal of a woman who just spent 10 years in Arkham Asylum for the murder of several young sex workers.\u003c/p>\n\u003cfigure id=\"attachment_13964178\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964178\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina.png\" alt=\"A woman with dark hair and pale skin stands in a courtyard wearing a smart white suit\" width=\"2000\" height=\"1275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-800x510.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-1020x650.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-768x490.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-1536x979.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-1920x1224.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sofia Falcone (Cristin Milioti) stares daggers. And axes. And sledgehammers. And machine guns. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And at the center of it all is Farrell, emoting the holy hell out of his every movement and line reading, so Oz emerges as a deeply wounded, doleful figure who just happens to delight in violence. He’s at once needy and impulsive, a combination of traits that places him in danger again and again, though he’s clever enough to talk his way out of it. Usually.\u003c/p>\n\u003cp>Farrell’s commitment to the bit will turn some viewers off, I suspect. He goes big, and his Oz is a creature of bluster and outsized, ever-shifting moods — never moreso than when he dotes on his mother, played with canny intelligence by the great Deirdre O’Connell. I loved their scenes together, as both actors bring a crackling intensity that made me temporarily forget I was watching Farrell through several layers of prosthetics. For some, however, Farrell’s histrionic take, that comically broad accent, and the fat suit will be too much — to them, he will come off like Ratso Rizzo with Tony Soprano’s BMI.\u003c/p>\n\u003ch3>Woke up this morning/Got yourself a gunsel\u003c/h3>\n\u003cp>Speaking of Big Tony: The surface similarities between \u003cem>The Sopranos\u003c/em> and \u003cem>The Penguin\u003c/em> are hard to ignore: Both depict rival crime families, betrayals, shifting allegiances, vendettas, and both revolve around a sociopathic mobster capable of horrible violence who’s also an open emotional wound. Like \u003cem>The Sopranos\u003c/em>, \u003cem>The Penguin\u003c/em> is a psychological drama dressed up in mob clothing: It delivers its pulpy, satisfying thrills alongside its more esoteric, intellectual pleasures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the similarities don’t end there: There was always something incisive about \u003cem>The Sopranos\u003c/em> — for all its brutality and soapiness, it found humanity in the inhumane and soulfulness in even the most soulless act. Its characters were crude, but the way the show understood them, and presented them to us, was elegant.\u003c/p>\n\u003cp>\u003cem>The Penguin\u003c/em> doesn’t reach the heights of \u003cem>The Sopranos\u003c/em>, but it similarly seeks to examine the roots of violence, and it comes away with some pretty ugly answers. Compelling, but ugly.\u003c/p>\n\u003cp>The secret to that riveting quality is the series’ willingness — no, eagerness — to go beyond the comics to locate something new in an 83-year-old character originally created for children. In the very first scene of the first episode, we get a bracingly clear sense of who this Oswald Cobb is, as he reminisces with Zegen’s Alberto Falcone about a made guy from Oz’s old neighborhood who commanded respect. Farrell is perfectly calibrated here, and lets us see how hungrily Oz pines to be loved and admired — and how quickly and lethally he reacts when that love and admiration is denied him.\u003c/p>\n\u003cfigure id=\"attachment_13964179\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964179\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom.png\" alt=\"An older woman looks pleadingly up at someone in a dimly lit room.\" width=\"2000\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-800x477.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-1020x608.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-768x458.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-1536x915.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-1920x1144.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oz is a momma’s boy; you would be too, if your mom was played by Deirdre O’Connell. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where shows like \u003cem>Gotham \u003c/em>and \u003cem>Batwoman \u003c/em>delighted in offering their audiences winking references to people, places and things in the Bat-canon, \u003cem>The Penguin\u003c/em> gives the established lore a wide berth, preferring to build a world of its own. When familiar aspects do show up, as in a flashback episode depicting Sofia’s stint in Arkham Asylum, the show does good, hard work to make them fresh and — in the case of Arkham, anyway — harrowing. (Seriously: That episode is a tough sit.)\u003c/p>\n\u003ch3>The cure for superhero fatigue?\u003c/h3>\n\u003cp>There’s been a certain sameness to superhero fare, I’m sure you will agree. And a thinness.\u003c/p>\n\u003cp>Shows like\u003cem> The Boys\u003c/em> and \u003cem>Invincible \u003c/em>(and movies like \u003cem>Deadpool & Wolverine\u003c/em>, for that matter), traffic in the kind of glib, nihilistic humor and grisly violence that always makes me feel like I’m hanging out with a 14-year-old self-styled edgelord who keeps giggling at how much he thinks he’s getting away with.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the sunnier, more family-oriented superhero fare of the CW and Marvel — your \u003cem>The Flash\u003c/em>, your \u003cem>Superman and Lois\u003c/em>, your \u003cem>Stargirl\u003c/em>, your \u003cem>Echo \u003c/em>and \u003cem>She-Hulk\u003c/em> and \u003cem>Secret Invasion \u003c/em>and so, so many others — they’re hidebound by their format. Their comparatively straightforward plotting is meant to create content you can fold your laundry to. When characters exchange dialogue, that dialogue exists solely to convey the information required for the plot to move forward, not anything so esoteric as delineating character or revealing insights. That’s because these shows are beholden to network executives who place a premium on absolute clarity, on never leaving a viewer even momentarily unsure or confused or god forbid, challenged in any meaningful way. The worry is, amid a glut of streaming options, a confused viewer is a viewer that clicks away, to be lost forever.\u003c/p>\n\u003cp>(There’s a third category of superhero show that neatly avoids the sameness/thinness trap by being blithely, even exultantly weird. It’s a tiny one, in that it encompasses only three series — the crazypants \u003cem>Legion\u003c/em>, which ran for three seasons on FX, the bananapants \u003cem>Doom Patrol\u003c/em>, which ran for four seasons on DC Universe and then Max, and the crazytown \u003cem>The Umbrella Academy, \u003c/em>which just dropped its fourth and final season on Netflix.)\u003c/p>\n\u003cp>\u003cem>The Penguin\u003c/em> doesn’t slot neatly into any of these categories: it isn’t glib, it isn’t formulaic, and it isn’t particularly weird. What it is, however, is pretty great, because it concerns itself with digging deeper under the surface than previous superhero shows have bothered to do — and going harder.\u003c/p>\n\u003cp>It’s a series that allows individual moments to linger for their own sake. A shared look, or an exchange of dialogue, will be allowed to hang in the air for long seconds, doing absolutely nothing to move the plot forward, but doing absolutely everything to define the characters involved. As a result, our understanding of those characters deepens and complicates, moving us to invest more greatly in these people, and in this world.\u003c/p>\n\u003cp>(Plus, the first episode supplies us with the funniest, most deftly characterizing Dolly Parton needle-drop ever put to screen.)\u003c/p>\n\u003cp>But as the show barrels toward its satisfying if operatically tragic conclusion, certain rote, recognizable elements of the comic book Penguin begin to creep in — a top hat here, a cigarette holder there, etc. They’re not the kind of winking, elbow-to-the-ribs references that weighed down so many previous Batman-without-Batman shows, but they’re frustrating nonetheless. The Oswald Cobb you’ve been watching for eight episodes is a singular creation, with his own demons, his own motivations. Watching him even start to conform to the corporate-mandated style guide may be inevitable, but I don’t have to like it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the end, \u003cem>The Penguin\u003c/em> is the tale of a thug who becomes a boss, and the sacrifices he all-too-willingly makes along the way. That it succeeds as thoroughly as it does may be surprising, given its provenance as yet another Batman-without-Batman nugget of Warner’s IP, but the creators’ refusal to coast on what has gone before, and their willingness to let Farrell and Milioti dig into their characters so we can all sit back and watch them work with what they’ve unearthed is what makes for greatly satisfying TV.\u003c/p>\n\u003cp>\u003cem>The Penguin\u003c/em> may not represent the cure for superhero fatigue, but it delivers a powerful dose of medicine that can treat its symptoms.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Penguin’ begins streaming on Max on Sept. 19, 2024. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The 16 Best TV Shows to Watch in Fall 2024",
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"headTitle": "The 16 Best TV Shows to Watch in Fall 2024 | KQED",
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"content": "\u003cp>Fall was once when all the new TV shows premiered, and when all the reruns finally ended. These days, things are a lot more spread out, with some series returning after long absences and some showing up for the first time. New shows will be scary and soapy and hopefully funny — and will make new trips to both the Marvel and DC worlds.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xo27sE2fdvs\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Slow Horses, \u003c/em>Season 4, Sept. 4, Apple TV+\u003c/strong>\u003c/h2>\n\u003cp>It is a bit of a tribute to Apple TV+’s low profile that some TV fans have only now heard about this brilliant version of Mick Herron’s subversive spy novels. Gary Oldman is deliciously witty and slovenly as weary spy Jackson Lamb, deftly leading a misfit crew consigned to a British intelligence office reserved for screw-ups. This time, one of Lamb’s staff is tangled in a plot involving his own grandfather, a former bigwig poignantly played by Jonathan Pryce, who may have killed someone while confused by dementia. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GNmLHum-bdE\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003ch2>\u003cstrong>\u003cem>Fight Night: The Million Dollar Heist, \u003c/em>Sept. 5, Peacock\u003c/strong>\u003c/h2>\n\u003cp>A starry cast including Samuel L. Jackson, Taraji P. Henson and Kevin Hart has a lot of fun with this series, based on a true story, about an armed robbery of an Atlanta afterparty on the night of Muhammad Ali’s historic comeback fight. Total commitment to the 1970 setting extends to the music, the hair, the costumes, and a playful production style. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-pLjpuT-qjw\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>The Old Man, \u003c/em>Season 2, Sept. 12, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Call it something of a fatherhood triangle: Jeff Bridges’ retired CIA operative Dan Chase has teamed with John Lithgow’s ex-FBI man Harold Harper to save Chase’s daughter — who has been kidnapped by a powerful Afghan leader who says \u003cem>he \u003c/em>is really her father. Some scenes unfold like the craziest acting exercises ever; others feel like the mashup of\u003cem> Mission Impossible\u003c/em> and \u003cem>Parenthood \u003c/em>you never knew you needed. It builds to a treatise on aging and regret played against a grand geopolitical backdrop. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1CPxZL3kJ70\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>How to Die Alone, \u003c/em>Sept. 13, Hulu\u003c/strong>\u003c/h2>\n\u003cp>The wonderful Natasha Rothwell (\u003cem>The White Lotus\u003c/em>, \u003cem>Insecure\u003c/em>) created and stars in this comedy series about an employee at JFK airport whose near-death experience forces her to reexamine her life. Rothwell is an enchanting presence with the capacity for both great tenderness and wild humor, and she’s precisely the kind of person who should be getting the opportunity to create her own show. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R9pXbNz6Vbw\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Agatha All Along,\u003c/em> Sept. 18, Disney+\u003c/strong>\u003c/h2>\n\u003cp>The best, funniest part (Kathryn Hahn’s Agatha Harkness) of the best Marvel TV property to date (\u003cem>Wandavision\u003c/em>) gets her own spotlight series. Agatha assembles a brand new coven of weirdos — and the series’ casting director has clearly been reading my diary (Patti LuPone! Aubrey Plaza! Sasheer Zamata!). Together, Agatha and Co. undergo a series of trials which promise to offer up a whistle-stop tour of the creepier, horror-inflected corners of the Marvel universe. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sfJG6IiA_s8\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>The Penguin, \u003c/em>Sept. 19, HBO, Max\u003c/strong>\u003c/h2>\n\u003cp>Why base a spin-off show on a secondary character from a two-year-old superhero movie? One answer is star Colin Farrell, amazingly unrecognizable as Oswald “Oz” Cobb, a small-time hood in Gotham City with a disfigured foot that gives him a gait like … well … a certain flightless bird. Oz didn’t get enough screen time in Matt Reeves’ gritty, \u003cem>Seven\u003c/em>-style \u003cem>Batman \u003c/em>movie. But selling viewers on a Batman-free tale about a thug who becomes Gotham’s crime boss may take more Hollywood magic than even Farrell possesses. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-StZwoYw2fg\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Matlock,\u003c/em> Sept. 22, CBS, Paramount+\u003c/strong>\u003c/h2>\n\u003cp>Rather than update Andy Griffith’s old legal show, CBS takes a bigger swing, casting Kathy Bates as Madeline “Matty” Matlock — an attorney in her 70s who jokes her name is just like the old TV show. (Yup, Griffith’s series actually exists here!) She lands as an associate at a prestigious law firm, where her unassuming demeanor and smarts solves cases just like Griffith did. But she’s also hiding a deeper secret that will either make this show a brilliant reinvention, or an overly complicated laughingstock. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=daV1NI7hxY0\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Grotesquerie,\u003c/em> Sept. 25, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>This may be the oddest buddy cop drama in years: Niecy Nash-Betts plays put-upon police detective Lois Tryon; teamed with a nun who is also a journalist, Tryon is working to solve a series of heinous crimes which may have been concocted to taunt her. It’s written and co-created by Ryan Murphy, the producer behind \u003cem>American Horror Story\u003c/em> and Netflix’s \u003cem>Monster \u003c/em>anthology series, so expect maximum weirdness, style, creepiness and horror. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d_SKPESJWeI\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Doctor Odyssey,\u003c/em> Sept. 26, ABC, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Sometimes it seems like regular, non-taxing TV has gone away, but it really hasn’t. For example, this fall brings \u003cem>Doctor Odyssey\u003c/em>, a drama series in which Joshua Jackson plays a doctor who goes to work on a cruise ship and manages all the medical emergencies. And Don Johnson plays the captain! A little luxury, a little medical drama — sounds like fun, to be honest. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N5uZBSQ2R_M\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>The Walking Dead: Daryl Dixon – The Book of Carol\u003c/em>, Sept. 29, AMC\u003c/strong>\u003c/h2>\n\u003cp>This was a team-up \u003cem>Walking Dead\u003c/em> fans were promised years ago, when a spin-off was first dreamed up with weary hunter Daryl Dixon (Norman Reedus) and abused wife/survivor Carol Peletier (Melissa McBride). But Reedus wound up going it alone in the first season, as Daryl landed in France. For round two, he’s reunited with McBride’s Carol, though her road to finding him will likely be an arduous journey — like everything in the \u003cem>Walking Dead\u003c/em>‘s zombie apocalypse. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fEA2eF_G59U\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Disclaimer,\u003c/em> Oct. 11, Apple TV+\u003c/strong>\u003c/h2>\n\u003cp>Alfonso Cuarón’s been pretty quiet since his 2018 masterpiece \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">\u003cem>Roma\u003c/em>,\u003c/a> and everything about his latest project screams “must watch.” He wrote and directed every episode of this series adaptation, which stars Cate Blanchett as a powerful journalist who’s shocked to discover she’s the thinly-veiled inspiration for a character in a novel. The old, embittered man who published the book is played by Kevin Kline — and he’s more than happy to witness her downfall. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>What We Do in the Shadows,\u003c/em> Season 6, Oct. 21, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>The funniest — and not coincidentally, the weirdest — comedy on television wraps up with its sixth and final season. There’s no telling what will happen to Staten Island’s favorite vampires, as the series has always embraced a healthy amount of chaos. Expect a few audience favorites to return for a victory lap, and for a finale that traffics in real emotion while maintaining the bone-dry silliness we’ve come to love. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J1BihonDew8\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Somebody Somewhere,\u003c/em> Season 3, Oct. 27, HBO\u003c/strong>\u003c/h2>\n\u003cp>This intimate, searching and truthful gem of a comedy series is ending with Season 3, and I’ll miss it when it ends. The great Bridget Everett plays a woman mourning the loss of her sister who returns to her small Kansas hometown to figure herself out. The show’s generous and warm-hearted as hell, but don’t go calling it “sweet” — it’s far too sharp and clear-eyed for that. If you’ve slept on this show, now’s the time to correct that. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MC8cKtqusp4\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Cross, \u003c/em>Nov. 14, Prime Video\u003c/strong>\u003c/h2>\n\u003cp>It’s been nearly 30 years since Morgan Freeman brought brainy forensic psychologist/police detective Alex Cross from James Patterson’s novels to life in the film \u003cem>Kiss the Girls\u003c/em>. (The less said about Tyler Perry’s stiff version in 2012, the better). Now \u003cem>Black Adam\u003c/em> alum Aldis Hodge takes on Cross in this new series — already picked up for a second season — playing him as a younger, buffer version of the driven hero who digs into the psyche of killers and criminals to catch them. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aJS-mpU1FDA\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Leonardo da Vinci\u003c/em>, Nov. 18 and 19, PBS\u003c/strong>\u003c/h2>\n\u003cp>Ken Burns — a filmmaker often called America’s biographer — peels back myths around his first non-American subject, one of the world’s greatest artists. In addition to painting works like the Mona Lisa, da Vinci filled notebooks with theories on mathematics, physics, anatomy and more. Burns delivers these stories with his usual mix of imagery and talking heads — including director Guillermo del Toro! — showing how this genius draftsman, painter, scientist and engineer made history. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13963973\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15%E2%80%AFAM.png\" alt=\"A young Asian man walks down a street at night, red lanterns and white lights hanging behind him. \" width=\"1732\" height=\"968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM.png 1732w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-768x429.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-1536x858.png 1536w\" sizes=\"(max-width: 1732px) 100vw, 1732px\">\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Interior Chinatown,\u003c/em> Nov. 19, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Celebrated author Charles Yu adapts his own novel, which has an intriguing premise: A struggling background actor playing the “Generic Asian Man” on a \u003cem>Law & Order\u003c/em>-type show suddenly gets pulled into a real-life investigation after witnessing a crime. The cast, which includes comedians Jimmy O. Yang and Ronny Chieng, is very promising, as is the presence of Taika Waititi, an executive producer and director of the pilot episode. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Edited by Clare Lombardo. Produced by Beth Novey.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fall was once when all the new TV shows premiered, and when all the reruns finally ended. These days, things are a lot more spread out, with some series returning after long absences and some showing up for the first time. New shows will be scary and soapy and hopefully funny — and will make new trips to both the Marvel and DC worlds.\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/xo27sE2fdvs'\n title='//www.youtube.com/embed/xo27sE2fdvs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Slow Horses, \u003c/em>Season 4, Sept. 4, Apple TV+\u003c/strong>\u003c/h2>\n\u003cp>It is a bit of a tribute to Apple TV+’s low profile that some TV fans have only now heard about this brilliant version of Mick Herron’s subversive spy novels. Gary Oldman is deliciously witty and slovenly as weary spy Jackson Lamb, deftly leading a misfit crew consigned to a British intelligence office reserved for screw-ups. This time, one of Lamb’s staff is tangled in a plot involving his own grandfather, a former bigwig poignantly played by Jonathan Pryce, who may have killed someone while confused by dementia. \u003cem>— Eric Deggans\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/GNmLHum-bdE'\n title='//www.youtube.com/embed/GNmLHum-bdE'\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\u003ch2>\u003cstrong>\u003cem>Fight Night: The Million Dollar Heist, \u003c/em>Sept. 5, Peacock\u003c/strong>\u003c/h2>\n\u003cp>A starry cast including Samuel L. Jackson, Taraji P. Henson and Kevin Hart has a lot of fun with this series, based on a true story, about an armed robbery of an Atlanta afterparty on the night of Muhammad Ali’s historic comeback fight. Total commitment to the 1970 setting extends to the music, the hair, the costumes, and a playful production style. \u003cem>— Linda Holmes\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/-pLjpuT-qjw'\n title='//www.youtube.com/embed/-pLjpuT-qjw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>The Old Man, \u003c/em>Season 2, Sept. 12, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Call it something of a fatherhood triangle: Jeff Bridges’ retired CIA operative Dan Chase has teamed with John Lithgow’s ex-FBI man Harold Harper to save Chase’s daughter — who has been kidnapped by a powerful Afghan leader who says \u003cem>he \u003c/em>is really her father. Some scenes unfold like the craziest acting exercises ever; others feel like the mashup of\u003cem> Mission Impossible\u003c/em> and \u003cem>Parenthood \u003c/em>you never knew you needed. It builds to a treatise on aging and regret played against a grand geopolitical backdrop. \u003cem>— Eric Deggans\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/1CPxZL3kJ70'\n title='//www.youtube.com/embed/1CPxZL3kJ70'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>How to Die Alone, \u003c/em>Sept. 13, Hulu\u003c/strong>\u003c/h2>\n\u003cp>The wonderful Natasha Rothwell (\u003cem>The White Lotus\u003c/em>, \u003cem>Insecure\u003c/em>) created and stars in this comedy series about an employee at JFK airport whose near-death experience forces her to reexamine her life. Rothwell is an enchanting presence with the capacity for both great tenderness and wild humor, and she’s precisely the kind of person who should be getting the opportunity to create her own show. \u003cem>— Linda Holmes\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/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>\u003cstrong>\u003cem>Agatha All Along,\u003c/em> Sept. 18, Disney+\u003c/strong>\u003c/h2>\n\u003cp>The best, funniest part (Kathryn Hahn’s Agatha Harkness) of the best Marvel TV property to date (\u003cem>Wandavision\u003c/em>) gets her own spotlight series. Agatha assembles a brand new coven of weirdos — and the series’ casting director has clearly been reading my diary (Patti LuPone! Aubrey Plaza! Sasheer Zamata!). Together, Agatha and Co. undergo a series of trials which promise to offer up a whistle-stop tour of the creepier, horror-inflected corners of the Marvel universe. \u003cem>— Glen Weldon\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/sfJG6IiA_s8'\n title='//www.youtube.com/embed/sfJG6IiA_s8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>The Penguin, \u003c/em>Sept. 19, HBO, Max\u003c/strong>\u003c/h2>\n\u003cp>Why base a spin-off show on a secondary character from a two-year-old superhero movie? One answer is star Colin Farrell, amazingly unrecognizable as Oswald “Oz” Cobb, a small-time hood in Gotham City with a disfigured foot that gives him a gait like … well … a certain flightless bird. Oz didn’t get enough screen time in Matt Reeves’ gritty, \u003cem>Seven\u003c/em>-style \u003cem>Batman \u003c/em>movie. But selling viewers on a Batman-free tale about a thug who becomes Gotham’s crime boss may take more Hollywood magic than even Farrell possesses. \u003cem>— Eric Deggans\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/-StZwoYw2fg'\n title='//www.youtube.com/embed/-StZwoYw2fg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Matlock,\u003c/em> Sept. 22, CBS, Paramount+\u003c/strong>\u003c/h2>\n\u003cp>Rather than update Andy Griffith’s old legal show, CBS takes a bigger swing, casting Kathy Bates as Madeline “Matty” Matlock — an attorney in her 70s who jokes her name is just like the old TV show. (Yup, Griffith’s series actually exists here!) She lands as an associate at a prestigious law firm, where her unassuming demeanor and smarts solves cases just like Griffith did. But she’s also hiding a deeper secret that will either make this show a brilliant reinvention, or an overly complicated laughingstock. \u003cem>— Eric Deggans\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/daV1NI7hxY0'\n title='//www.youtube.com/embed/daV1NI7hxY0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Grotesquerie,\u003c/em> Sept. 25, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>This may be the oddest buddy cop drama in years: Niecy Nash-Betts plays put-upon police detective Lois Tryon; teamed with a nun who is also a journalist, Tryon is working to solve a series of heinous crimes which may have been concocted to taunt her. It’s written and co-created by Ryan Murphy, the producer behind \u003cem>American Horror Story\u003c/em> and Netflix’s \u003cem>Monster \u003c/em>anthology series, so expect maximum weirdness, style, creepiness and horror. \u003cem>— Eric Deggans\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/d_SKPESJWeI'\n title='//www.youtube.com/embed/d_SKPESJWeI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Doctor Odyssey,\u003c/em> Sept. 26, ABC, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Sometimes it seems like regular, non-taxing TV has gone away, but it really hasn’t. For example, this fall brings \u003cem>Doctor Odyssey\u003c/em>, a drama series in which Joshua Jackson plays a doctor who goes to work on a cruise ship and manages all the medical emergencies. And Don Johnson plays the captain! A little luxury, a little medical drama — sounds like fun, to be honest. \u003cem>— Linda Holmes\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/N5uZBSQ2R_M'\n title='//www.youtube.com/embed/N5uZBSQ2R_M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>The Walking Dead: Daryl Dixon – The Book of Carol\u003c/em>, Sept. 29, AMC\u003c/strong>\u003c/h2>\n\u003cp>This was a team-up \u003cem>Walking Dead\u003c/em> fans were promised years ago, when a spin-off was first dreamed up with weary hunter Daryl Dixon (Norman Reedus) and abused wife/survivor Carol Peletier (Melissa McBride). But Reedus wound up going it alone in the first season, as Daryl landed in France. For round two, he’s reunited with McBride’s Carol, though her road to finding him will likely be an arduous journey — like everything in the \u003cem>Walking Dead\u003c/em>‘s zombie apocalypse. \u003cem>— Eric Deggans\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/fEA2eF_G59U'\n title='//www.youtube.com/embed/fEA2eF_G59U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Disclaimer,\u003c/em> Oct. 11, Apple TV+\u003c/strong>\u003c/h2>\n\u003cp>Alfonso Cuarón’s been pretty quiet since his 2018 masterpiece \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">\u003cem>Roma\u003c/em>,\u003c/a> and everything about his latest project screams “must watch.” He wrote and directed every episode of this series adaptation, which stars Cate Blanchett as a powerful journalist who’s shocked to discover she’s the thinly-veiled inspiration for a character in a novel. The old, embittered man who published the book is played by Kevin Kline — and he’s more than happy to witness her downfall. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>What We Do in the Shadows,\u003c/em> Season 6, Oct. 21, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>The funniest — and not coincidentally, the weirdest — comedy on television wraps up with its sixth and final season. There’s no telling what will happen to Staten Island’s favorite vampires, as the series has always embraced a healthy amount of chaos. Expect a few audience favorites to return for a victory lap, and for a finale that traffics in real emotion while maintaining the bone-dry silliness we’ve come to love. \u003cem>— Glen Weldon\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/J1BihonDew8'\n title='//www.youtube.com/embed/J1BihonDew8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Somebody Somewhere,\u003c/em> Season 3, Oct. 27, HBO\u003c/strong>\u003c/h2>\n\u003cp>This intimate, searching and truthful gem of a comedy series is ending with Season 3, and I’ll miss it when it ends. The great Bridget Everett plays a woman mourning the loss of her sister who returns to her small Kansas hometown to figure herself out. The show’s generous and warm-hearted as hell, but don’t go calling it “sweet” — it’s far too sharp and clear-eyed for that. If you’ve slept on this show, now’s the time to correct that. \u003cem>— Glen Weldon\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/MC8cKtqusp4'\n title='//www.youtube.com/embed/MC8cKtqusp4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Cross, \u003c/em>Nov. 14, Prime Video\u003c/strong>\u003c/h2>\n\u003cp>It’s been nearly 30 years since Morgan Freeman brought brainy forensic psychologist/police detective Alex Cross from James Patterson’s novels to life in the film \u003cem>Kiss the Girls\u003c/em>. (The less said about Tyler Perry’s stiff version in 2012, the better). Now \u003cem>Black Adam\u003c/em> alum Aldis Hodge takes on Cross in this new series — already picked up for a second season — playing him as a younger, buffer version of the driven hero who digs into the psyche of killers and criminals to catch them. \u003cem>— Eric Deggans\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/aJS-mpU1FDA'\n title='//www.youtube.com/embed/aJS-mpU1FDA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Leonardo da Vinci\u003c/em>, Nov. 18 and 19, PBS\u003c/strong>\u003c/h2>\n\u003cp>Ken Burns — a filmmaker often called America’s biographer — peels back myths around his first non-American subject, one of the world’s greatest artists. In addition to painting works like the Mona Lisa, da Vinci filled notebooks with theories on mathematics, physics, anatomy and more. Burns delivers these stories with his usual mix of imagery and talking heads — including director Guillermo del Toro! — showing how this genius draftsman, painter, scientist and engineer made history. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13963973\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15%E2%80%AFAM.png\" alt=\"A young Asian man walks down a street at night, red lanterns and white lights hanging behind him. \" width=\"1732\" height=\"968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM.png 1732w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-768x429.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-1536x858.png 1536w\" sizes=\"(max-width: 1732px) 100vw, 1732px\">\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Interior Chinatown,\u003c/em> Nov. 19, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Celebrated author Charles Yu adapts his own novel, which has an intriguing premise: A struggling background actor playing the “Generic Asian Man” on a \u003cem>Law & Order\u003c/em>-type show suddenly gets pulled into a real-life investigation after witnessing a crime. The cast, which includes comedians Jimmy O. Yang and Ronny Chieng, is very promising, as is the presence of Taika Waititi, an executive producer and director of the pilot episode. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>One of America’s most beloved actors, James Earl Jones, died Monday at age 93. He was at home in Dutchess County, N.Y. surrounded by his family, his longtime agent Barry McPherson confirmed to NPR.\u003c/p>\n\u003cp>In addition to an illustrious stage career — which included roles in classics like \u003cem>Macbeth\u003c/em>, \u003cem>Othello\u003c/em> and \u003cem>The Iceman Cometh\u003c/em> — Jones also had an extensive film career, appearing in \u003cem>Dr. Strangelove\u003c/em>, \u003cem>Field of Dreams\u003c/em>, and \u003cem>The Hunt for Red October\u003c/em>. He voiced Mufasa in \u003cem>The Lion King,\u003c/em> and as Darth Vader, he delivered \u003ca href=\"http://www.starwars.com/video/i-am-your-father\">the line that still sends shivers up the spines of \u003cem>Star Wars\u003c/em> fans\u003c/a>: “I am your father.”\u003c/p>\n\u003cp>James Earl Jones was born on Jan. 17, 1931, in Arkabutla, Miss. He was raised by his grandparents. When he was 5 years old, the family moved to a rural farm in Dublin, Mich. Jones said the move so traumatized him that he developed a severe stutter that continued until he was in high school.\u003c/p>\n\u003cp>“I was able to function as a farm kid, doing all those chores where you call animals,” he told WHYY’s \u003cem>Fresh Air \u003c/em>in 1993, “and I certainly let the family know what my needs were. But when strangers came to the house, the mute happened. I didn’t want to confront them and I wasn’t ready. I hid in a state of muteness.”\u003c/p>\n\u003cp>Then a high school teacher found a way to help: “He one day discovered that I wrote poetry and he said to me, ‘This poem is so good I can’t believe you wrote it. The way you can prove it to me is to get up in front of the class and recite it by heart.’ And I accepted the challenge and did it, and we both realized we had a means — we had a way of regaining the power of speech through poetry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And what a power it was. Jones’ baritone came complete with its own echo chamber. His voice became one of the most instantly recognizable in entertainment history.\u003c/p>\n\u003cp>Everything about him was big: his commanding stage presence, the intensity of his glance and his brilliance at his chosen craft. Woodie King Jr. is founder of New York’s New Federal Theater, which has been producing shows by and about African-Americans throughout its history. He first became aware of Jones in the early 1960s.\u003c/p>\n\u003cp>“I was a young aspiring actor who had come into New York and he had all the elements of acting — physicality, vocal range, psychically in tune with what was going on,” King says. “And I wanted to be that kind of artist who had that kind of freedom with his instrument.”\u003c/p>\n\u003cp>King saw Jones’ critically acclaimed performance in a 1961 production of Jean Genet’s \u003cem>The Blacks\u003c/em>. He also worked with Jones in a 1968 Broadway production of Howard Sackler’s \u003cem>The Great White Hope\u003c/em>, based on the life of champion black boxer Jack Johnson.\u003c/p>\n\u003cp>“It was an unbelievable kind of performance,” King recalled. “It was an amazing metamorphosis, watching him transform himself into this vicious boxer.”\u003c/p>\n\u003cp>Jones won a Tony for that role, as well as an Oscar nomination for the 1970 film adaptation, and he won a second Tony in 1987 for his role in August Wilson’s \u003cem>Fences\u003c/em>.\u003c/p>\n\u003cp>His first film role was as bombardier Lothar Zogg in Stanley Kubrick’s 1964 classic \u003cem>Dr. Strangelove\u003c/em>. In 1972’s \u003cem>The Man\u003c/em>, Jones played the first Black president; in the 1974 black classic \u003cem>Claudine, \u003c/em>he played a garbage man who charms a date out of a welfare mom; and in 1989’s \u003cem>Field of Dreams\u003c/em>, he \u003ca href=\"https://youtu.be/z6U1p0hehtg?t=5s\">explained why people would care about a baseball diamond in an Iowa cornfield\u003c/a>. Jones \u003ca href=\"http://www.broadway.com/buzz/162156/tony-nominee-james-earl-jones-on-four-decades-of-great-performances-from-othello-to-the-best-man/\">has said\u003c/a> that one of his favorite roles was that of the South African reverend in \u003cem>Cry, the Beloved Country\u003c/em>.\u003c/p>\n\u003cp>Jones’ voice has pervaded pop culture: He’s the voice of CNN and Verizon, and even showed up on a few episodes of \u003cem>The Simpsons\u003c/em>, which managed to kid the actor about his kaleidoscopic work \u003ca href=\"https://youtu.be/PX05DJWNj3k?t=1m4s\">in one fell swoop\u003c/a>.\u003c/p>\n\u003cp>In his conversation with \u003cem>Fresh Air\u003c/em>, Jones remembered the beginning of his voice-over career with amusement. “I think the first commercials I did … they asked me to ‘just give us the sound of God.’ … They were not embarrassed about saying that.”\u003c/p>\n\u003cfigure id=\"attachment_13963951\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963951\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ.png\" alt=\"A Black man wearing a suit stretches out his arms and bows his head on stage, surrounded by applauding fellow cast members.\" width=\"2000\" height=\"1330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1920x1277.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jones takes a bow after his final performance in Broadway’s ‘You Can’t Take It With You’ in 2015. \u003ccite>(Grant Lamos IV/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New Federal Theater’s Woodie King said Jones was a warm, somewhat shy man who was a powerful artist. He followed in the footsteps of actors like Sidney Poitier, Paul Robeson and Canada Lee, all of whom refused to be limited by the old stereotypical roles of butlers or buffoons. Jones saw theater as a place for all people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What you have is a master craftsman at work,” King said. “He makes young people aware of the vast possibilities of this business when you are a craftsman. … The Broadway stage sees him as really colorless — not Black or white, but a brilliant artist.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of America’s most beloved actors, James Earl Jones, died Monday at age 93. He was at home in Dutchess County, N.Y. surrounded by his family, his longtime agent Barry McPherson confirmed to NPR.\u003c/p>\n\u003cp>In addition to an illustrious stage career — which included roles in classics like \u003cem>Macbeth\u003c/em>, \u003cem>Othello\u003c/em> and \u003cem>The Iceman Cometh\u003c/em> — Jones also had an extensive film career, appearing in \u003cem>Dr. Strangelove\u003c/em>, \u003cem>Field of Dreams\u003c/em>, and \u003cem>The Hunt for Red October\u003c/em>. He voiced Mufasa in \u003cem>The Lion King,\u003c/em> and as Darth Vader, he delivered \u003ca href=\"http://www.starwars.com/video/i-am-your-father\">the line that still sends shivers up the spines of \u003cem>Star Wars\u003c/em> fans\u003c/a>: “I am your father.”\u003c/p>\n\u003cp>James Earl Jones was born on Jan. 17, 1931, in Arkabutla, Miss. He was raised by his grandparents. When he was 5 years old, the family moved to a rural farm in Dublin, Mich. Jones said the move so traumatized him that he developed a severe stutter that continued until he was in high school.\u003c/p>\n\u003cp>“I was able to function as a farm kid, doing all those chores where you call animals,” he told WHYY’s \u003cem>Fresh Air \u003c/em>in 1993, “and I certainly let the family know what my needs were. But when strangers came to the house, the mute happened. I didn’t want to confront them and I wasn’t ready. I hid in a state of muteness.”\u003c/p>\n\u003cp>Then a high school teacher found a way to help: “He one day discovered that I wrote poetry and he said to me, ‘This poem is so good I can’t believe you wrote it. The way you can prove it to me is to get up in front of the class and recite it by heart.’ And I accepted the challenge and did it, and we both realized we had a means — we had a way of regaining the power of speech through poetry.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And what a power it was. Jones’ baritone came complete with its own echo chamber. His voice became one of the most instantly recognizable in entertainment history.\u003c/p>\n\u003cp>Everything about him was big: his commanding stage presence, the intensity of his glance and his brilliance at his chosen craft. Woodie King Jr. is founder of New York’s New Federal Theater, which has been producing shows by and about African-Americans throughout its history. He first became aware of Jones in the early 1960s.\u003c/p>\n\u003cp>“I was a young aspiring actor who had come into New York and he had all the elements of acting — physicality, vocal range, psychically in tune with what was going on,” King says. “And I wanted to be that kind of artist who had that kind of freedom with his instrument.”\u003c/p>\n\u003cp>King saw Jones’ critically acclaimed performance in a 1961 production of Jean Genet’s \u003cem>The Blacks\u003c/em>. He also worked with Jones in a 1968 Broadway production of Howard Sackler’s \u003cem>The Great White Hope\u003c/em>, based on the life of champion black boxer Jack Johnson.\u003c/p>\n\u003cp>“It was an unbelievable kind of performance,” King recalled. “It was an amazing metamorphosis, watching him transform himself into this vicious boxer.”\u003c/p>\n\u003cp>Jones won a Tony for that role, as well as an Oscar nomination for the 1970 film adaptation, and he won a second Tony in 1987 for his role in August Wilson’s \u003cem>Fences\u003c/em>.\u003c/p>\n\u003cp>His first film role was as bombardier Lothar Zogg in Stanley Kubrick’s 1964 classic \u003cem>Dr. Strangelove\u003c/em>. In 1972’s \u003cem>The Man\u003c/em>, Jones played the first Black president; in the 1974 black classic \u003cem>Claudine, \u003c/em>he played a garbage man who charms a date out of a welfare mom; and in 1989’s \u003cem>Field of Dreams\u003c/em>, he \u003ca href=\"https://youtu.be/z6U1p0hehtg?t=5s\">explained why people would care about a baseball diamond in an Iowa cornfield\u003c/a>. Jones \u003ca href=\"http://www.broadway.com/buzz/162156/tony-nominee-james-earl-jones-on-four-decades-of-great-performances-from-othello-to-the-best-man/\">has said\u003c/a> that one of his favorite roles was that of the South African reverend in \u003cem>Cry, the Beloved Country\u003c/em>.\u003c/p>\n\u003cp>Jones’ voice has pervaded pop culture: He’s the voice of CNN and Verizon, and even showed up on a few episodes of \u003cem>The Simpsons\u003c/em>, which managed to kid the actor about his kaleidoscopic work \u003ca href=\"https://youtu.be/PX05DJWNj3k?t=1m4s\">in one fell swoop\u003c/a>.\u003c/p>\n\u003cp>In his conversation with \u003cem>Fresh Air\u003c/em>, Jones remembered the beginning of his voice-over career with amusement. “I think the first commercials I did … they asked me to ‘just give us the sound of God.’ … They were not embarrassed about saying that.”\u003c/p>\n\u003cfigure id=\"attachment_13963951\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963951\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ.png\" alt=\"A Black man wearing a suit stretches out his arms and bows his head on stage, surrounded by applauding fellow cast members.\" width=\"2000\" height=\"1330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1920x1277.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jones takes a bow after his final performance in Broadway’s ‘You Can’t Take It With You’ in 2015. \u003ccite>(Grant Lamos IV/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New Federal Theater’s Woodie King said Jones was a warm, somewhat shy man who was a powerful artist. He followed in the footsteps of actors like Sidney Poitier, Paul Robeson and Canada Lee, all of whom refused to be limited by the old stereotypical roles of butlers or buffoons. Jones saw theater as a place for all people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What you have is a master craftsman at work,” King said. “He makes young people aware of the vast possibilities of this business when you are a craftsman. … The Broadway stage sees him as really colorless — not Black or white, but a brilliant artist.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "can-the-most-popular-red-wine-in-the-u-s-endure-climate-change",
"title": "Can the Most Popular Red Wine in the U.S. Endure Climate Change?",
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"content": "\u003cp>In California’s Napa Valley, cabernet sauvignon is king.\u003c/p>\n\u003cp>The bold red wine has made the region world famous, with some bottles retailing at hundreds of dollars. But increasingly severe heat waves are taking a toll on the grape variety, especially in late summer during ripening. As temperatures keep rising, the wine industry is slowly confronting a future where Napa may not be the prime cabernet region it once was.\u003c/p>\n\u003cp>[aside postid='quest_17385']In the face of climate change, wineries around the world are innovating. New technology is being installed to keep the grapes cool during heat spells. A handful of wineries are going a step further. They’re experimenting with new grapes, ripping out high-value cabernet vines to plant varieties from hotter climates.\u003c/p>\n\u003cp>The goal is to find heat-tolerant grapes that blend well with cabernet, potentially making up for the flavors that cabernet could lack when temperatures get even hotter. While many bottles labeled cabernet are already blended with other grapes in small amounts, winemakers may need more flexibility in the future.\u003c/p>\n\u003cp>“We know we have to adapt,” says Avery Heelan, a winemaker at Larkmead Vineyards in Calistoga. “We can’t just pretend that it’s going to go away, because all we see is each year it’s getting more and more extreme.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, blending with other grapes comes with risks. For a U.S. wine to be labeled cabernet, a bottle must contain 75% cabernet grapes or more. Any less, and it’s considered a red blend. Blends typically don’t command the same prices on store shelves as cabernet, especially since consumers are accustomed to picking U.S. wines by the name of the grape. Moving away from cabernet would be a major financial gamble for Napa’s multibillion-dollar wine industry.\u003c/p>\n\u003cp>“It is a big shift,” says Elisabeth Forrestel, an assistant professor of viticulture and enology at the University of California, Davis. “Without the market changing or demands changing, you can’t convince someone to grow something that doesn’t sell or doesn’t garner the same price.”\u003c/p>\n\u003cfigure id=\"attachment_13963904\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963904\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/davis.png\" alt=\"A young man in a lab with rows of plastic test tubes in front of him.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/davis.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/davis-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/davis-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/davis-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/davis-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/davis-1536x1025.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/davis-1920x1281.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">UC Davis research assistant Jacob Vito crushes cabernet sauvignon grapes from Napa Valley to analyze their chemical compounds. The lab is studying how heat is affecting the grapes. \u003ccite>(Ryan Kellman/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Charbono, anyone?\u003c/h3>\n\u003cp>Some grapes growing at Larkmead Vineyards aren’t ones that many American wine drinkers would recognize. Long rows of vines are labeled: touriga nacional, aglianico, charbono and tempranillo.\u003c/p>\n\u003cp>“There’s not a huge market for a lot of these varieties,” says Heelan, walking among the vines on a hot summer afternoon. “We’re really choosing them not from popularity, but for their qualities.”\u003c/p>\n\u003cp>Established more than a century ago, the winery is known for its bottles of cabernet sauvignon. These lesser-known grapes were planted only a few years ago, part of a research vineyard that took the place of cabernet vines.\u003c/p>\n\u003cp>“Which most people would probably think is a little crazy, considering it’s 3 acres of perfect cabernet land,” Heelan says. “But certainly with the climate and how dramatically it’s changed over even the last 10 years, we really have to start adjusting.”\u003c/p>\n\u003cfigure id=\"attachment_13963905\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963905\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/winemaker.png\" alt=\"A white woman with long brown hair stands in the middle of a vineyard.