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"content": "\u003cp>In 1996, novelist Jill Ciment published a memoir called \u003cem>Half a Life. \u003c/em>It is primarily about her hardscrabble childhood in California’s San Fernando Valley, dominated by her difficult, volatile father, whom Ciment realized in hindsight was autistic. But about halfway through, Ciment’s life takes a turn, when at 16, she signs up for figure drawing classes, which she pays for with earnings from a part-time job. She develops a crush on the teacher, a married artist 30 years her senior named Arnold Mesches. Within a year, they are having an affair. Or, as she puts it, “Arnold was having an affair. I was going steady.”\u003c/p>\n\u003cp>That relationship is the subject of Ciment’s follow-up memoir, \u003cem>Consent. Half a Life\u003c/em> was written when she was in her 40s and Arnold (as she refers to him) was in his 70s — at which point they had been married for more than 25 years. Now, eight years after his death at 93, she reconsiders their relationship in light of the #MeToo movement\u003cem>.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13959155']Her remarkable new book — at once forthright, thoughtful, and moving — broaches many questions: “Does a story’s ending excuse its beginning?” “Can a love that starts with such an asymmetrical balance of power ever right itself?” “How do I convey yearning for a kiss while at the same time acknowledge the predatory act of an older man kissing a teenager?”\u003c/p>\n\u003cp>You don’t have to read \u003cem>Half a Life\u003c/em> to appreciate \u003cem>Consent\u003c/em>. In fact, the second memoir\u003cem>, \u003c/em>which both scrutinizes and amplifies what Ciment first wrote about her relationship with Arnold, is a far more interesting book.\u003c/p>\n\u003cp>She describes their first kiss differently in the two memoirs. In the earlier version, she initiated the kiss and Arnold kissed her back, but then stopped himself and said, “Sweetheart, I can’t sleep with you. I’d like to, but I can’t … It wouldn’t be fair to you.” In the new book, he draws her to him and kisses her, and “I fervently kissed him back.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The age of consent in California is 18. Had Arnold groomed her with extra attention in class, or with furtive glances down her blouse? What about whispering to her, “I wish you were older”? Her reply in both books: “I’m old enough.”\u003c/p>\n\u003cp>“Me too?” she wonders now. “Did I have the agency to consent?”\u003c/p>\n\u003cp>[aside postid='arts_13959530']Arnold read and discussed the first memoir with her — commenting, for example, that he would never have called a student “sweetheart.” But he was not alive to respond to \u003cem>Consent, \u003c/em>and Ciment tries to imagine his reactions.\u003c/p>\n\u003cp>She questions her earlier assertion that she would never love anyone more than Arnold: “Could I have felt so sure of my love at 17 that I knew nothing would surpass it? Or was my 45-year-old self, in the middle of the marriage and the memoir, trying to burnish the story with love lest it read like a reenactment of Humbert Humbert and Lolita’s cross-country road trip?” Was she protecting Arnold\u003cem>, \u003c/em>even though the statute of limitations had long passed?\u003c/p>\n\u003cp>In a particularly astute passage, Ciment highlights how language reflects changing social attitudes and colors our views — which makes it difficult to judge past behavior by today’s moral codes:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>“If Arnold kissed me first, should I refer to him in the language of today — \u003cem>sexual offender, transgressor, abuser of power? \u003c/em>Or do I refer to him in the language of the late ’90s, when my 45-year-old self wrote the scene? The president at that time was Clinton, and the blue dress was in the news. Men who preyed on younger women were called \u003cem>letches, cradle-robbers, dogs. \u003c/em>Or do I refer to him in the language of 1970, at the apex of the sexual revolution, when the kiss took place — \u003cem>Casanova, silver fox?”\u003c/em>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>Time also alters the words that might be used to describe teenaged Ciment: a \u003cem>victim\u003c/em> or \u003cem>survivor\u003c/em> in today’s parlance, a \u003cem>bimbo\u003c/em> or \u003cem>vixen\u003c/em> in the ’90s, a \u003cem>cool chick\u003c/em> in the ’70s.\u003c/p>\n\u003cp>It turns out there was plenty Ciment omitted in \u003cem>Half a Life\u003c/em>, including uncomfortable details like the fact that Arnold had not just a wife but another longstanding mistress when they first got together. And that, ever the teacher, he instructed her on sexual techniques and helped her prepare a portfolio of explicit sexual drawings from the female point of view for her application to CalArts school.\u003c/p>\n\u003cp>These early elisions provide a pointed reminder that all writing is selective, and memoirs are certainly no exception.\u003c/p>\n\u003cp>[aside postid='arts_13959550']Ciment’s frankness extends to the disadvantages of being a much younger wife, including Arnold’s inevitable physical diminution, the constant specter of loss, and — more amusingly — being asked how much she’s paid to take care of the old man dozing on a park bench beside her. You don’t have to be a Freudian to note that in Arnold, who was the same age as her father, Ciment found an attentive paternal figure who “showed me who I might become.”\u003c/p>\n\u003cp>But \u003cem>Consent\u003c/em> — whose working title was \u003cem>The Other Half — \u003c/em>makes clear that she found much more. Their “half century of intimacy” included physical and mental stimulation, companionship, power shifts, financial worries, successful creative careers, illnesses, and, through it all, artistic collaborations in which “he was my first audience, as I was his first viewer.”\u003c/p>\n\u003cp>Despite their many conversations about the subject, they never reached a firm consensus about who initiated that first kiss. No such uncertainty exists about their heartbreaking last one. This is a book poised to fuel plenty of discussion.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Consent’ by Jill Ciment is out now, via Pantheon\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Her remarkable new book — at once forthright, thoughtful, and moving — broaches many questions: “Does a story’s ending excuse its beginning?” “Can a love that starts with such an asymmetrical balance of power ever right itself?” “How do I convey yearning for a kiss while at the same time acknowledge the predatory act of an older man kissing a teenager?”\u003c/p>\n\u003cp>You don’t have to read \u003cem>Half a Life\u003c/em> to appreciate \u003cem>Consent\u003c/em>. In fact, the second memoir\u003cem>, \u003c/em>which both scrutinizes and amplifies what Ciment first wrote about her relationship with Arnold, is a far more interesting book.\u003c/p>\n\u003cp>She describes their first kiss differently in the two memoirs. In the earlier version, she initiated the kiss and Arnold kissed her back, but then stopped himself and said, “Sweetheart, I can’t sleep with you. I’d like to, but I can’t … It wouldn’t be fair to you.” In the new book, he draws her to him and kisses her, and “I fervently kissed him back.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Arnold read and discussed the first memoir with her — commenting, for example, that he would never have called a student “sweetheart.” But he was not alive to respond to \u003cem>Consent, \u003c/em>and Ciment tries to imagine his reactions.\u003c/p>\n\u003cp>She questions her earlier assertion that she would never love anyone more than Arnold: “Could I have felt so sure of my love at 17 that I knew nothing would surpass it? Or was my 45-year-old self, in the middle of the marriage and the memoir, trying to burnish the story with love lest it read like a reenactment of Humbert Humbert and Lolita’s cross-country road trip?” Was she protecting Arnold\u003cem>, \u003c/em>even though the statute of limitations had long passed?\u003c/p>\n\u003cp>In a particularly astute passage, Ciment highlights how language reflects changing social attitudes and colors our views — which makes it difficult to judge past behavior by today’s moral codes:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>“If Arnold kissed me first, should I refer to him in the language of today — \u003cem>sexual offender, transgressor, abuser of power? \u003c/em>Or do I refer to him in the language of the late ’90s, when my 45-year-old self wrote the scene? The president at that time was Clinton, and the blue dress was in the news. Men who preyed on younger women were called \u003cem>letches, cradle-robbers, dogs. \u003c/em>Or do I refer to him in the language of 1970, at the apex of the sexual revolution, when the kiss took place — \u003cem>Casanova, silver fox?”