\" width=\"2000\" height=\"1306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/winemaker.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/winemaker-800x522.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/winemaker-1020x666.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/winemaker-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/winemaker-768x502.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/winemaker-1536x1003.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/winemaker-1920x1254.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Winemaker Avery Heelan is growing several rare grape varieties at Larkmead Vineyards in Napa Valley, in the hope that they’ll blend well with cabernet grapes as temperatures get hotter. \u003ccite>(Ryan Kellman/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The vineyard is already at the hotter northern end of Napa Valley, but the extreme heat in recent years has been a wake-up call. A late-summer heat wave in 2022 hit temperatures just under 120 degrees at the vineyard, she says.\u003c/p>\n\u003cp>“When it gets that hot, the vines, they’re done,” she says. “They’re going to go dormant, and when that happens, they’re not ripening anymore.”\u003c/p>\n\u003cp>[aside postid='arts_13886632']In extreme heat, cabernet grapes can lose their rich color. They also dehydrate, wrinkling like raisins, which produces wines that are sweeter and more alcoholic. Heelan says the grapes that the vineyard is testing could provide an added boost of color or acidity to cabernet, helping balance out the wine when temperatures take their toll.\u003c/p>\n\u003cp>The experiment has its cost. In addition to the lost revenue from removing cabernet, grapevines take up to five years to produce their first crop, plus several more years for the wines to ferment. Heelan says only then will they start to see how the new grapes are performing. But the goal is to prepare the winery for the future, knowing that heat will likely get worse.\u003c/p>\n\u003cp>“Honestly, the more we experiment and learn about how to adapt, I think the wines are just getting better and better,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13963906\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963906\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/wine.png\" alt=\"Red wine is poured into a clear wine glass.\" width=\"2000\" height=\"1330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/wine.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/wine-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/wine-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/wine-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/wine-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/wine-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/wine-1920x1277.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In hotter temperatures, cabernet grapes lose their rich red color and produce sweeter, more alcoholic wines. \u003ccite>(Ryan Kellman/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Where cabernet is king\u003c/h3>\n\u003cp>Farther south, Shafer Vineyards sits in the heart of Stags Leap, a Napa wine region that’s known for high-end cabernets. Winemaker Elias Fernandez says the grapes benefit from a cool evening breeze that blows in from San Francisco Bay.\u003c/p>\n\u003cp>This summer, heat has already been a problem. July was the \u003ca href=\"https://www.ncei.noaa.gov/news/national-climate-202407\">hottest July on record\u003c/a> in California. Fernandez points to a grape cluster where small green grapes are nestled among larger purple ones.\u003c/p>\n\u003cp>“This is effects of the heat,” he says. “It’s not maturing, so this is where you lose some fruit.”\u003c/p>\n\u003cfigure id=\"attachment_13963907\" class=\"wp-caption aligncenter\" style=\"max-width: 1430px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963907\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elias.png\" alt=\"A man stands in front of a vinyard, green hills visible in the distance.\" width=\"1430\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elias.png 1430w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elias-800x1119.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elias-1020x1427.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elias-160x224.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elias-768x1074.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elias-1098x1536.png 1098w\" sizes=\"(max-width: 1430px) 100vw, 1430px\">\u003cfigcaption class=\"wp-caption-text\">Winemaker Elias Fernandez is installing new technology at Shafer Vineyards in Napa Valley to combat heat waves. \u003ccite>(Ryan Kellman/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The damage isn’t too widespread this year, unlike in 2022. But with summers getting more intense, Fernandez says the winery is looking at technology to help the cabernet vines. They’re currently installing misters, which spray water into the air to cool the temperature.\u003c/p>\n\u003cp>“It’s a constant mist,” he says. “How many of you have been to a party where they have misters? Doesn’t that feel good? Well, that’s what the vines are feeling.”\u003c/p>\n\u003cp>[aside postid='arts_13917165']Still, using extra water is a challenge in drought-prone California, he says. Plus, the water droplets can concentrate the light on the grapes and burn them, so misters must be run until the sun sets to keep the droplets from collecting. But Fernandez says he’s hoping the misting will keep the cabernet vines producing at the highest level.\u003c/p>\n\u003cp>“I think the first thing we’ll be doing is mitigation, hoping to keep it as the true varietal of Napa Valley,” he says. “That’s what we’re trying to do — is buy time and see what happens with this whole thing.”\u003c/p>\n\u003cp>For now, he’s not considering planting other grape varieties. With wines that are priced at $100 and up, cabernet is central to their business.\u003c/p>\n\u003cp>“For me, it’s hard to think that people are just going to throw cabernet out the door and plant something else,” he says. “I really do. It’s the king of the wines of the world.”\u003c/p>\n\u003ch3>Wine regions are shifting\u003c/h3>\n\u003cfigure id=\"attachment_13963908\" class=\"wp-caption aligncenter\" style=\"max-width: 1402px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elisabeth.png\" alt=\"A white woman wearing round glasses stands in a room, looking serious.\" width=\"1402\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elisabeth.png 1402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elisabeth-800x1141.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elisabeth-1020x1455.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elisabeth-160x228.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elisabeth-768x1096.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elisabeth-1077x1536.png 1077w\" sizes=\"(max-width: 1402px) 100vw, 1402px\">\u003cfigcaption class=\"wp-caption-text\">Professor Elisabeth Forrestel is studying how Napa’s wine regions are shifting with climate change. \u003ccite>(Ryan Kellman/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elisabeth Forrestel is one person trying to understand the big swings in the temperature. In her lab at UC Davis, her research team is smashing Napa Valley grapes inside plastic bags. They’ll be analyzed at the molecular level to see how they change during the summer.\u003c/p>\n\u003cp>Forrestel’s lab is gathering wine grapes from Napa Valley throughout the growing season, along with detailed temperature data, to see how the most crucial compounds for wine are affected by heat. Studies show the average temperature during the last 45 days of the growing season in Napa — when grapes ripen — has \u003ca href=\"https://doi.org/10.1002/joc.8162\">already warmed almost 3 degrees Fahrenheit\u003c/a> from 1958 to 2016. But it’s the intense heat waves that do the most damage to molecules that produce a wine’s color and aroma.\u003c/p>\n\u003cp>“When you have these extreme heat events, you can have a lot of impact on the development of that flavor profile,” she says. “If it was just an average change, it would be a lot easier to manage.”\u003c/p>\n\u003cp>[aside postid='quest_19242']Forrestel is working on updating a central guide for winemaking, known as the \u003ca href=\"https://caes.ucdavis.edu/news/taking-climate-change-vineyards\">Winkler Index\u003c/a>. Developed in the 1940s, it shows the ideal locations to grow different varieties of wine grapes, based on how much heat they receive. Napa Valley was originally indexed for cabernet sauvignon, but this could shift as the climate gets hotter.\u003c/p>\n\u003cp>With cabernet being the \u003ca href=\"https://www.oiv.int/public/medias/5888/en-distribution-of-the-worlds-grapevine-varieties.pdf\">world’s most widely grown wine grape\u003c/a>, cabernet vines are resilient to different temperatures, Forrestel says. It’s a question of whether Napa winemakers may need new strategies to keep it producing at such a high-quality level. Since grapevines last 50 years or more, winemakers are faced with making planting decisions today that will need to withstand a hotter future.\u003c/p>\n\u003cp>“Some of the paradigms in what you would plant need to shift,” she says. “People need to have different approaches so there can be more resilience and you can have more options.”\u003c/p>\n\u003cfigure id=\"attachment_13963909\" class=\"wp-caption aligncenter\" style=\"max-width: 3007px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963909\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/napa.png\" alt=\"A vineyard.\" width=\"3007\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/napa.png 3007w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/napa-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/napa-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/napa-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/napa-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/napa-1536x1022.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/napa-2048x1362.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/napa-1920x1277.png 1920w\" sizes=\"(max-width: 3007px) 100vw, 3007px\">\u003cfigcaption class=\"wp-caption-text\">To keep producing high-quality cabernets, Napa Valley winemakers may need to blend them with other grapes to balance out the effects of heat. But wines labeled as blends, instead of cabernet, often sell at lower prices. \u003ccite>(Ryan Kellman/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Would you pay the same for a blend?\u003c/h3>\n\u003cp>Blending cabernet with other red grapes could be one strategy. But since U.S. regulations require any bottle labeled cabernet to contain 75% cabernet, at some point wineries may be looking at changing their labels to say “red blend.”\u003c/p>\n\u003cp>“We have a perception that a blend is not as high quality as getting that high-quality cabernet, and they’re not on the same price point, so it is a big shift,” Forrestel says.\u003c/p>\n\u003cp>The challenge is particular to U.S. winemakers, since many other countries label their wines by region, instead of grape. The famed red wines from Bordeaux in France are already a mix of six grapes, including cabernet, so winemakers have more flexibility. \u003ca href=\"https://www.npr.org/sections/thesalt/2019/11/05/773097167/climate-change-is-disrupting-centuries-old-methods-of-winemaking-in-france\">Winemakers there have also struggled with heat\u003c/a>, so French authorities recently approved four more red-grape varieties for blending. Since the wines are labeled with Bordeaux, wine drinkers may not even notice the shift.\u003c/p>\n\u003cp>[aside postid='arts_13963437']Wines in the U.S. are generally labeled by the grape variety, a system that was promoted when the domestic wine industry was growing in prominence decades ago. In an effort to compete with wines from Europe, some thought focusing on the grape variety would demystify wines for consumers and show the quality of American wines.\u003c/p>\n\u003cp>Now, that system may work against them. Cabernet sauvignon is the most popular red wine in the U.S., according to NielsenIQ. So Forrestel says consumers are also part of the solution by creating demand for wines that are better suited for a hotter climate.\u003c/p>\n\u003cp>“Be open,” she says. “Because I think it’s really easy to walk in and buy what you’re used to. And also, trust what you like and not what you’re told to like.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Climate change is affecting our food, and our food is affecting the climate. NPR is dedicating a week to \u003ca href=\"https://www.npr.org/2024/09/06/g-s1-19303/food-climate-solutions\">stories and conversations about the search for solutions\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Bold cabernet sauvignon wines made Napa Valley famous. Now, hotter temperatures are starting to damage the grapes.",
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"title": "How Napa Valley Winemakers are Adapting to Climate Change | KQED",
"description": "Bold cabernet sauvignon wines made Napa Valley famous. Now, hotter temperatures are starting to damage the grapes.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In California’s Napa Valley, cabernet sauvignon is king.\u003c/p>\n\u003cp>The bold red wine has made the region world famous, with some bottles retailing at hundreds of dollars. But increasingly severe heat waves are taking a toll on the grape variety, especially in late summer during ripening. As temperatures keep rising, the wine industry is slowly confronting a future where Napa may not be the prime cabernet region it once was.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the face of climate change, wineries around the world are innovating. New technology is being installed to keep the grapes cool during heat spells. A handful of wineries are going a step further. They’re experimenting with new grapes, ripping out high-value cabernet vines to plant varieties from hotter climates.\u003c/p>\n\u003cp>The goal is to find heat-tolerant grapes that blend well with cabernet, potentially making up for the flavors that cabernet could lack when temperatures get even hotter. While many bottles labeled cabernet are already blended with other grapes in small amounts, winemakers may need more flexibility in the future.\u003c/p>\n\u003cp>“We know we have to adapt,” says Avery Heelan, a winemaker at Larkmead Vineyards in Calistoga. “We can’t just pretend that it’s going to go away, because all we see is each year it’s getting more and more extreme.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, blending with other grapes comes with risks. For a U.S. wine to be labeled cabernet, a bottle must contain 75% cabernet grapes or more. Any less, and it’s considered a red blend. Blends typically don’t command the same prices on store shelves as cabernet, especially since consumers are accustomed to picking U.S. wines by the name of the grape. Moving away from cabernet would be a major financial gamble for Napa’s multibillion-dollar wine industry.\u003c/p>\n\u003cp>“It is a big shift,” says Elisabeth Forrestel, an assistant professor of viticulture and enology at the University of California, Davis. “Without the market changing or demands changing, you can’t convince someone to grow something that doesn’t sell or doesn’t garner the same price.”\u003c/p>\n\u003cfigure id=\"attachment_13963904\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963904\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/davis.png\" alt=\"A young man in a lab with rows of plastic test tubes in front of him.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/davis.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/davis-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/davis-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/davis-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/davis-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/davis-1536x1025.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/davis-1920x1281.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">UC Davis research assistant Jacob Vito crushes cabernet sauvignon grapes from Napa Valley to analyze their chemical compounds. The lab is studying how heat is affecting the grapes. \u003ccite>(Ryan Kellman/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Charbono, anyone?\u003c/h3>\n\u003cp>Some grapes growing at Larkmead Vineyards aren’t ones that many American wine drinkers would recognize. Long rows of vines are labeled: touriga nacional, aglianico, charbono and tempranillo.\u003c/p>\n\u003cp>“There’s not a huge market for a lot of these varieties,” says Heelan, walking among the vines on a hot summer afternoon. “We’re really choosing them not from popularity, but for their qualities.”\u003c/p>\n\u003cp>Established more than a century ago, the winery is known for its bottles of cabernet sauvignon. These lesser-known grapes were planted only a few years ago, part of a research vineyard that took the place of cabernet vines.\u003c/p>\n\u003cp>“Which most people would probably think is a little crazy, considering it’s 3 acres of perfect cabernet land,” Heelan says. “But certainly with the climate and how dramatically it’s changed over even the last 10 years, we really have to start adjusting.”\u003c/p>\n\u003cfigure id=\"attachment_13963905\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963905\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/winemaker.png\" alt=\"A white woman with long brown hair stands in the middle of a vineyard.\" width=\"2000\" height=\"1306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/winemaker.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/winemaker-800x522.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/winemaker-1020x666.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/winemaker-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/winemaker-768x502.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/winemaker-1536x1003.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/winemaker-1920x1254.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Winemaker Avery Heelan is growing several rare grape varieties at Larkmead Vineyards in Napa Valley, in the hope that they’ll blend well with cabernet grapes as temperatures get hotter. \u003ccite>(Ryan Kellman/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The vineyard is already at the hotter northern end of Napa Valley, but the extreme heat in recent years has been a wake-up call. A late-summer heat wave in 2022 hit temperatures just under 120 degrees at the vineyard, she says.\u003c/p>\n\u003cp>“When it gets that hot, the vines, they’re done,” she says. “They’re going to go dormant, and when that happens, they’re not ripening anymore.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In extreme heat, cabernet grapes can lose their rich color. They also dehydrate, wrinkling like raisins, which produces wines that are sweeter and more alcoholic. Heelan says the grapes that the vineyard is testing could provide an added boost of color or acidity to cabernet, helping balance out the wine when temperatures take their toll.\u003c/p>\n\u003cp>The experiment has its cost. In addition to the lost revenue from removing cabernet, grapevines take up to five years to produce their first crop, plus several more years for the wines to ferment. Heelan says only then will they start to see how the new grapes are performing. But the goal is to prepare the winery for the future, knowing that heat will likely get worse.\u003c/p>\n\u003cp>“Honestly, the more we experiment and learn about how to adapt, I think the wines are just getting better and better,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13963906\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963906\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/wine.png\" alt=\"Red wine is poured into a clear wine glass.\" width=\"2000\" height=\"1330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/wine.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/wine-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/wine-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/wine-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/wine-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/wine-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/wine-1920x1277.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In hotter temperatures, cabernet grapes lose their rich red color and produce sweeter, more alcoholic wines. \u003ccite>(Ryan Kellman/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Where cabernet is king\u003c/h3>\n\u003cp>Farther south, Shafer Vineyards sits in the heart of Stags Leap, a Napa wine region that’s known for high-end cabernets. Winemaker Elias Fernandez says the grapes benefit from a cool evening breeze that blows in from San Francisco Bay.\u003c/p>\n\u003cp>This summer, heat has already been a problem. July was the \u003ca href=\"https://www.ncei.noaa.gov/news/national-climate-202407\">hottest July on record\u003c/a> in California. Fernandez points to a grape cluster where small green grapes are nestled among larger purple ones.\u003c/p>\n\u003cp>“This is effects of the heat,” he says. “It’s not maturing, so this is where you lose some fruit.”\u003c/p>\n\u003cfigure id=\"attachment_13963907\" class=\"wp-caption aligncenter\" style=\"max-width: 1430px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963907\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elias.png\" alt=\"A man stands in front of a vinyard, green hills visible in the distance.\" width=\"1430\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elias.png 1430w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elias-800x1119.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elias-1020x1427.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elias-160x224.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elias-768x1074.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elias-1098x1536.png 1098w\" sizes=\"(max-width: 1430px) 100vw, 1430px\">\u003cfigcaption class=\"wp-caption-text\">Winemaker Elias Fernandez is installing new technology at Shafer Vineyards in Napa Valley to combat heat waves. \u003ccite>(Ryan Kellman/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The damage isn’t too widespread this year, unlike in 2022. But with summers getting more intense, Fernandez says the winery is looking at technology to help the cabernet vines. They’re currently installing misters, which spray water into the air to cool the temperature.\u003c/p>\n\u003cp>“It’s a constant mist,” he says. “How many of you have been to a party where they have misters? Doesn’t that feel good? Well, that’s what the vines are feeling.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, using extra water is a challenge in drought-prone California, he says. Plus, the water droplets can concentrate the light on the grapes and burn them, so misters must be run until the sun sets to keep the droplets from collecting. But Fernandez says he’s hoping the misting will keep the cabernet vines producing at the highest level.\u003c/p>\n\u003cp>“I think the first thing we’ll be doing is mitigation, hoping to keep it as the true varietal of Napa Valley,” he says. “That’s what we’re trying to do — is buy time and see what happens with this whole thing.”\u003c/p>\n\u003cp>For now, he’s not considering planting other grape varieties. With wines that are priced at $100 and up, cabernet is central to their business.\u003c/p>\n\u003cp>“For me, it’s hard to think that people are just going to throw cabernet out the door and plant something else,” he says. “I really do. It’s the king of the wines of the world.”\u003c/p>\n\u003ch3>Wine regions are shifting\u003c/h3>\n\u003cfigure id=\"attachment_13963908\" class=\"wp-caption aligncenter\" style=\"max-width: 1402px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elisabeth.png\" alt=\"A white woman wearing round glasses stands in a room, looking serious.\" width=\"1402\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elisabeth.png 1402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elisabeth-800x1141.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elisabeth-1020x1455.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elisabeth-160x228.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elisabeth-768x1096.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/elisabeth-1077x1536.png 1077w\" sizes=\"(max-width: 1402px) 100vw, 1402px\">\u003cfigcaption class=\"wp-caption-text\">Professor Elisabeth Forrestel is studying how Napa’s wine regions are shifting with climate change. \u003ccite>(Ryan Kellman/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elisabeth Forrestel is one person trying to understand the big swings in the temperature. In her lab at UC Davis, her research team is smashing Napa Valley grapes inside plastic bags. They’ll be analyzed at the molecular level to see how they change during the summer.\u003c/p>\n\u003cp>Forrestel’s lab is gathering wine grapes from Napa Valley throughout the growing season, along with detailed temperature data, to see how the most crucial compounds for wine are affected by heat. Studies show the average temperature during the last 45 days of the growing season in Napa — when grapes ripen — has \u003ca href=\"https://doi.org/10.1002/joc.8162\">already warmed almost 3 degrees Fahrenheit\u003c/a> from 1958 to 2016. But it’s the intense heat waves that do the most damage to molecules that produce a wine’s color and aroma.\u003c/p>\n\u003cp>“When you have these extreme heat events, you can have a lot of impact on the development of that flavor profile,” she says. “If it was just an average change, it would be a lot easier to manage.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Forrestel is working on updating a central guide for winemaking, known as the \u003ca href=\"https://caes.ucdavis.edu/news/taking-climate-change-vineyards\">Winkler Index\u003c/a>. Developed in the 1940s, it shows the ideal locations to grow different varieties of wine grapes, based on how much heat they receive. Napa Valley was originally indexed for cabernet sauvignon, but this could shift as the climate gets hotter.\u003c/p>\n\u003cp>With cabernet being the \u003ca href=\"https://www.oiv.int/public/medias/5888/en-distribution-of-the-worlds-grapevine-varieties.pdf\">world’s most widely grown wine grape\u003c/a>, cabernet vines are resilient to different temperatures, Forrestel says. It’s a question of whether Napa winemakers may need new strategies to keep it producing at such a high-quality level. Since grapevines last 50 years or more, winemakers are faced with making planting decisions today that will need to withstand a hotter future.\u003c/p>\n\u003cp>“Some of the paradigms in what you would plant need to shift,” she says. “People need to have different approaches so there can be more resilience and you can have more options.”\u003c/p>\n\u003cfigure id=\"attachment_13963909\" class=\"wp-caption aligncenter\" style=\"max-width: 3007px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963909\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/napa.png\" alt=\"A vineyard.\" width=\"3007\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/napa.png 3007w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/napa-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/napa-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/napa-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/napa-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/napa-1536x1022.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/napa-2048x1362.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/napa-1920x1277.png 1920w\" sizes=\"(max-width: 3007px) 100vw, 3007px\">\u003cfigcaption class=\"wp-caption-text\">To keep producing high-quality cabernets, Napa Valley winemakers may need to blend them with other grapes to balance out the effects of heat. But wines labeled as blends, instead of cabernet, often sell at lower prices. \u003ccite>(Ryan Kellman/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Would you pay the same for a blend?\u003c/h3>\n\u003cp>Blending cabernet with other red grapes could be one strategy. But since U.S. regulations require any bottle labeled cabernet to contain 75% cabernet, at some point wineries may be looking at changing their labels to say “red blend.”\u003c/p>\n\u003cp>“We have a perception that a blend is not as high quality as getting that high-quality cabernet, and they’re not on the same price point, so it is a big shift,” Forrestel says.\u003c/p>\n\u003cp>The challenge is particular to U.S. winemakers, since many other countries label their wines by region, instead of grape. The famed red wines from Bordeaux in France are already a mix of six grapes, including cabernet, so winemakers have more flexibility. \u003ca href=\"https://www.npr.org/sections/thesalt/2019/11/05/773097167/climate-change-is-disrupting-centuries-old-methods-of-winemaking-in-france\">Winemakers there have also struggled with heat\u003c/a>, so French authorities recently approved four more red-grape varieties for blending. Since the wines are labeled with Bordeaux, wine drinkers may not even notice the shift.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Wines in the U.S. are generally labeled by the grape variety, a system that was promoted when the domestic wine industry was growing in prominence decades ago. In an effort to compete with wines from Europe, some thought focusing on the grape variety would demystify wines for consumers and show the quality of American wines.\u003c/p>\n\u003cp>Now, that system may work against them. Cabernet sauvignon is the most popular red wine in the U.S., according to NielsenIQ. So Forrestel says consumers are also part of the solution by creating demand for wines that are better suited for a hotter climate.\u003c/p>\n\u003cp>“Be open,” she says. “Because I think it’s really easy to walk in and buy what you’re used to. And also, trust what you like and not what you’re told to like.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Climate change is affecting our food, and our food is affecting the climate. NPR is dedicating a week to \u003ca href=\"https://www.npr.org/2024/09/06/g-s1-19303/food-climate-solutions\">stories and conversations about the search for solutions\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13963868\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963868\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone.jpeg\" alt=\"A book cover featuring a photo of a Black woman standing in a body of water looking at artwork hanging from a clothes rack.\" width=\"1000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone.jpeg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone-768x1152.jpeg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">‘We’re Alone’ by Edwidge Danticat. \u003ccite>(Graywolf Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reading Edwidge Danticat’s \u003cem>We’re Alone \u003c/em>is like sitting down to listen to an old friend. Personal, touching, rich in observations, smart, resonant, vibrant and complex, the eight essays that make up this collection open a door into Danticat’s past and present, her history and the history of Haiti, her relationship to worldly things and to the work of timeless writers. With clear, concise prose that delves into harsh topics without losing its sense of humor, Danticat once again proves that she is one of contemporary literature’s strongest, most graceful voices.\u003c/p>\n\u003cp>\u003cem>We’re Alone\u003c/em> opens with a preface in which Danticat explains that, for her, writing essays is a quest for a very specific “kind of aloneness/togetherness, as well as something akin to what the Haitian American anthropologist and artist Gina Athena Ulysse has labeled \u003cem>rasanblaj\u003c/em>, which she defines as “assembly, compilation, enlisting, regrouping (of people, spirits, things, ideas).” That aloneness/togetherness is present in every essay. We all experience things differently, but the way Danticat talks about love, loss, migration, grief and injustice, to name a few, makes them feel patently universal.\u003c/p>\n\u003cp>[aside postid='arts_13960144']This short collection has no throwaways, but some standouts merit individual attention.\u003c/p>\n\u003cp>“They Are Waiting in the Hills: Traveling with Lorraine Hansberry, Audre Lorde, James Baldwin, Gabriel García Márquez, Paule Marshall, and Toni Morrison” is, despite its long title, a wonderfully paced essay in which Danticat shares some of her own travels and experiences throughout her career while simultaneously entering into a conversation, full of admiration, with the authors named in the title. Danticat is an accomplished writer, but this essay is all about her love of literature and the way the work of others have impacted her and sometimes worked as a lens through which she could start processing various experiences.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In “This Is My Body,” we’re right there with the author two days before Christmas of 2017 as she ditches her car, runs away from a shooter at a mall and hides behind a bush. The shooting turned out to be one of many hoaxes perpetrated that year so people could steal from stores during the ensuing chaos, but for Danticat, recounting the experience is an excuse to get the conversation started. From there, the piece morphs into an essay about parenting, her own mother’s death from cancer, and how she tried to parent even from beyond the grave by leaving Danticat and her brothers a tape with instructions for life, including what she wanted the author to wear at her funeral. From there, the essay moves — smoothly, always — into a discussion of hunger and, among other things, the ethics of force-feeding at Guantanamo and a recognition of how the “grace of the young Parkland survivors, their eloquence, their efforts to include less privileged youth — among them young people of color whose communities are chronically and disproportionately affected by gun violence — has been especially eye opening.”