\u003c/em>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>Time also alters the words that might be used to describe teenaged Ciment: a \u003cem>victim\u003c/em> or \u003cem>survivor\u003c/em> in today’s parlance, a \u003cem>bimbo\u003c/em> or \u003cem>vixen\u003c/em> in the ’90s, a \u003cem>cool chick\u003c/em> in the ’70s.\u003c/p>\n\u003cp>It turns out there was plenty Ciment omitted in \u003cem>Half a Life\u003c/em>, including uncomfortable details like the fact that Arnold had not just a wife but another longstanding mistress when they first got together. And that, ever the teacher, he instructed her on sexual techniques and helped her prepare a portfolio of explicit sexual drawings from the female point of view for her application to CalArts school.\u003c/p>\n\u003cp>These early elisions provide a pointed reminder that all writing is selective, and memoirs are certainly no exception.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ciment’s frankness extends to the disadvantages of being a much younger wife, including Arnold’s inevitable physical diminution, the constant specter of loss, and — more amusingly — being asked how much she’s paid to take care of the old man dozing on a park bench beside her. You don’t have to be a Freudian to note that in Arnold, who was the same age as her father, Ciment found an attentive paternal figure who “showed me who I might become.”\u003c/p>\n\u003cp>But \u003cem>Consent\u003c/em> — whose working title was \u003cem>The Other Half — \u003c/em>makes clear that she found much more. Their “half century of intimacy” included physical and mental stimulation, companionship, power shifts, financial worries, successful creative careers, illnesses, and, through it all, artistic collaborations in which “he was my first audience, as I was his first viewer.”\u003c/p>\n\u003cp>Despite their many conversations about the subject, they never reached a firm consensus about who initiated that first kiss. No such uncertainty exists about their heartbreaking last one. This is a book poised to fuel plenty of discussion.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Consent’ by Jill Ciment is out now, via Pantheon\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13959718\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959718\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM.png\" alt=\"A book cover depicting a smashed VHS tape against a black background.\" width=\"832\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM-800x1165.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM-768x1119.png 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘Horror Movie: A Novel’ by Paul Tremblay. \u003ccite>(William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paul Tremblay’s \u003cem>Horror Movie\u003c/em> is a peculiar horror novel that takes a refreshing look at the haunted film subgenre, while also eliminating the line between novels and movie scripts.\u003c/p>\n\u003cp>Dark, surprisingly violent, and incredibly multilayered, this narrative is a superb addition to Tremblay’s already impressive oeuvre that shows he can deliver the elements fans love from him — while also constantly pushing the envelope and exploring new ways to tell stories.\u003c/p>\n\u003cp>[aside postid='arts_13958207']In June of 1993, a small group of young people got together and spent a month making a bizarre horror movie titled \u003cem>Horror Movie\u003c/em>. With one camera, a skeleton crew, a script that broke a lot of rules, and almost no budget, they managed to make their film after a few setbacks and plenty of blood and accidents. While the film was never released, three scenes and a few stills were made available online, and they became the stuff of legend over the years, collecting a cult following and sparking a frenzy of speculation, online debate, and conspiracy theories.\u003c/p>\n\u003cp>Now, 30 years after the original, unreleased film was made and after all the drama —psychological and emotional as well as legal — that ensued, Hollywood wants to make a big budget version and release it. The man who played “The Thin Kid,” perhaps the original film’s most iconic and mysterious character, is the only surviving cast member, and they want him to reprise his role. He still has the mask he used in the movie, and also the scars the filming process left behind. He remembers the strange things that happened on the set, the brutality that quickly became normalized while they shot dark scenes, and the chaos and destruction the film brought to all of them. Still, he agrees to help with the reboot. As things move forward and he deals with directors and movie people, the past comes back to haunt him — but The Thin Kid pushes forward, as always.\u003c/p>\n\u003cp>Reading a Tremblay novel is entering a universe in which confusion and ambiguity — “My answer was not no. I didn’t say the word ‘yes'” — reign supreme. \u003cem>Horror Movie\u003c/em> is no different. In fact, this might be Tremblay’s most Tremblay novel to date. For starters, the author once again eschews the traditional novel format, this time in favor of a mix of novel and screenplay in which one bleeds into the other frequently, switching chapters and effortlessly taking readers from past to present and back again. Also, the screenplay itself is unique in format and makes the reader part of what’s happening, constantly shattering the fourth wall and acknowledging that the events are communal — that we are there, witnessing what the characters are witnessing and feeling the same sense of dread and anticipation that they feel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the structure of this novel is unique, the narrative itself is very easy to follow — until it’s not. The story is there, but with many purposeful holes. We know bad things happened while the movie was being filmed — accidents, injuries, extreme violence that occurred with consent — and that the whole thing ended up in court, but we don’t know how or why. And the author holds those secrets until the very end, which, as with any other Tremblay novel, holds a few surprise twists.\u003c/p>\n\u003cp>Most importantly, this is a narrative that questions the motivation behind evil acts. During the filming, The Thin Kid is horribly tortured: The kids who keep him hostage throw things at him, put out cigarettes on his body, and cut off part of his pinky finger. Some of that happens for real, partly to make it look convincing on screen and partly for reasons that aren’t too clear. There are several unsettling moments in this novel, and at the core of each of them are people acting horribly just because they can. Tremblay’s work has often interrogated the nature of horror and bad behavior, but never as clearly as he does here.\u003c/p>\n\u003cp>[aside postid='arts_13937318']While \u003cem>Horror Movie\u003c/em> is the kind of creepy narrative that can be enjoyed without much thinking, it’s also a multilayered novel that almost demands intellectual engagement. Besides the way the author studies awful behavior, the story also explores the unreliable nature of memory. The Thin Kid, now the adult who narrates the novel, is self-deprecating and unreliable. He remembers things a certain way, but knows that his memories might not be accurate: “We laughed. I think we laughed, or I choose to remember we laughed. I think we’re in more control of what we remember or what we don’t remember than we assume.” This purposeful lack of certainty is designed to keep readers wondering, and it succeeds at that.\u003c/p>\n\u003cp>\u003cem>Horror Movie\u003c/em> is strange and unsettling in the best way possible. This is a novel that’s also a screenplay, but the story all blends together perfectly. Tremblay’s unique voice and chameleonic style have made him one of the leading voices in speculative fiction, and this is one of his best novels so far.\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Horror Movie’ by Paul Tremblay is out now, via William Morrow.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13959718\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959718\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM.png\" alt=\"A book cover depicting a smashed VHS tape against a black background.\" width=\"832\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM-800x1165.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM-768x1119.png 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘Horror Movie: A Novel’ by Paul Tremblay. \u003ccite>(William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paul Tremblay’s \u003cem>Horror Movie\u003c/em> is a peculiar horror novel that takes a refreshing look at the haunted film subgenre, while also eliminating the line between novels and movie scripts.\u003c/p>\n\u003cp>Dark, surprisingly violent, and incredibly multilayered, this narrative is a superb addition to Tremblay’s already impressive oeuvre that shows he can deliver the elements fans love from him — while also constantly pushing the envelope and exploring new ways to tell stories.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In June of 1993, a small group of young people got together and spent a month making a bizarre horror movie titled \u003cem>Horror Movie\u003c/em>. With one camera, a skeleton crew, a script that broke a lot of rules, and almost no budget, they managed to make their film after a few setbacks and plenty of blood and accidents. While the film was never released, three scenes and a few stills were made available online, and they became the stuff of legend over the years, collecting a cult following and sparking a frenzy of speculation, online debate, and conspiracy theories.\u003c/p>\n\u003cp>Now, 30 years after the original, unreleased film was made and after all the drama —psychological and emotional as well as legal — that ensued, Hollywood wants to make a big budget version and release it. The man who played “The Thin Kid,” perhaps the original film’s most iconic and mysterious character, is the only surviving cast member, and they want him to reprise his role. He still has the mask he used in the movie, and also the scars the filming process left behind. He remembers the strange things that happened on the set, the brutality that quickly became normalized while they shot dark scenes, and the chaos and destruction the film brought to all of them. Still, he agrees to help with the reboot. As things move forward and he deals with directors and movie people, the past comes back to haunt him — but The Thin Kid pushes forward, as always.\u003c/p>\n\u003cp>Reading a Tremblay novel is entering a universe in which confusion and ambiguity — “My answer was not no. I didn’t say the word ‘yes'” — reign supreme. \u003cem>Horror Movie\u003c/em> is no different. In fact, this might be Tremblay’s most Tremblay novel to date. For starters, the author once again eschews the traditional novel format, this time in favor of a mix of novel and screenplay in which one bleeds into the other frequently, switching chapters and effortlessly taking readers from past to present and back again. Also, the screenplay itself is unique in format and makes the reader part of what’s happening, constantly shattering the fourth wall and acknowledging that the events are communal — that we are there, witnessing what the characters are witnessing and feeling the same sense of dread and anticipation that they feel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the structure of this novel is unique, the narrative itself is very easy to follow — until it’s not. The story is there, but with many purposeful holes. We know bad things happened while the movie was being filmed — accidents, injuries, extreme violence that occurred with consent — and that the whole thing ended up in court, but we don’t know how or why. And the author holds those secrets until the very end, which, as with any other Tremblay novel, holds a few surprise twists.\u003c/p>\n\u003cp>Most importantly, this is a narrative that questions the motivation behind evil acts. During the filming, The Thin Kid is horribly tortured: The kids who keep him hostage throw things at him, put out cigarettes on his body, and cut off part of his pinky finger. Some of that happens for real, partly to make it look convincing on screen and partly for reasons that aren’t too clear. There are several unsettling moments in this novel, and at the core of each of them are people acting horribly just because they can. Tremblay’s work has often interrogated the nature of horror and bad behavior, but never as clearly as he does here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While \u003cem>Horror Movie\u003c/em> is the kind of creepy narrative that can be enjoyed without much thinking, it’s also a multilayered novel that almost demands intellectual engagement. Besides the way the author studies awful behavior, the story also explores the unreliable nature of memory. The Thin Kid, now the adult who narrates the novel, is self-deprecating and unreliable. He remembers things a certain way, but knows that his memories might not be accurate: “We laughed. I think we laughed, or I choose to remember we laughed. I think we’re in more control of what we remember or what we don’t remember than we assume.” This purposeful lack of certainty is designed to keep readers wondering, and it succeeds at that.\u003c/p>\n\u003cp>\u003cem>Horror Movie\u003c/em> is strange and unsettling in the best way possible. This is a novel that’s also a screenplay, but the story all blends together perfectly. Tremblay’s unique voice and chameleonic style have made him one of the leading voices in speculative fiction, and this is one of his best novels so far.\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Horror Movie’ by Paul Tremblay is out now, via William Morrow.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The new Hulu series \u003cem>Queenie\u003c/em> explores the quarter-life growing pains of lonely South Londoner Queenie Jenkins.\u003c/p>\n\u003cp>The first of her British Jamaican family to go to university, Queenie is a struggling writer awkwardly straddling multiple worlds. An unwanted breakup with her white, longtime live-in boyfriend Tom sends her painfully reeling — spiraling into, and then climbing out of, destructive behaviors and onto a journey of growth and self-acceptance.\u003c/p>\n\u003cp>[aside postid='arts_13959601']The show, which premiered Friday, is based on a 2019 book by Candice Carty-Williams. And with Carty-Williams at the creative helm, the novel’s strengths are immediately visible on screen: the sharp social observation, the rawness of the voice, and the specificity and conundrums of aspirational, young Black British life in the millennium.\u003c/p>\n\u003cp>As showrunner, Carty-Williams effectively translates and expands her vision, addressing the pain points that both riveted and rankled the book’s readers and ensuring that the creative aspects of production also make an impression. Through sight, sound and performance, \u003cem>Queenie \u003c/em>creates an empathetic and irresistible portrait of a young woman’s life in multicultural-yet-divided London.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wwRwPcm3P4Q\u003c/p>\n\u003ch3>The performances bring the novel to life\u003c/h3>\n\u003cp>As great as the production sounds and looks, it’s the performances that make Queenie’s journey really accessible on screen. The material is challenging and multi-tonal but not a performance hits a wrong note. British actor Dionne Brown embodies Queenie Jenkins inside and out in a breakout role that is a world away from her restrained supporting performance as a police detective in the Apple TV+ crime drama \u003cem>Criminal Record\u003c/em>. Brown told NPR she felt drawn to the role because of how strongly she related to the novel: “my most visceral and initial reaction was just, I didn’t know that other women felt like this. I didn’t know other Black women felt like this.” So throughout taping she used the book “like a Bible.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And though it’s her first screen acting role, hip-hop artist Bellah is bubbly and fierce as Queenie’s bestie Kyazike. As her loving and protective Jamaican grandparents, Joseph Marcell (butler Geoffrey from \u003cem>The Fresh Prince of Bel Air\u003c/em>) and actress and comedian Llewella Gideon steal every scene they’re in. Pivotally, BAFTA-nominated actor Samuel Adewunmi, so powerful in the crime drama \u003cem>You Don’t Know Me\u003c/em>, radiates charisma and kindness as Kyazike’s cousin Frank.\u003c/p>\n\u003ch3>The format allows the audience to go deep\u003c/h3>\n\u003cp>The eight-episode series format allows viewers to go deep into Queenie’s world, getting to know friends and family and helping us understand how love surrounds Queenie without her really feeling it. Where the novel can seem a bit bleak in spite of the humor, episodic TV gives Carty-Williams more room to experiment with different moods and tones. A few days before the premiere, Carty-Williams told NPR that she knew “we would need a lot more light on the screen” in the TV adaptation.\u003c/p>\n\u003cfigure id=\"attachment_13959643\" class=\"wp-caption aligncenter\" style=\"max-width: 1898px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM.png\" alt=\"Three Black women stand side by side wearing cool clothes.\" width=\"1898\" height=\"1070\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM.png 1898w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-800x451.