\u003c/p>\n\u003cp>“By the Time You Read This” is another marvel that seamlessly weaves together past and present while exploring the death of George Floyd, recounting the racism Danticat observed while riding New York City Transit buses, and then touches on the massive migration of African Americans from rural areas in the South to cities in the North of the United States.\u003c/p>\n\u003cp>[aside postid='arts_13963659']The rest of the essays share the same shapeshifting nature. However, they do so while also containing at least one of the cohesive elements that make the book feel like a whole; history, family, racism, Haiti, migration, literature, etc. Danticat masterfully moves from one topic or idea to the next with the powerful fluidity of a raging river. From every Haitian being suspected of having AIDS to memories of the “ruthless Duvalier dictatorship,” every essay here contains at least a slice of history. From a discussion of temporary protected status for Haitians that turns into a conversation about rainbows to the many excerpts of poems and names that celebrate Black excellence throughout the collection — Toni Morrison, Alice Walker, Audre Lorde, Gwendolyn Brooks, Nikki Giovanni, Maya Angelou — this collection shows exactly where Danticat fits, and just how much her work is in conversation with that of other giants.\u003c/p>\n\u003cp>\u003cem>We’re Alone \u003c/em>accomplishes a lot, but perhaps the most important thing it does is that it manages to feel like an invitation from the opening pages. Yes, this is Danticat talking about racism and injustice while digging deep and showing us just how ugly humanity can be, but it’s also a collection full of hope and a celebration of writing. Ultimately, this is more than a collection of essays; this is an invitation. “You’re alone and I’m alone,” says Danticat in one way or another in every essay, “but if you join me, we can be alone together.” This beautiful invitation is one I encourage you to accept.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We’re Alone’ by Edwidge Danticat is out now, via Graywolf Press.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13963868\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963868\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone.jpeg\" alt=\"A book cover featuring a photo of a Black woman standing in a body of water looking at artwork hanging from a clothes rack.\" width=\"1000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone.jpeg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/werealone-768x1152.jpeg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">‘We’re Alone’ by Edwidge Danticat. \u003ccite>(Graywolf Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reading Edwidge Danticat’s \u003cem>We’re Alone \u003c/em>is like sitting down to listen to an old friend. Personal, touching, rich in observations, smart, resonant, vibrant and complex, the eight essays that make up this collection open a door into Danticat’s past and present, her history and the history of Haiti, her relationship to worldly things and to the work of timeless writers. With clear, concise prose that delves into harsh topics without losing its sense of humor, Danticat once again proves that she is one of contemporary literature’s strongest, most graceful voices.\u003c/p>\n\u003cp>\u003cem>We’re Alone\u003c/em> opens with a preface in which Danticat explains that, for her, writing essays is a quest for a very specific “kind of aloneness/togetherness, as well as something akin to what the Haitian American anthropologist and artist Gina Athena Ulysse has labeled \u003cem>rasanblaj\u003c/em>, which she defines as “assembly, compilation, enlisting, regrouping (of people, spirits, things, ideas).” That aloneness/togetherness is present in every essay. We all experience things differently, but the way Danticat talks about love, loss, migration, grief and injustice, to name a few, makes them feel patently universal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This short collection has no throwaways, but some standouts merit individual attention.\u003c/p>\n\u003cp>“They Are Waiting in the Hills: Traveling with Lorraine Hansberry, Audre Lorde, James Baldwin, Gabriel García Márquez, Paule Marshall, and Toni Morrison” is, despite its long title, a wonderfully paced essay in which Danticat shares some of her own travels and experiences throughout her career while simultaneously entering into a conversation, full of admiration, with the authors named in the title. Danticat is an accomplished writer, but this essay is all about her love of literature and the way the work of others have impacted her and sometimes worked as a lens through which she could start processing various experiences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In “This Is My Body,” we’re right there with the author two days before Christmas of 2017 as she ditches her car, runs away from a shooter at a mall and hides behind a bush. The shooting turned out to be one of many hoaxes perpetrated that year so people could steal from stores during the ensuing chaos, but for Danticat, recounting the experience is an excuse to get the conversation started. From there, the piece morphs into an essay about parenting, her own mother’s death from cancer, and how she tried to parent even from beyond the grave by leaving Danticat and her brothers a tape with instructions for life, including what she wanted the author to wear at her funeral. From there, the essay moves — smoothly, always — into a discussion of hunger and, among other things, the ethics of force-feeding at Guantanamo and a recognition of how the “grace of the young Parkland survivors, their eloquence, their efforts to include less privileged youth — among them young people of color whose communities are chronically and disproportionately affected by gun violence — has been especially eye opening.”\u003c/p>\n\u003cp>“By the Time You Read This” is another marvel that seamlessly weaves together past and present while exploring the death of George Floyd, recounting the racism Danticat observed while riding New York City Transit buses, and then touches on the massive migration of African Americans from rural areas in the South to cities in the North of the United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The rest of the essays share the same shapeshifting nature. However, they do so while also containing at least one of the cohesive elements that make the book feel like a whole; history, family, racism, Haiti, migration, literature, etc. Danticat masterfully moves from one topic or idea to the next with the powerful fluidity of a raging river. From every Haitian being suspected of having AIDS to memories of the “ruthless Duvalier dictatorship,” every essay here contains at least a slice of history. From a discussion of temporary protected status for Haitians that turns into a conversation about rainbows to the many excerpts of poems and names that celebrate Black excellence throughout the collection — Toni Morrison, Alice Walker, Audre Lorde, Gwendolyn Brooks, Nikki Giovanni, Maya Angelou — this collection shows exactly where Danticat fits, and just how much her work is in conversation with that of other giants.\u003c/p>\n\u003cp>\u003cem>We’re Alone \u003c/em>accomplishes a lot, but perhaps the most important thing it does is that it manages to feel like an invitation from the opening pages. Yes, this is Danticat talking about racism and injustice while digging deep and showing us just how ugly humanity can be, but it’s also a collection full of hope and a celebration of writing. Ultimately, this is more than a collection of essays; this is an invitation. “You’re alone and I’m alone,” says Danticat in one way or another in every essay, “but if you join me, we can be alone together.” This beautiful invitation is one I encourage you to accept.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We’re Alone’ by Edwidge Danticat is out now, via Graywolf Press.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-movies-fall-2024-review-npr-wicked-beetlejuice-substance-wolfs-joker",
"title": "The 25 Movies NPR Critics Can’t Wait to Watch This Fall",
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"content": "\u003cp>School’s back in session, election season’s heating up, the leaves need raking, and you just want to get out of the house and escape, right?\u003c/p>\n\u003cp>We’ve got you covered. Everything from award contenders to goofy comedies, a smattering of romance, plenty of anti-heroes, even an animated musical documentary constructed entirely of LEGOs — all curated by NPR critics.\u003c/p>\n\u003cp>We’ll see you at the movies.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CoZqL9N6Rx4\u003c/p>\n\u003ch2>\u003cstrong>‘Beetlejuice Beetlejuice,’ in theaters Sept. 6\u003c/strong>\u003c/h2>\n\u003cp>Look, who knows if this is gonna work? Plenty of directors have returned to their early films to see what, if any, gold remains to be mined. Sometimes they hit the motherlode (\u003cem>Mad Max: Fury Road\u003c/em>), other times the result is a cinematic cave-in (\u003cem>The Matrix Resurrections\u003c/em>). Director Tim Burton’s recent films have all displayed his trademark darkness, but it’s been years since we glimpsed the transgressive, anarchic humor he made his bones on. I’m pulling for him. It’s showtime.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K0jwAP2fS1E\u003c/p>\n\u003ch2>\u003cstrong>‘His Three Daughters\u003cem>,’ \u003c/em>in theaters Sept. 6, on Netflix Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>The cast sells this one: Carrie Coon, Elizabeth Olsen and Natasha Lyonne are each often the best thing about the projects they’re in. And here they are together, playing sisters who gather when their father is dying. It might not seem obvious to cast such different performers as family, but there is something about three singular women in the same film that makes a kind of sense. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=luWZENFNxoU\u003c/p>\n\u003ch2>\u003cstrong>‘Meanwhile on Earth,’ in theaters Sept. 13\u003c/strong>\u003c/h2>\n\u003cp>In this moody, surreal French sci-fi film, a young woman grieves her beloved brother, who disappeared on a space mission three years prior. One night, she receives a message: a mysterious presence says it can return him to Earth… if she does it a small favor. It’s the latest from director Jeremy Clapin, whose unforgettable \u003cem>I Lost my Body\u003c/em>, about a severed hand’s quest to be reunited with its original owner, was nominated for an Oscar in 2020. \u003cem>Nous allons! — Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Yvks3SeCDOs\u003c/p>\n\u003ch2>\u003cstrong>‘My Old Ass,’ in theaters Sept. 13\u003c/strong>\u003c/h2>\n\u003cp>While hallucinating on mushrooms in her last summer before college, Elliott (Maisy Stella) is visited by her 39-year-old self (Aubrey Plaza), blithely offering unsolicited advice: “I know mom can be annoying but be nice to her; hang out with your brothers; and avoid anyone named Chad.” That’s a cue for Percy Hynes White’s endearingly dorky Chad to make his appearance in Megan Park’s coming-of-age charmer. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4GTL2q9ueI4\u003c/p>\n\u003ch2>\u003cstrong>‘All Shall Be Well,’ in theaters Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>A darling of the festival circuit, this Hong Kong drama follows Angie and Pat, a lesbian couple in their 60s who’ve been together for decades. When Pat suddenly dies, her family treats Angie with compassion — at first. Soon, questions over Pat’s estate cause a rift that endangers Angie’s ability to stay in the apartment they shared. Films tackling the intersection of queerness and aging aren’t exactly thick on the ground; early reviews say this one manages to be both sad and life-affirming. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_9CmC5Rmsdw\u003c/p>\n\u003ch2>\u003cstrong>‘A Different Man,’ in theaters Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>This brutal psychological drama stars Sebastian Stan as an aspiring actor with neurofibromatosis, a genetic mutation. To widen his casting opportunities, he undergoes facial reconstructive surgery – but when he encounters a fellow performer with the same medical condition (Adam Pearson), he’s forced to reckon with the choice he made. This may be one of the strangest and most challenging things you’ll watch all year, and it’s worth it. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LNlrGhBpYjc\u003c/p>\n\u003ch2>\u003cstrong>‘The Substance,’ in theaters Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>The body horror, the body horror! Coralie Fargeat’s latest film kind of sounds like a mad twist on \u003cem>Severance\u003c/em>: Demi Moore is an aerobics star who’s fired from her show for turning 50. She’s offered the chance to inject a substance that will transform her into a younger version of herself (Margaret Qualley). She must “switch” between her younger and older self every seven days, but — surprise, surprise! — things don’t go exactly as planned. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wLJUPjiRbAM\u003c/p>\n\u003ch2>\u003cstrong>‘WOLFS\u003cem>,’ \u003c/em>in theaters Sept. 20, on Apple TV+ Sept. 27\u003c/strong>\u003c/h2>\n\u003cp>George Clooney and Brad Pitt have been making capers together since \u003cem>Ocean’s Eleven\u003c/em> in 2001. Now, they join up for an action comedy about two sketchy but efficient fixers. The only hangup is that they both work alone, but now they’re forced to work together. It’s a well-worn setup, and the result will depend on whether they can recapture the affectionate repartee one more time. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j9_nPeKnpfE\u003c/p>\n\u003ch2>\u003cstrong>‘Megalopolis,’ in theaters Sept. 27\u003c/strong>\u003c/h2>\n\u003cp>Look, reportedly this whole production is deeply fraught — \u003ca href=\"https://www.theguardian.com/film/article/2024/may/14/has-this-guy-ever-made-a-movie-before-francis-ford-coppola-40-year-battle-megalopolis\">\u003cu>you can Google\u003c/u>\u003c/a> the \u003ca href=\"https://www.nytimes.com/2024/06/06/movies/francis-ford-coppola-megalopolis-godfather.html\">\u003cu>many reasons yourself\u003c/u>\u003c/a>. But the mere existence of a brand-new Francis Ford Coppola film in 2024 still has people talking. It’s a decades-long passion project with a stacked cast that includes Adam Driver, Giancarlo Esposito, Aubrey Plaza, Talia Shire, and Laurence Fishburne. And its CGI-heavy, time-traveling story looks truly out-there: Coppola reimagines the fall of Rome through the lens of a modern-day New York. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=67vbA5ZJdKQ\u003c/p>\n\u003ch2>\u003cstrong>‘The Wild Robot,’ in theaters Sept. 27\u003c/strong>\u003c/h2>\n\u003cp>Filmmaker Chris Sanders (\u003cem>How to Train Your Dragon\u003c/em>) has been telling interviewers that the computer-generated visuals in this tale of a shipwrecked robot named Roz (voiced by Lupita Nyong’o) who befriends an island’s critters and adopts an orphaned gosling, were inspired by the watercolor backgrounds in Bambi, and by the lush hand-drawn forests of Hayao Miyazaki. The idea was to place the high-tech protagonist of this ecological fable in an emotionally resonant wilderness. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_OKAwz2MsJs\u003c/p>\n\u003ch2>\u003cstrong>‘Joker: Folie a Deux,’ in theaters Oct. 4\u003c/strong>\u003c/h2>\n\u003cp>The original \u003cem>Joker \u003c/em>was supposed to be a standalone film, but when it made a billion dollars, and Oscar-winner Joaquin Phoenix started dreaming about his deranged Arthur Fleck telling jokes and singing onstage, what’s a poor movie studio to do? Phoenix and director Todd Phillips conjured a story involving Fleck’s music therapist, Harley Quinn; Lady Gaga signed on to play her, and here we are. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cY95YW-HVCM\u003c/p>\n\u003ch2>\u003cstrong>‘The Platform 2,’ on Netflix Oct. 4\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>The Platform\u003c/em>, Spanish director Galder Gaztelu-Urrutia’s 2019 feature debut, was a nasty piece of work — an grisly anti-capitalist screed in sci-fi/horror clothing. In a tower prison, the residents of the top floors enjoy sumptuous meals served on a vast slab. But as that platform descends at designated intervals down through the tower, the lower residents fight over leftovers. No, it’s not subtle, as metaphors go, but I’m eager to see where a sequel takes us. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7Bc6trBc1kc\u003c/p>\n\u003ch2>\u003cstrong>‘Piece by Piece,’ in theaters Oct. 11\u003c/strong>\u003c/h2>\n\u003cp>“Y’know what’d be cool?” asks Pharrell Williams, channeling his “It might seem crazy what I’m ‘bout to say” opening lyric to “Happy” — “is if we told my story with LEGO pieces.” As he is LEGO-ized while saying this in Morgan Neville’s computer-animated documentary and is joined on several new songs by LEGO-ized Gwen Stefani, Justin Timberlake, Kendrick Lamar, Busta Rhymes, Jay-Z and Snoop Dogg, it’s hard to disagree.\u003cbr>\n\u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iZ9O_tl5Npk\u003c/p>\n\u003ch2>\u003cstrong>‘Saturday Night,’ in theaters Oct. 11\u003c/strong>\u003c/h2>\n\u003cp>Jason Reitman jumps back 49 years to revel in the nervous energy of Lorne Michaels, Chevy Chase, Gilda Radner, Garrett Morris, John Belushi, Dan Aykroyd, and Jane Curtin on the eve of the very first broadcast of a little late-night comedy show they’d come up with. Interviews with the surviving principals inform the dramedy’s portrait of the hours leading up to those fateful words “Live from New York, it’s Saturday Night!” on Oct. 11, 1975. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p1HxTmV5i7c\u003c/p>\n\u003ch2>\u003cstrong>‘Anora,’ in theaters Oct. 18\u003c/strong>\u003c/h2>\n\u003cp>The first American film to win the Palme d’Or at Cannes in 13 years, Sean Baker’s comic drama follows New York sex worker Anora (Mikey Madison) as she impulsively elopes with Russian tourist Vanya (Mark Eydelshteyn), who’s eager to avoid deportation. The magic in their fairytale romance is challenged somewhat when Vanya’s parents swan in to try to get the marriage annulled.\u003cem> — Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wBMXS32KOQ4\u003c/p>\n\u003ch2>\u003cstrong>‘Rumours,’ in theaters Oct. 18\u003c/strong>\u003c/h2>\n\u003cp>Guy Maddin makes movies (\u003cem>Careful\u003c/em>, \u003cem>The Saddest Music in the World\u003c/em>, \u003cem>My Winnipeg\u003c/em>) that are rich and strange — not necessarily in a crowd-pleasing way, but invariably in a me-pleasing way. He’s teaming with brothers Evan and Galen Johnson to write and direct this one, and the plot promises a big swing: World leaders attending the G7 conference get lost in the woods. I was all-in for this movie even BEFORE I found it stars Cate Blanchett and a giant brain. And now that I know that? All-innest! \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PGXA1utDS_o\u003c/p>\n\u003ch2>\u003cstrong>‘Woman of the Hour,’ on Netflix Oct. 18\u003c/strong>\u003c/h2>\n\u003cp>Anna Kendrick’s directorial debut (in which she also stars) is based on the story of a serial killer who went on \u003cem>The Dating Game\u003c/em>. It’s a bizarre and unsettling story to say the least, and it got solid reviews at the Toronto International Film Festival last year. Kendrick is a more interesting actress than she’s sometimes given credit for, and she may be the same as a director. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13963844\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963844\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel.png\" alt=\"Two young men gaze up at the sky.\" width=\"2000\" height=\"1352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-1536x1038.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-1920x1298.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Nickel Boys.’ \u003ccite>(L. Kasimu Harris/Amazon Content Services)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Nickel Boys,’ in theaters Oct. 25\u003c/strong>\u003c/h2>\n\u003cp>Colson Whitehead’s Pulitzer winner about a Jim Crow-era reform school (based on Florida’s notorious Dozier School) chronicled the experiences of two Black teenagers — Elwood (Ethan Herisse) and Turner (Brandon Wilson) — as they try to survive the horrors and abuse of the school. RaMell Ross’ film will be the opening attraction at the New York Film Festival. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nYPJIOF0ys4\u003c/p>\n\u003ch2>\u003cstrong>‘A Real Pain,’ in theaters Nov. 1\u003c/strong>\u003c/h2>\n\u003cp>Kieran Culkin is fresh off a stunning performance in HBO’s \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a>, where he could be surprisingly sympathetic for a guy who was basically a sleazeball. Here, he joins Jesse Eisenberg, who also wrote and directed, to play cousins who join up for a trip in Poland. These are both actors who are just about always worth your time, and who doesn’t love a road trip movie? \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I_id-SkGU2k\u003c/p>\n\u003ch2>\u003cstrong>‘Here,’ in theaters Nov. 1\u003c/strong>\u003c/h2>\n\u003cp>Director Robert Zemeckis never met a technological innovation he didn’t want to play with, from motion capture in \u003cem>Polar Express\u003c/em> to digital animation in \u003cem>Who Framed Roger Rabbit.\u003c/em> This time, he’s employing generative AI to face-swap and de-age his \u003cem>Forrest Gump\u003c/em> stars, Tom Hanks and Robin Wright, as they play characters from 18 to 80 in a story that chronicles events on a single plot of land. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=t3HupHq8-eE\u003c/p>\n\u003ch2>\u003cstrong>‘Emilia Pérez,’ in theaters Nov. 1, on Netflix Nov. 13\u003c/strong>\u003c/h2>\n\u003cp>The word out of Cannes earlier this year, where it won the Jury Prize, was that Jacques Audiard’s musical comedy crime film is both exciting and polarizing. At the very least, the logline is compelling: Zoe Saldaña is a lawyer who’s roped into helping a ruthless cartel leader (Karla Sofía Gascón) fake her own death so she can undergo gender affirming surgery. Mentally prepare yourself now for The Discourse to come.\u003cbr>\n\u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O9i2vmFhSSY\u003c/p>\n\u003ch2>\u003cstrong>‘Heretic,’ in theaters Nov. 15\u003c/strong>\u003c/h2>\n\u003cp>Two young women, Mormon missionaries, greet a kindly older man who invites them inside his remote home for a sober discussion of the tenets of their faith. But this is an A24 horror film, so things don’t stay sober for long. The older man in question is played by a slyly sinister Hugh Grant, and his home is an elaborate maze made to test their faiths. I’m getting \u003cem>Barbarian \u003c/em>vibes from the trailer — and it’s not like that cardigan Grant’s wearing makes things any LESS creepy. Brrrr. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13963845\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963845\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz.png\" alt=\"A woman runs through a station with a small boy.\" width=\"2000\" height=\"1119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-1020x571.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-1536x859.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-1920x1074.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Blitz.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Blitz,’ in theaters Nov. 1, on Apple TV+ Nov. 22\u003c/strong>\u003c/h2>\n\u003cp>Steve McQueen — that name alone should be enough to warrant attention. The \u003cem>Shame \u003c/em>and \u003cem>12 Years a Slave\u003c/em> filmmaker wrote and directed this historical drama, which has been described as an “epic journey” set during World War II. And it stars the always captivating Saoirse Ronan as a woman whose young son goes missing in the English countryside. Sign me up.\u003cbr>\n\u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4rgYUipGJNo\u003c/p>\n\u003ch2>\u003cstrong>‘Gladiator II,’ in theaters Nov. 22\u003c/strong>\u003c/h2>\n\u003cp>Two decades after the events depicted in Ridley Scott’s \u003cem>Gladiator,\u003c/em> Lucius, the little boy (grandson of an emperor) who cheered on Russell Crowe in the Colosseum, has grown up to be Paul Mescal and finds himself in much the same position. Enslaved, he’ll fight not tigers, but a rhinoceros, under the tutelage of power-broker Denzel Washington as he opposes a pair of cruel and capricious young emperors. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6COmYeLsz4c\u003c/p>\n\u003ch2>\u003cstrong>‘Wicked,’ in theaters Nov. 22\u003c/strong>\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Two witches — Galinda (Ariana Grande), bubbly and “popular,” Elphaba (Cynthia Erivo), green and fragile — take on a duplicitous wizard (Jeff Goldblum) in this adaptation of the first act of the smash Broadway musical based on Gregory Maguire’s \u003cem>Wicked: The Life and Times of the Wicked Witch of the West\u003c/em>. It’ll be a long and winding yellow brick road (the second act arrives for Thanksgiving 2025). \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>School’s back in session, election season’s heating up, the leaves need raking, and you just want to get out of the house and escape, right?\u003c/p>\n\u003cp>We’ve got you covered. Everything from award contenders to goofy comedies, a smattering of romance, plenty of anti-heroes, even an animated musical documentary constructed entirely of LEGOs — all curated by NPR critics.\u003c/p>\n\u003cp>We’ll see you at the movies.\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/CoZqL9N6Rx4'\n title='//www.youtube.com/embed/CoZqL9N6Rx4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Beetlejuice Beetlejuice,’ in theaters Sept. 6\u003c/strong>\u003c/h2>\n\u003cp>Look, who knows if this is gonna work? Plenty of directors have returned to their early films to see what, if any, gold remains to be mined. Sometimes they hit the motherlode (\u003cem>Mad Max: Fury Road\u003c/em>), other times the result is a cinematic cave-in (\u003cem>The Matrix Resurrections\u003c/em>). Director Tim Burton’s recent films have all displayed his trademark darkness, but it’s been years since we glimpsed the transgressive, anarchic humor he made his bones on. I’m pulling for him. It’s showtime.\u003cem> — Glen Weldon\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/K0jwAP2fS1E'\n title='//www.youtube.com/embed/K0jwAP2fS1E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘His Three Daughters\u003cem>,’ \u003c/em>in theaters Sept. 6, on Netflix Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>The cast sells this one: Carrie Coon, Elizabeth Olsen and Natasha Lyonne are each often the best thing about the projects they’re in. And here they are together, playing sisters who gather when their father is dying. It might not seem obvious to cast such different performers as family, but there is something about three singular women in the same film that makes a kind of sense. \u003cem>— Linda Holmes\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/luWZENFNxoU'\n title='//www.youtube.com/embed/luWZENFNxoU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Meanwhile on Earth,’ in theaters Sept. 13\u003c/strong>\u003c/h2>\n\u003cp>In this moody, surreal French sci-fi film, a young woman grieves her beloved brother, who disappeared on a space mission three years prior. One night, she receives a message: a mysterious presence says it can return him to Earth… if she does it a small favor. It’s the latest from director Jeremy Clapin, whose unforgettable \u003cem>I Lost my Body\u003c/em>, about a severed hand’s quest to be reunited with its original owner, was nominated for an Oscar in 2020. \u003cem>Nous allons! — Glen Weldon\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/Yvks3SeCDOs'\n title='//www.youtube.com/embed/Yvks3SeCDOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘My Old Ass,’ in theaters Sept. 13\u003c/strong>\u003c/h2>\n\u003cp>While hallucinating on mushrooms in her last summer before college, Elliott (Maisy Stella) is visited by her 39-year-old self (Aubrey Plaza), blithely offering unsolicited advice: “I know mom can be annoying but be nice to her; hang out with your brothers; and avoid anyone named Chad.” That’s a cue for Percy Hynes White’s endearingly dorky Chad to make his appearance in Megan Park’s coming-of-age charmer. \u003cem>— Bob Mondello\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/4GTL2q9ueI4'\n title='//www.youtube.com/embed/4GTL2q9ueI4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘All Shall Be Well,’ in theaters Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>A darling of the festival circuit, this Hong Kong drama follows Angie and Pat, a lesbian couple in their 60s who’ve been together for decades. When Pat suddenly dies, her family treats Angie with compassion — at first. Soon, questions over Pat’s estate cause a rift that endangers Angie’s ability to stay in the apartment they shared. Films tackling the intersection of queerness and aging aren’t exactly thick on the ground; early reviews say this one manages to be both sad and life-affirming. \u003cem>— Glen Weldon\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/_9CmC5Rmsdw'\n title='//www.youtube.com/embed/_9CmC5Rmsdw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘A Different Man,’ in theaters Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>This brutal psychological drama stars Sebastian Stan as an aspiring actor with neurofibromatosis, a genetic mutation. To widen his casting opportunities, he undergoes facial reconstructive surgery – but when he encounters a fellow performer with the same medical condition (Adam Pearson), he’s forced to reckon with the choice he made. This may be one of the strangest and most challenging things you’ll watch all year, and it’s worth it. \u003cem>— Aisha Harris\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/LNlrGhBpYjc'\n title='//www.youtube.com/embed/LNlrGhBpYjc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘The Substance,’ in theaters Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>The body horror, the body horror! Coralie Fargeat’s latest film kind of sounds like a mad twist on \u003cem>Severance\u003c/em>: Demi Moore is an aerobics star who’s fired from her show for turning 50. She’s offered the chance to inject a substance that will transform her into a younger version of herself (Margaret Qualley). She must “switch” between her younger and older self every seven days, but — surprise, surprise! — things don’t go exactly as planned. \u003cem>— Aisha Harris\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/wLJUPjiRbAM'\n title='//www.youtube.com/embed/wLJUPjiRbAM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘WOLFS\u003cem>,’ \u003c/em>in theaters Sept. 20, on Apple TV+ Sept. 27\u003c/strong>\u003c/h2>\n\u003cp>George Clooney and Brad Pitt have been making capers together since \u003cem>Ocean’s Eleven\u003c/em> in 2001. Now, they join up for an action comedy about two sketchy but efficient fixers. The only hangup is that they both work alone, but now they’re forced to work together. It’s a well-worn setup, and the result will depend on whether they can recapture the affectionate repartee one more time. \u003cem>— Linda Holmes\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/j9_nPeKnpfE'\n title='//www.youtube.com/embed/j9_nPeKnpfE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Megalopolis,’ in theaters Sept. 27\u003c/strong>\u003c/h2>\n\u003cp>Look, reportedly this whole production is deeply fraught — \u003ca href=\"https://www.theguardian.com/film/article/2024/may/14/has-this-guy-ever-made-a-movie-before-francis-ford-coppola-40-year-battle-megalopolis\">\u003cu>you can Google\u003c/u>\u003c/a> the \u003ca href=\"https://www.nytimes.com/2024/06/06/movies/francis-ford-coppola-megalopolis-godfather.html\">\u003cu>many reasons yourself\u003c/u>\u003c/a>. But the mere existence of a brand-new Francis Ford Coppola film in 2024 still has people talking. It’s a decades-long passion project with a stacked cast that includes Adam Driver, Giancarlo Esposito, Aubrey Plaza, Talia Shire, and Laurence Fishburne. And its CGI-heavy, time-traveling story looks truly out-there: Coppola reimagines the fall of Rome through the lens of a modern-day New York. \u003cem>— Aisha Harris\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/67vbA5ZJdKQ'\n title='//www.youtube.com/embed/67vbA5ZJdKQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘The Wild Robot,’ in theaters Sept. 27\u003c/strong>\u003c/h2>\n\u003cp>Filmmaker Chris Sanders (\u003cem>How to Train Your Dragon\u003c/em>) has been telling interviewers that the computer-generated visuals in this tale of a shipwrecked robot named Roz (voiced by Lupita Nyong’o) who befriends an island’s critters and adopts an orphaned gosling, were inspired by the watercolor backgrounds in Bambi, and by the lush hand-drawn forests of Hayao Miyazaki. The idea was to place the high-tech protagonist of this ecological fable in an emotionally resonant wilderness. \u003cem>— Bob Mondello\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/_OKAwz2MsJs'\n title='//www.youtube.com/embed/_OKAwz2MsJs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Joker: Folie a Deux,’ in theaters Oct. 4\u003c/strong>\u003c/h2>\n\u003cp>The original \u003cem>Joker \u003c/em>was supposed to be a standalone film, but when it made a billion dollars, and Oscar-winner Joaquin Phoenix started dreaming about his deranged Arthur Fleck telling jokes and singing onstage, what’s a poor movie studio to do? Phoenix and director Todd Phillips conjured a story involving Fleck’s music therapist, Harley Quinn; Lady Gaga signed on to play her, and here we are. \u003cem>— Bob Mondello\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/cY95YW-HVCM'\n title='//www.youtube.com/embed/cY95YW-HVCM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘The Platform 2,’ on Netflix Oct. 4\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>The Platform\u003c/em>, Spanish director Galder Gaztelu-Urrutia’s 2019 feature debut, was a nasty piece of work — an grisly anti-capitalist screed in sci-fi/horror clothing. In a tower prison, the residents of the top floors enjoy sumptuous meals served on a vast slab. But as that platform descends at designated intervals down through the tower, the lower residents fight over leftovers. No, it’s not subtle, as metaphors go, but I’m eager to see where a sequel takes us. \u003cem>— Glen Weldon\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/7Bc6trBc1kc'\n title='//www.youtube.com/embed/7Bc6trBc1kc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Piece by Piece,’ in theaters Oct. 11\u003c/strong>\u003c/h2>\n\u003cp>“Y’know what’d be cool?” asks Pharrell Williams, channeling his “It might seem crazy what I’m ‘bout to say” opening lyric to “Happy” — “is if we told my story with LEGO pieces.” As he is LEGO-ized while saying this in Morgan Neville’s computer-animated documentary and is joined on several new songs by LEGO-ized Gwen Stefani, Justin Timberlake, Kendrick Lamar, Busta Rhymes, Jay-Z and Snoop Dogg, it’s hard to disagree.