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-1020x575.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-768x433.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-1536x866.png 1536w\" sizes=\"(max-width: 1898px) 100vw, 1898px\">\u003cfigcaption class=\"wp-caption-text\">Candice Carty-Williams’ ‘Queenie’ stars Dionne Brown and Bellah. \u003ccite>(Ramona Rosales/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carty-Williams also said she felt fiercely protective bringing her first published novel to the screen. Basing Queenie’s story on her own experience coupled with second hand-horror stories from friends, “I had all those feelings and I didn’t want them to be stripped away, or watered down. The politics were important to me, the characters are important to me.”\u003c/p>\n\u003cp>[aside postid='arts_13959205']\u003cem>Queenie\u003c/em> is a young woman’s story, but it’s also the manifestation of the adage that the personal is political. Queenie’s experiences lay bare the contours and consequences of England’s casual racism in every dimension of daily life. That includes, “the ways that [Queenie] was treated by people. This is at work, this is in relationships, this is in her relationship with Tom.” Carty-Williams said she was “willing to fight” to ensure that Queenie’s mental and emotional journey of finding herself in this world she saw as unfair made it to the screen intact.\u003c/p>\n\u003cp>Despite the production’s extensive management structure (Lions Gate, Disney’s Onyx Collective, and British Channel 4 were involved and over a dozen executives), it’s clear she succeeded. The show teems with the sometimes-painful, subtly-political observational humor and confessional motif that made the book stand out — and all the elements work well together.\u003c/p>\n\u003ch3>Some important changes from novel to screen\u003c/h3>\n\u003cp>Still, though faithful to the novel’s quarter-life crisis story, with the book’s most memorable thoughts and lines of dialogue making the leap almost verbatim from page to screen, the script bears some important changes. For one, Queenie’s circle includes a romantic addition — best friend Kiyazike’s cousin Frank, a friend and new love interest who appeared once briefly in the novel. Frank’s addition improves the series by addressing one of the biggest issues dogging the novel’s more ambivalent readers: Queenie’s fear and avoidance of Black men in favor of often painful encounters with white and brown men.\u003c/p>\n\u003cp>[aside postid='arts_13959163']\u003cem>Queenie’s\u003c/em> original release reflected both the pervasiveness and abuse of “rom-com” and “chick-lit” as book industry terms of art, and the delicate tightrope that Black writers walk telling stories about love, sex and race.\u003c/p>\n\u003cp>When \u003cem>Queenie\u003c/em> debuted it appeared on best seller lists in multiple countries. \u003cem>Queenie\u003c/em> won both Best Debut and Book of the Year at the British Book Awards. Carty-Williams was the first Black woman author to win the latter award.\u003c/p>\n\u003cp>In Britain, where Carty-Williams grew up, \u003cem>Queenie\u003c/em> quickly found a fiercely loyal following — a largely female audience that loved its voice and perspective. Many of those readers were women of color, Black British women who identified fiercely with the young woman struggling to claim love, career, self worth and mental health.\u003c/p>\n\u003cblockquote class=\"npr-pull-quote\">\n\u003ch2>While Bridget Jones’ deepest insecurities stemmed from 10 extra pounds, granny panties and two very different suitors, Queenie grapples with racism, a miscarriage and sexual trauma. And some vocal African American readers were unhappy with its handling of these heavier themes.\u003c/h2>\n\u003c/blockquote>\n\u003cp>But the book’s popular and critical reception was somewhat mixed in the U.S., where the author was an unknown quantity. At minimum, some audiences were discomfited by Queenie’s emotional scarring and trauma around race when they believed they were promised something lighter — the heft and trauma of the book billed as a Black \u003cem>Bridget Jones Diary \u003c/em>\u003ca href=\"https://www.npr.org/2019/05/30/728278275/queenie-author-candice-carty-williams\">seemed to betray its framing\u003c/a>. While Bridget Jones’ deepest insecurities stemmed from 10 extra pounds, granny panties and two very different suitors, Queenie grapples with racism, a miscarriage and sexual trauma. And some vocal African American readers were unhappy with its handling of these heavier themes. At worst, some storylines were seen as painfully self-hating or even the product of internalized anti-Black racism.\u003c/p>\n\u003cp>Falling into ever more painful situations, Queenie has sex with men who talk about and treat her in demeaning, if not downright racist ways — the men she meets in apps and in the neighborhood reference her race, color, and the contours of her body as though she is a sex toy. They don’t see or aren’t that interested in her intelligence and her pain.\u003c/p>\n\u003cfigure id=\"attachment_13959644\" class=\"wp-caption aligncenter\" style=\"max-width: 708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959644\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM.png\" alt=\"A book cover depicting a Black woman's ear and braids piles high on her head. Her face is not visible.\" width=\"708\" height=\"1104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM.png 708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM-160x249.png 160w\" sizes=\"(max-width: 708px) 100vw, 708px\">\u003cfigcaption class=\"wp-caption-text\">‘Queenie’ by Candice Carty-Williams. \u003ccite>(Gallery/Scout Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>Carty-William’s unflinching portrayal of Queenie’s situation is one of the novel’s most challenging aspects. Though Queenie notices and complains about the degrading approaches, she dates a series of these men and continues to long for the return of a boyfriend who seems to treat her with little regard. She seems to internalize racism and brush off the disrespect, taking it in stride as long as the men dishing it out are not Black. Even for a literary novel (which despite the comedic tone, \u003cem>Queenie\u003c/em> really is) that would be hard to take in (\u003cem>Luster\u003c/em> comes to mind). But that’s not how the book was positioned.\u003c/p>\n\u003cp>[aside postid='arts_13958131']Though Carty-Williams used the “Black Bridget Jones” marketing pitch to broaden the readership, she’s also said of Queenie: “She’s not Bridget Jones. She could never be.” As a result of the label, though, and the gorgeous, brightly-colored cover drawing of a Black woman with braids and hoop earrings, Black women were primed to see themselves at the center of romance-infused comedy. That’s not what they got.\u003c/p>\n\u003cp>Instead, the novel \u003cem>Queenie\u003c/em> offers a sometimes harrowing multidimensional portrait of the dynamics of love, work and identity, mental health, and the Black immigrant experience. The love and acceptance Queenie eventually finds is hard won, and it lies not in a romantic relationship but within herself and her community. That’s a healthy choice. But every genre makes a promise, and a bait and switch in terms of reader expectations can feel like erasure.\u003c/p>\n\u003ch3>Exploring critically important topics in the book and on screen\u003c/h3>\n\u003cp>That said, as Carty-Williams emphasizes, discomfiting or not, Queenie’s experience is worth delving into. If it’s hard to reconcile Queenie’s sharp insight and her self-destructive actions, it’s also true that Queenie navigates a world that routinely doesn’t see, or fetishizes and even villainizes, her. Exploding the stereotype of a “strong Black woman,” with intense vulnerability, parts are hard to watch, but through her experimentation and misadventures, both the novel and the series explore essential topics: the racial and gender dynamics and politics of consent and desirability, and the rippling effects of domestic partner abuse. It is hard to watch her covet white attention and approval even when it hurts her, but it’s something that many Black women have been through.\u003c/p>\n\u003cfigure id=\"attachment_13959645\" class=\"wp-caption aligncenter\" style=\"max-width: 1752px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959645\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM.png\" alt=\"Two Black women stand outside at dusk, next to two white women.\" width=\"1752\" height=\"1022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM.png 1752w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-800x467.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-1020x595.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-768x448.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-1536x896.png 1536w\" sizes=\"(max-width: 1752px) 100vw, 1752px\">\u003cfigcaption class=\"wp-caption-text\">Dionne Brown as Queenie in a scene with her best friend Kyazike, played by Bellah. \u003ccite>(Latoya Okuneye/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A big challenge for the screen adaptation is that despite therapy, Queenie’s deeply rooted fear of Black men doesn’t have a resolution, or much deeper exploration in the original text. In a novel about self reflection, self-acceptance and growth, this is hard to reconcile. The series does better. The racial dimensions of Queenie’s pain and fears were at the center of some online discourse in 2019 and, in the leadup to the premiere, some with knowledge of the story raised similar questions on social media in reaction to the \u003cem>Queenie\u003c/em> trailer.\u003c/p>\n\u003cp>When talking with NPR for this piece, Carty-Williams pointed out that when readers have been in conversation about her debut, they tend to ask how Queenie did what she did. She pushes back wondering why the onus is on the woman rather than asking why men behave how they do toward Queenie. She also disclosed that the series allowed her to better resolve Queenie’s difficulties with men in her community partly, but not exclusively, through her relationship with her best friend’s cousin Frank. Carty-Williams said that this exploration was inspired both by conversations with readers and by her own maturation. Now in her 30s, she says she better understands attachment disorder, and how fears and triggers manifest, than when she started writing the novel at 26. In this way, the story of the making of \u003cem>Queenie\u003c/em>-the-series has a happier ending — giving Queenie more room to grow.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Queenie’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new Hulu series \u003cem>Queenie\u003c/em> explores the quarter-life growing pains of lonely South Londoner Queenie Jenkins.\u003c/p>\n\u003cp>The first of her British Jamaican family to go to university, Queenie is a struggling writer awkwardly straddling multiple worlds. An unwanted breakup with her white, longtime live-in boyfriend Tom sends her painfully reeling — spiraling into, and then climbing out of, destructive behaviors and onto a journey of growth and self-acceptance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The show, which premiered Friday, is based on a 2019 book by Candice Carty-Williams. And with Carty-Williams at the creative helm, the novel’s strengths are immediately visible on screen: the sharp social observation, the rawness of the voice, and the specificity and conundrums of aspirational, young Black British life in the millennium.\u003c/p>\n\u003cp>As showrunner, Carty-Williams effectively translates and expands her vision, addressing the pain points that both riveted and rankled the book’s readers and ensuring that the creative aspects of production also make an impression. Through sight, sound and performance, \u003cem>Queenie \u003c/em>creates an empathetic and irresistible portrait of a young woman’s life in multicultural-yet-divided London.\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/wwRwPcm3P4Q'\n title='//www.youtube.com/embed/wwRwPcm3P4Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The performances bring the novel to life\u003c/h3>\n\u003cp>As great as the production sounds and looks, it’s the performances that make Queenie’s journey really accessible on screen. The material is challenging and multi-tonal but not a performance hits a wrong note. British actor Dionne Brown embodies Queenie Jenkins inside and out in a breakout role that is a world away from her restrained supporting performance as a police detective in the Apple TV+ crime drama \u003cem>Criminal Record\u003c/em>. Brown told NPR she felt drawn to the role because of how strongly she related to the novel: “my most visceral and initial reaction was just, I didn’t know that other women felt like this. I didn’t know other Black women felt like this.” So throughout taping she used the book “like a Bible.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And though it’s her first screen acting role, hip-hop artist Bellah is bubbly and fierce as Queenie’s bestie Kyazike. As her loving and protective Jamaican grandparents, Joseph Marcell (butler Geoffrey from \u003cem>The Fresh Prince of Bel Air\u003c/em>) and actress and comedian Llewella Gideon steal every scene they’re in. Pivotally, BAFTA-nominated actor Samuel Adewunmi, so powerful in the crime drama \u003cem>You Don’t Know Me\u003c/em>, radiates charisma and kindness as Kyazike’s cousin Frank.\u003c/p>\n\u003ch3>The format allows the audience to go deep\u003c/h3>\n\u003cp>The eight-episode series format allows viewers to go deep into Queenie’s world, getting to know friends and family and helping us understand how love surrounds Queenie without her really feeling it. Where the novel can seem a bit bleak in spite of the humor, episodic TV gives Carty-Williams more room to experiment with different moods and tones. A few days before the premiere, Carty-Williams told NPR that she knew “we would need a lot more light on the screen” in the TV adaptation.\u003c/p>\n\u003cfigure id=\"attachment_13959643\" class=\"wp-caption aligncenter\" style=\"max-width: 1898px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM.png\" alt=\"Three Black women stand side by side wearing cool clothes.\" width=\"1898\" height=\"1070\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM.png 1898w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-800x451.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-1020x575.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-768x433.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-1536x866.png 1536w\" sizes=\"(max-width: 1898px) 100vw, 1898px\">\u003cfigcaption class=\"wp-caption-text\">Candice Carty-Williams’ ‘Queenie’ stars Dionne Brown and Bellah. \u003ccite>(Ramona Rosales/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carty-Williams also said she felt fiercely protective bringing her first published novel to the screen. Basing Queenie’s story on her own experience coupled with second hand-horror stories from friends, “I had all those feelings and I didn’t want them to be stripped away, or watered down. The politics were important to me, the characters are important to me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Queenie\u003c/em> is a young woman’s story, but it’s also the manifestation of the adage that the personal is political. Queenie’s experiences lay bare the contours and consequences of England’s casual racism in every dimension of daily life. That includes, “the ways that [Queenie] was treated by people. This is at work, this is in relationships, this is in her relationship with Tom.” Carty-Williams said she was “willing to fight” to ensure that Queenie’s mental and emotional journey of finding herself in this world she saw as unfair made it to the screen intact.\u003c/p>\n\u003cp>Despite the production’s extensive management structure (Lions Gate, Disney’s Onyx Collective, and British Channel 4 were involved and over a dozen executives), it’s clear she succeeded. The show teems with the sometimes-painful, subtly-political observational humor and confessional motif that made the book stand out — and all the elements work well together.\u003c/p>\n\u003ch3>Some important changes from novel to screen\u003c/h3>\n\u003cp>Still, though faithful to the novel’s quarter-life crisis story, with the book’s most memorable thoughts and lines of dialogue making the leap almost verbatim from page to screen, the script bears some important changes. For one, Queenie’s circle includes a romantic addition — best friend Kiyazike’s cousin Frank, a friend and new love interest who appeared once briefly in the novel. Frank’s addition improves the series by addressing one of the biggest issues dogging the novel’s more ambivalent readers: Queenie’s fear and avoidance of Black men in favor of often painful encounters with white and brown men.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Queenie’s\u003c/em> original release reflected both the pervasiveness and abuse of “rom-com” and “chick-lit” as book industry terms of art, and the delicate tightrope that Black writers walk telling stories about love, sex and race.\u003c/p>\n\u003cp>When \u003cem>Queenie\u003c/em> debuted it appeared on best seller lists in multiple countries. \u003cem>Queenie\u003c/em> won both Best Debut and Book of the Year at the British Book Awards. Carty-Williams was the first Black woman author to win the latter award.