\u003cbr>\n\u003cem>— Bob Mondello\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/iZ9O_tl5Npk'\n title='//www.youtube.com/embed/iZ9O_tl5Npk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Saturday Night,’ in theaters Oct. 11\u003c/strong>\u003c/h2>\n\u003cp>Jason Reitman jumps back 49 years to revel in the nervous energy of Lorne Michaels, Chevy Chase, Gilda Radner, Garrett Morris, John Belushi, Dan Aykroyd, and Jane Curtin on the eve of the very first broadcast of a little late-night comedy show they’d come up with. Interviews with the surviving principals inform the dramedy’s portrait of the hours leading up to those fateful words “Live from New York, it’s Saturday Night!” on Oct. 11, 1975. \u003cem>— Bob Mondello\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/p1HxTmV5i7c'\n title='//www.youtube.com/embed/p1HxTmV5i7c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Anora,’ in theaters Oct. 18\u003c/strong>\u003c/h2>\n\u003cp>The first American film to win the Palme d’Or at Cannes in 13 years, Sean Baker’s comic drama follows New York sex worker Anora (Mikey Madison) as she impulsively elopes with Russian tourist Vanya (Mark Eydelshteyn), who’s eager to avoid deportation. The magic in their fairytale romance is challenged somewhat when Vanya’s parents swan in to try to get the marriage annulled.\u003cem> — Bob Mondello\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/wBMXS32KOQ4'\n title='//www.youtube.com/embed/wBMXS32KOQ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Rumours,’ in theaters Oct. 18\u003c/strong>\u003c/h2>\n\u003cp>Guy Maddin makes movies (\u003cem>Careful\u003c/em>, \u003cem>The Saddest Music in the World\u003c/em>, \u003cem>My Winnipeg\u003c/em>) that are rich and strange — not necessarily in a crowd-pleasing way, but invariably in a me-pleasing way. He’s teaming with brothers Evan and Galen Johnson to write and direct this one, and the plot promises a big swing: World leaders attending the G7 conference get lost in the woods. I was all-in for this movie even BEFORE I found it stars Cate Blanchett and a giant brain. And now that I know that? All-innest! \u003cem>— Glen Weldon\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/PGXA1utDS_o'\n title='//www.youtube.com/embed/PGXA1utDS_o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Woman of the Hour,’ on Netflix Oct. 18\u003c/strong>\u003c/h2>\n\u003cp>Anna Kendrick’s directorial debut (in which she also stars) is based on the story of a serial killer who went on \u003cem>The Dating Game\u003c/em>. It’s a bizarre and unsettling story to say the least, and it got solid reviews at the Toronto International Film Festival last year. Kendrick is a more interesting actress than she’s sometimes given credit for, and she may be the same as a director. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13963844\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963844\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel.png\" alt=\"Two young men gaze up at the sky.\" width=\"2000\" height=\"1352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-1536x1038.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-1920x1298.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Nickel Boys.’ \u003ccite>(L. Kasimu Harris/Amazon Content Services)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Nickel Boys,’ in theaters Oct. 25\u003c/strong>\u003c/h2>\n\u003cp>Colson Whitehead’s Pulitzer winner about a Jim Crow-era reform school (based on Florida’s notorious Dozier School) chronicled the experiences of two Black teenagers — Elwood (Ethan Herisse) and Turner (Brandon Wilson) — as they try to survive the horrors and abuse of the school. RaMell Ross’ film will be the opening attraction at the New York Film Festival. \u003cem>— Bob Mondello\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/nYPJIOF0ys4'\n title='//www.youtube.com/embed/nYPJIOF0ys4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘A Real Pain,’ in theaters Nov. 1\u003c/strong>\u003c/h2>\n\u003cp>Kieran Culkin is fresh off a stunning performance in HBO’s \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a>, where he could be surprisingly sympathetic for a guy who was basically a sleazeball. Here, he joins Jesse Eisenberg, who also wrote and directed, to play cousins who join up for a trip in Poland. These are both actors who are just about always worth your time, and who doesn’t love a road trip movie? \u003cem>— Linda Holmes\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/I_id-SkGU2k'\n title='//www.youtube.com/embed/I_id-SkGU2k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Here,’ in theaters Nov. 1\u003c/strong>\u003c/h2>\n\u003cp>Director Robert Zemeckis never met a technological innovation he didn’t want to play with, from motion capture in \u003cem>Polar Express\u003c/em> to digital animation in \u003cem>Who Framed Roger Rabbit.\u003c/em> This time, he’s employing generative AI to face-swap and de-age his \u003cem>Forrest Gump\u003c/em> stars, Tom Hanks and Robin Wright, as they play characters from 18 to 80 in a story that chronicles events on a single plot of land. \u003cem>— Bob Mondello\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/t3HupHq8-eE'\n title='//www.youtube.com/embed/t3HupHq8-eE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Emilia Pérez,’ in theaters Nov. 1, on Netflix Nov. 13\u003c/strong>\u003c/h2>\n\u003cp>The word out of Cannes earlier this year, where it won the Jury Prize, was that Jacques Audiard’s musical comedy crime film is both exciting and polarizing. At the very least, the logline is compelling: Zoe Saldaña is a lawyer who’s roped into helping a ruthless cartel leader (Karla Sofía Gascón) fake her own death so she can undergo gender affirming surgery. Mentally prepare yourself now for The Discourse to come.\u003cbr>\n\u003cem>— Aisha Harris\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/O9i2vmFhSSY'\n title='//www.youtube.com/embed/O9i2vmFhSSY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Heretic,’ in theaters Nov. 15\u003c/strong>\u003c/h2>\n\u003cp>Two young women, Mormon missionaries, greet a kindly older man who invites them inside his remote home for a sober discussion of the tenets of their faith. But this is an A24 horror film, so things don’t stay sober for long. The older man in question is played by a slyly sinister Hugh Grant, and his home is an elaborate maze made to test their faiths. I’m getting \u003cem>Barbarian \u003c/em>vibes from the trailer — and it’s not like that cardigan Grant’s wearing makes things any LESS creepy. Brrrr. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13963845\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963845\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz.png\" alt=\"A woman runs through a station with a small boy.\" width=\"2000\" height=\"1119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-1020x571.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-1536x859.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-1920x1074.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Blitz.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Blitz,’ in theaters Nov. 1, on Apple TV+ Nov. 22\u003c/strong>\u003c/h2>\n\u003cp>Steve McQueen — that name alone should be enough to warrant attention. The \u003cem>Shame \u003c/em>and \u003cem>12 Years a Slave\u003c/em> filmmaker wrote and directed this historical drama, which has been described as an “epic journey” set during World War II. And it stars the always captivating Saoirse Ronan as a woman whose young son goes missing in the English countryside. Sign me up.\u003cbr>\n\u003cem>— Aisha Harris\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/4rgYUipGJNo'\n title='//www.youtube.com/embed/4rgYUipGJNo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Gladiator II,’ in theaters Nov. 22\u003c/strong>\u003c/h2>\n\u003cp>Two decades after the events depicted in Ridley Scott’s \u003cem>Gladiator,\u003c/em> Lucius, the little boy (grandson of an emperor) who cheered on Russell Crowe in the Colosseum, has grown up to be Paul Mescal and finds himself in much the same position. Enslaved, he’ll fight not tigers, but a rhinoceros, under the tutelage of power-broker Denzel Washington as he opposes a pair of cruel and capricious young emperors. \u003cem>— Bob Mondello\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/6COmYeLsz4c'\n title='//www.youtube.com/embed/6COmYeLsz4c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Wicked,’ in theaters Nov. 22\u003c/strong>\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two witches — Galinda (Ariana Grande), bubbly and “popular,” Elphaba (Cynthia Erivo), green and fragile — take on a duplicitous wizard (Jeff Goldblum) in this adaptation of the first act of the smash Broadway musical based on Gregory Maguire’s \u003cem>Wicked: The Life and Times of the Wicked Witch of the West\u003c/em>. It’ll be a long and winding yellow brick road (the second act arrives for Thanksgiving 2025). \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-real-only-murders-crime-is-that-it-hasnt-won-more-emmys",
"title": "The Real ‘Only Murders’ Crime Is That It Hasn’t Won More Emmys",
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"content": "\u003cp>Since premiering on Hulu in 2021, \u003cem>Only Murders in the Building\u003c/em> has gotten plenty of Emmy nominations, but hasn’t really gotten its due. Even for the 2024 Emmys, which are handed out later in September, the series was snubbed in the Comedy Series Writing category. Which is a small sin, because co-creators \u003ca href=\"https://www.kqed.org/arts/13954796/steve-martin-apple-tv-documentary-then-now-stand-up\">Steve Martin\u003c/a> and John Hoffman have managed to craft a comedy mystery series in which the laughs are plentiful and the mysteries are plausible and surprising. Pulling off either one of those feats is impressive; nailing them both is indeed Emmy-worthy.\u003c/p>\n\u003cp>[aside postid='arts_13962860']Not that \u003cem>Only Murders\u003c/em> is completely lacking for attention, or awards. The show has won four Emmys to date — though only one for an actor, for guest star Nathan Lane in 2022. But every year, the show finds ways to showcase its regular and guest stars more creatively. And this year, for the first time, all three series leads are nominated.\u003c/p>\n\u003cp>And deservedly so: Martin as former TV detective Charles-Haden Savage, and Martin Short as former Broadway director Oliver Putnam, are both insufferably egotistic and painfully insecure — and sporadically, gleefully hilarious. And \u003ca href=\"https://www.kqed.org/pop/96259/lady-gaga-and-selena-gomez-are-defying-stereotypes-about-chronically-ill-people\">Selena Gomez\u003c/a>, as mystery podcasting fan Mabel Mora, is as droll and dry as Short’s Oliver is bubbly and over the top.\u003c/p>\n\u003cp>The new season of \u003cem>Only Murders in the Building\u003c/em> takes this unlikely trio to a new setting — but only temporarily. Because of the success of their previous seasons of crime solving, the three podcasting partners are flown to Hollywood, where a movie executive hopes to buy their life rights and make a movie based on their adventures.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dKyX8rocAB8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The movie exec is played by Molly Shannon, formerly of \u003cem>Saturday Night Live, \u003c/em>who throws a glitzy party for the new arrivals. At the party, she tries to wow them by introducing them to the actors cast to play their big-screen counterparts.\u003c/p>\n\u003cp>Once the movie is greenlit, Charles, Oliver and Mabel head back to their familiar New York apartment complex, where a recent bullet hole found in the window of Charles’ apartment leads them to suspect he may have been targeted for murder. They also suspect the sniper may have aimed from one of the apartments across their courtyard.\u003c/p>\n\u003cp>Charles studies the behavior of the residents occupying the west tower, then convenes his podcast partners to discuss his suspicions. At this point, \u003cem>Only Murders\u003c/em> becomes the comedy equivalent of \u003cem>Rear Window. \u003c/em>Like James Stewart in that famous\u003ca href=\"https://www.kqed.org/arts/tag/alfred-hitchcock\"> Hitchcock\u003c/a> movie, our heroes expect that evil is afoot across the way. But with these three, the way they go about their voyeuristic inquiry highlights their very distinct, and very funny, personalities.\u003c/p>\n\u003cp>[aside postid='arts_13963546']Both of these Season 4 plots — the movie being made and a new murder in the building — make room for a small commuter plane full of guest stars, all of whom come to play, and show us a great time. And almost all the \u003cem>Only Murders\u003c/em> actors nominated for Emmys this year, in various supporting categories, are back — including Da’Vine Joy Randolph, \u003ca href=\"https://www.kqed.org/pop/tag/paul-rudd\">Paul Rudd\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/meryl-streep\">Meryl Streep\u003c/a>. And Jane Lynch, Melissa McCarthy, Scott Bakula and Richard Kind are here, too.\u003c/p>\n\u003cp>They’re all wonderful. Streep and Rudd, in particular, are doing great work: With their screen time and no-holds-barred performances, they may as well be considered series regulars. The show’s writing is up to their level, and so are the show’s three headliners. When Streep shares intimate or sad or joyous scenes with Short, they all work. This season, there’s a major influx of talent added to \u003cem>Only Murders in the Building\u003c/em> — but the new and returning faces don’t outshine the stars. They shine, and play, right along with them.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Only Murders in the Building’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n",
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"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. ",
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"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. ",
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"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.",
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},
"mindshift": {
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"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>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"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.",
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"onourwatch": {
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"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?",
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"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",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"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.",
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"politicalbreakdown": {
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"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",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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