\u003c/p>\n\u003cp>In Britain, where Carty-Williams grew up, \u003cem>Queenie\u003c/em> quickly found a fiercely loyal following — a largely female audience that loved its voice and perspective. Many of those readers were women of color, Black British women who identified fiercely with the young woman struggling to claim love, career, self worth and mental health.\u003c/p>\n\u003cblockquote class=\"npr-pull-quote\">\n\u003ch2>While Bridget Jones’ deepest insecurities stemmed from 10 extra pounds, granny panties and two very different suitors, Queenie grapples with racism, a miscarriage and sexual trauma. And some vocal African American readers were unhappy with its handling of these heavier themes.\u003c/h2>\n\u003c/blockquote>\n\u003cp>But the book’s popular and critical reception was somewhat mixed in the U.S., where the author was an unknown quantity. At minimum, some audiences were discomfited by Queenie’s emotional scarring and trauma around race when they believed they were promised something lighter — the heft and trauma of the book billed as a Black \u003cem>Bridget Jones Diary \u003c/em>\u003ca href=\"https://www.npr.org/2019/05/30/728278275/queenie-author-candice-carty-williams\">seemed to betray its framing\u003c/a>. While Bridget Jones’ deepest insecurities stemmed from 10 extra pounds, granny panties and two very different suitors, Queenie grapples with racism, a miscarriage and sexual trauma. And some vocal African American readers were unhappy with its handling of these heavier themes. At worst, some storylines were seen as painfully self-hating or even the product of internalized anti-Black racism.\u003c/p>\n\u003cp>Falling into ever more painful situations, Queenie has sex with men who talk about and treat her in demeaning, if not downright racist ways — the men she meets in apps and in the neighborhood reference her race, color, and the contours of her body as though she is a sex toy. They don’t see or aren’t that interested in her intelligence and her pain.\u003c/p>\n\u003cfigure id=\"attachment_13959644\" class=\"wp-caption aligncenter\" style=\"max-width: 708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959644\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM.png\" alt=\"A book cover depicting a Black woman's ear and braids piles high on her head. Her face is not visible.\" width=\"708\" height=\"1104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM.png 708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM-160x249.png 160w\" sizes=\"(max-width: 708px) 100vw, 708px\">\u003cfigcaption class=\"wp-caption-text\">‘Queenie’ by Candice Carty-Williams. \u003ccite>(Gallery/Scout Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>Carty-William’s unflinching portrayal of Queenie’s situation is one of the novel’s most challenging aspects. Though Queenie notices and complains about the degrading approaches, she dates a series of these men and continues to long for the return of a boyfriend who seems to treat her with little regard. She seems to internalize racism and brush off the disrespect, taking it in stride as long as the men dishing it out are not Black. Even for a literary novel (which despite the comedic tone, \u003cem>Queenie\u003c/em> really is) that would be hard to take in (\u003cem>Luster\u003c/em> comes to mind). But that’s not how the book was positioned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Though Carty-Williams used the “Black Bridget Jones” marketing pitch to broaden the readership, she’s also said of Queenie: “She’s not Bridget Jones. She could never be.” As a result of the label, though, and the gorgeous, brightly-colored cover drawing of a Black woman with braids and hoop earrings, Black women were primed to see themselves at the center of romance-infused comedy. That’s not what they got.\u003c/p>\n\u003cp>Instead, the novel \u003cem>Queenie\u003c/em> offers a sometimes harrowing multidimensional portrait of the dynamics of love, work and identity, mental health, and the Black immigrant experience. The love and acceptance Queenie eventually finds is hard won, and it lies not in a romantic relationship but within herself and her community. That’s a healthy choice. But every genre makes a promise, and a bait and switch in terms of reader expectations can feel like erasure.\u003c/p>\n\u003ch3>Exploring critically important topics in the book and on screen\u003c/h3>\n\u003cp>That said, as Carty-Williams emphasizes, discomfiting or not, Queenie’s experience is worth delving into. If it’s hard to reconcile Queenie’s sharp insight and her self-destructive actions, it’s also true that Queenie navigates a world that routinely doesn’t see, or fetishizes and even villainizes, her. Exploding the stereotype of a “strong Black woman,” with intense vulnerability, parts are hard to watch, but through her experimentation and misadventures, both the novel and the series explore essential topics: the racial and gender dynamics and politics of consent and desirability, and the rippling effects of domestic partner abuse. It is hard to watch her covet white attention and approval even when it hurts her, but it’s something that many Black women have been through.\u003c/p>\n\u003cfigure id=\"attachment_13959645\" class=\"wp-caption aligncenter\" style=\"max-width: 1752px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959645\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM.png\" alt=\"Two Black women stand outside at dusk, next to two white women.\" width=\"1752\" height=\"1022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM.png 1752w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-800x467.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-1020x595.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-768x448.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-1536x896.png 1536w\" sizes=\"(max-width: 1752px) 100vw, 1752px\">\u003cfigcaption class=\"wp-caption-text\">Dionne Brown as Queenie in a scene with her best friend Kyazike, played by Bellah. \u003ccite>(Latoya Okuneye/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A big challenge for the screen adaptation is that despite therapy, Queenie’s deeply rooted fear of Black men doesn’t have a resolution, or much deeper exploration in the original text. In a novel about self reflection, self-acceptance and growth, this is hard to reconcile. The series does better. The racial dimensions of Queenie’s pain and fears were at the center of some online discourse in 2019 and, in the leadup to the premiere, some with knowledge of the story raised similar questions on social media in reaction to the \u003cem>Queenie\u003c/em> trailer.\u003c/p>\n\u003cp>When talking with NPR for this piece, Carty-Williams pointed out that when readers have been in conversation about her debut, they tend to ask how Queenie did what she did. She pushes back wondering why the onus is on the woman rather than asking why men behave how they do toward Queenie. She also disclosed that the series allowed her to better resolve Queenie’s difficulties with men in her community partly, but not exclusively, through her relationship with her best friend’s cousin Frank. Carty-Williams said that this exploration was inspired both by conversations with readers and by her own maturation. Now in her 30s, she says she better understands attachment disorder, and how fears and triggers manifest, than when she started writing the novel at 26. In this way, the story of the making of \u003cem>Queenie\u003c/em>-the-series has a happier ending — giving Queenie more room to grow.\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>‘Queenie’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-movies-summer-2024-npr-critics-picks",
"title": "The 19 Movies NPR Critics Are Most Excited About This Summer",
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"headTitle": "The 19 Movies NPR Critics Are Most Excited About This Summer | KQED",
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"content": "\u003cp>At this time of year, there’s air conditioning, and then there’s movie theater air conditioning — a frigid blast forceful enough to cool down the biggest crowd on a hot summer’s day. And if that’s not enough, your neighborhood multiplex also boasts enormous ice-cold drinks to go with popcorn and candy and … oh, right … it also has movies! Comedies, action-adventures, coming-of-age tales, animation.\u003c/p>\n\u003cp>If you’re wondering which to catch, NPR critics have you covered. Here’s our take on the cream of the cinematic crop — Marvel to just plain marvelous — from now through Labor Day.\u003c/p>\n\u003cp>\u003cstrong>‘Hit Man,’ in theaters May 24, on Netflix June 7\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DXwa8DKIK7g&t=10s\u003c/p>\n\u003cp>Red-hot star Glen Powell plays the titular hit man — well, a cop pretending to be a hit man — in this action rom-com. Romantic comedies are much rarer than they used to be, and the ones that do show up are often disappointing. But! Powell co-wrote the screenplay with director Richard Linklater, whose skill with love stories is well established (the Before trilogy is all the love-story credibility anybody needs, forever). A lot of Netflix movies have fizzled. Hopefully this one will not. — Linda Holmes\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Ghostlight,’ in theaters June 14\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R1TycuGX4Mw\u003c/p>\n\u003cp>The title of this warmly engaging drama refers to theatrical superstition: a light left onstage to keep the theater ghost at bay — or at least to keep it happy — when actors aren’t present. Actors are everywhere here, as family tragedy blends into Shakespearean tragedy (a grieving construction worker getting roped into a community theater \u003cem>Romeo and Juliet\u003c/em>), and the film doubles down on connections by casting a real-life father, wife and daughter as the construction worker, his wife and their daughter. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Inside Out 2,’ in theaters June 14\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LEjhY15eCx0\u003c/p>\n\u003cp>\u003cem>Inside Out\u003c/em> was one of Pixar’s best films, but sequels haven’t always been the studio’s strength. Still, it’s exciting to know that Joy (Amy Poehler) is back, as are Phyllis Smith’s Sadness and Lewis Black’s Anger. New voices and new emotions arrive as Riley enters her teenage years, and the world may not be ready for Maya Hawke as Anxiety or Ayo Edebiri as Envy (OK, I may not). But get out the tissues or whatever else you need to cope with an onslaught of feelings, because it’s coming. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘The Bikeriders,’ in theaters June 21\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PYioWaFdp70\u003c/p>\n\u003cp>A melodrama about a fictional 1960s motorcycle gang starring Austin Butler, Jodie Comer and Tom Hardy? Sure, why not! This is Jeff Nichols’ first feature in almost a decade (following 2016’s \u003cem>Loving\u003c/em> and \u003cem>Midnight Special\u003c/em>), and he has proved himself again and again as a filmmaker who excels at capturing mood and ambience, through setting as well as a great Michael Shannon performance. At the very least, this could be a thrill ride. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘Fancy Dance,’ in theaters June 21, on Apple TV+ June 28\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AmPPiLaiN8g\u003c/p>\n\u003cp>It has taken far too long for Erica Tremblay’s profound feature debut to get a proper release — it premiered at Sundance back in January 2023 — but the wait is worth it. Lily Gladstone plays Jax, a woman caring for her young niece on a Native American reservation after her sister goes missing. Part crime drama and part road trip movie, it avoids emotional clichés while offering an underseen perspective and a dynamic performance from Gladstone. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘Kinds of Kindness,’ in theaters June 21\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=inAuktwXbew\u003c/p>\n\u003cp>Viewers who know Yorgos Lanthimos’ recent work — \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13846027/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\">\u003cem>The Favourite\u003c/em>\u003c/a> — might find him whimsically absurd. Those of us who’ve been with him from his 2009 breakthrough, \u003cem>Dogtooth\u003c/em>, however, know him to be a deadpan satirist of the most scalding, remorseless variety. He has reteamed with \u003cem>Dogtooth\u003c/em> writer Efthimis Filippou for this anthology film featuring the same stable of actors playing different roles in three shorts. Can’t wait to see him getting back to his roots; bring on the bleak. — Glen Weldon\u003c/p>\n\u003cp>\u003cstrong>‘Thelma,’ in theaters June 21\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lyE_hYkZPPE\u003c/p>\n\u003cp>Ninety-three-year-old Thelma (June Squibb) is duped by a phone scammer in the opening reel and then sets off on a geriatric \u003cem>Mission: Impossible\u003c/em> across Los Angeles to get her money back. Along the way, she enlists the aid (and electric scooter) of an old pal (the late Richard Roundtree), runs rings around her frantic daughter (Parker Posey) and matches wits with scammer Malcolm McDowell. An understated riot that’s arguably the most Sundance-ean comedy since \u003cem>Little Miss Sunshine\u003c/em>. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Horizon: An American Saga, Chapter 1\u003c/em> and \u003cem>Chapter 2\u003c/em>, in theaters June 28 and Aug. 16\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YYsReoZMj1k\u003c/p>\n\u003cp>Kevin Costner’s passion project (he has said he mortgaged his 10-acre oceanfront property in Santa Barbara to finance it) returns him to \u003cem>Dances With Wolves\u003c/em> territory — settlers arriving in covered wagons, expecting Indigenous communities to disappear. \u003cem>Chapter 1\u003c/em> is reportedly roughly three hours long. \u003cem>Chapter 2\u003c/em> will hit theaters seven weeks later. And depending on whether audiences show up, Costner will spend his summer either shooting the next chapter or, I guess, nursing his wounds. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘A Quiet Place: Day One,’ in theaters June 28\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gjx-iHGXk9Q\u003c/p>\n\u003cp>It’s not a spoiler anymore that \u003cem>A Quiet Place\u003c/em>‘s story made sequels complicated — but there are always prequels. This one, starring Lupita Nyong’o, rewinds all the way back to the alien invasion that got everybody to shut up in the first place. And unlike the other two films, it takes place smack in the middle of New York City, not the most natural place to attempt total silence. John Krasinski stepped back from both directing and writing the screenplay, which could be a problem — or a fresh start. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Beverly Hills Cop: Axel F,’ on Netflix July 3\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KoxhkE_U3Ww\u003c/p>\n\u003cp>Street-smart Detroit detective Axel Foley is the role that made Eddie Murphy a movie star in 1984. This Part 4 has been in development since the mid-1990s, after morphing briefly into a TV pilot that never got picked up. Joining Murphy from the earlier films will be fellow cops Judge Reinhold, John Ashton and Paul Reiser, as well as Bronson Pinchot’s star-making art gallerist, Serge. Franchise newbies include Joseph Gordon-Levitt and Kevin Bacon. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Fly Me to the Moon,’ in theaters July 12\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lW7enw6mFxs\u003c/p>\n\u003cp>“Space race rom-com” isn’t exactly well-trod territory, so this project from Greg Berlanti (\u003cem>Love, Simon\u003c/em>) could be a light, refreshing summer diversion starring a pair of ridiculously good-looking actors. Scarlett Johansson and Channing Tatum play a marketing consultant and NASA launch director who team up to stage a “backup” recording of the moon landing in case the actual moon-landing attempt fails. Presumably they fall in love, with at least one Sinatra song crooning in the background. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘National Anthem,’ in theaters July 12\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oeGCjSOHfZ8\u003c/p>\n\u003cp>This is the first feature by photographer Luke Gilford. Charlie Plummer stars as a young man in New Mexico who takes a job at a homestead of queer rodeo performers where, as often happens in films like this, he comes to learn things about himself. I haven’t yet seen it, but by all accounts it’s a quiet and lyrical movie that tells a queer story that isn’t rooted in trauma and tragedy, but in self-discovery and finding your people. It arrives at a time when those stories are much needed. — Glen Weldon\u003c/p>\n\u003cp>\u003cstrong>‘Sing Sing,’ in theaters July 12 (limited), Aug. 2 (wide)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j3dXc6P3zH8\u003c/p>\n\u003cp>One current rule: If it has \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> in it, it will be worth watching. \u003cem>Sing Sing\u003c/em> is about a man played by Domingo who is incarcerated for a crime he didn’t commit and who joins the New York prison’s theater program to produce a comedy with his fellow inmates. The movie’s publicity campaign makes some broad claims (including that it’s a “true story of resilience, humanity, and the transformative power of art”), but if it lives up to them the way its early reviews suggest, it will be special. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Twisters,’ in theaters July 19\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wdok0rZdmx4\u003c/p>\n\u003cp>The most intriguing thing about this sequel to the classic, bombastic disaster movie \u003cem>Twister\u003c/em> is that it’s directed by Lee Isaac Chung, who directed \u003cem>Minari\u003c/em> — one of the least bombastic films in recent memory. Glen Powell and Daisy Edgar-Jones star in this sequel, which certainly tries in its trailer to call to mind the goofy, special-effects-heavy, not-actually-advisable-in-a-storm feeling of the original. Will it have a plot? Who knows? Does it need a plot? Probably not! — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Deadpool & Wolverine,’ in theaters July 26\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pn5fdK61o9c\u003c/p>\n\u003cp>Marvel may be releasing only one superhero movie this year, but it’s a double-header, with two regenerative dudes in spandex — one joke-spewing and disfigured, the other snarling and adamantium-clawed — teaming up to save something or other. Technically, it’s Ryan Reynolds’ movie, so he’ll be setting the tone, meaning lotsa laughs. What? — you say — Wolverine died in his last movie? Well, to that I say … multiverse … or time-shift … or who cares, if Hugh Jackman’s willing to come back. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Dìdi,’ in theaters July 26\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e6gve8GtSuU\u003c/p>\n\u003cp>Thirteen-year-old Chris begins Sean Wang’s semi-autobiographical, coming-of-age dramedy trading insults with his older sister, and he ends it choked up as she leaves home (and him) for college. In between, there are pranks, misadventures, a clumsy first romance and an ill-advised attempt to ingratiate himself with some cool high school skateboarders by claiming to be an expert filmmaker. The film, which charmed at Sundance, is a lot like its pint-size hero — cute, exasperating, promising. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Kneecap,’ in theaters Aug. 2\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QB2LsoZOQpU\u003c/p>\n\u003cp>Raw, raunchy, violent and uproarious, this origin story of the titular Irish-language hip-hop group is both a riot and a call to arms. Filled with the fury of a populace that had to fight for the right to keep its own language, the film features rappers Naoise Ó Cairealláin and Liam Óg Ó Hannaidh, as well as the mild-mannered substitute music teacher who became their DJ, JJ Ó Dochartaigh, playing themselves — entirely professionally — through sex scenes, police beatings and drug-fueled jam sessions. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Close to You,’ in theaters Aug. 16\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13959596\" class=\"wp-caption aligncenter\" style=\"max-width: 966px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM.png\" alt=\"A shirtless young trans man leans up against a window frame and gazes outside.\" width=\"966\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM.png 966w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-800x444.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-768x426.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-672x372.png 672w\" sizes=\"(max-width: 966px) 100vw, 966px\">\u003cfigcaption class=\"wp-caption-text\">Elliot Page in ‘Close to You.’ \u003ccite>(Me+You Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Elliot Page, in his first movie role in six years, playing a trans man who’s wary about attending his first family reunion since his transition, this story already had hooks for audiences. Throw in reports that the film’s scenes were mostly improvised on the day of shooting, and it sounds like an emotional high-wire act. Page, who came out as trans in 2020, is also involved with another queer coming-of-age story this summer, as executive producer for the cheerleading tale \u003cem>Backspot\u003c/em>. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Between the Temples,’ in theaters Aug. 23\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13959595\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM.png\" alt=\"An older woman leans her head onto the shoulder of a younger man. \" width=\"1292\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-768x429.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Jason Schwartzman and Carol Kane in ‘Between the Temples.’ \u003ccite>(Sean Price Williams/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A depressed cantor (Jason Schwartzman) who can’t sing since his wife’s death gets an odd request while teaching bar/bat mitzvah classes at his synagogue. His septuagenarian grade-school music teacher (Carol Kane) recognizes he’s foundering and wants to help, so she asks him to tutor her for a late-in-life bat mitzvah. He resists, she insists, and things go predictably \u003cem>Harold and Maude\u003c/em> from there in plot terms, though Schwartzman and Kane bring their own quirks. — Bob Mondello\u003c/p>\n\n",
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"title": "The Best Movies of Summer 2024, According to NPR Critics | KQED",
"description": "Comedies, action-adventures, coming-of-age tales, animation. Now through Labor Day, there are a wealth of great movies on the way.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At this time of year, there’s air conditioning, and then there’s movie theater air conditioning — a frigid blast forceful enough to cool down the biggest crowd on a hot summer’s day. And if that’s not enough, your neighborhood multiplex also boasts enormous ice-cold drinks to go with popcorn and candy and … oh, right … it also has movies! Comedies, action-adventures, coming-of-age tales, animation.\u003c/p>\n\u003cp>If you’re wondering which to catch, NPR critics have you covered. Here’s our take on the cream of the cinematic crop — Marvel to just plain marvelous — from now through Labor Day.\u003c/p>\n\u003cp>\u003cstrong>‘Hit Man,’ in theaters May 24, on Netflix June 7\u003c/strong>\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/DXwa8DKIK7g'\n title='//www.youtube.com/embed/DXwa8DKIK7g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Red-hot star Glen Powell plays the titular hit man — well, a cop pretending to be a hit man — in this action rom-com. Romantic comedies are much rarer than they used to be, and the ones that do show up are often disappointing. But! Powell co-wrote the screenplay with director Richard Linklater, whose skill with love stories is well established (the Before trilogy is all the love-story credibility anybody needs, forever). A lot of Netflix movies have fizzled. Hopefully this one will not. — Linda Holmes\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Ghostlight,’ in theaters June 14\u003c/strong>\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/R1TycuGX4Mw'\n title='//www.youtube.com/embed/R1TycuGX4Mw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The title of this warmly engaging drama refers to theatrical superstition: a light left onstage to keep the theater ghost at bay — or at least to keep it happy — when actors aren’t present. Actors are everywhere here, as family tragedy blends into Shakespearean tragedy (a grieving construction worker getting roped into a community theater \u003cem>Romeo and Juliet\u003c/em>), and the film doubles down on connections by casting a real-life father, wife and daughter as the construction worker, his wife and their daughter. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Inside Out 2,’ in theaters June 14\u003c/strong>\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/LEjhY15eCx0'\n title='//www.youtube.com/embed/LEjhY15eCx0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Inside Out\u003c/em> was one of Pixar’s best films, but sequels haven’t always been the studio’s strength. Still, it’s exciting to know that Joy (Amy Poehler) is back, as are Phyllis Smith’s Sadness and Lewis Black’s Anger. New voices and new emotions arrive as Riley enters her teenage years, and the world may not be ready for Maya Hawke as Anxiety or Ayo Edebiri as Envy (OK, I may not). But get out the tissues or whatever else you need to cope with an onslaught of feelings, because it’s coming. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘The Bikeriders,’ in theaters June 21\u003c/strong>\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/PYioWaFdp70'\n title='//www.youtube.com/embed/PYioWaFdp70'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A melodrama about a fictional 1960s motorcycle gang starring Austin Butler, Jodie Comer and Tom Hardy? Sure, why not! This is Jeff Nichols’ first feature in almost a decade (following 2016’s \u003cem>Loving\u003c/em> and \u003cem>Midnight Special\u003c/em>), and he has proved himself again and again as a filmmaker who excels at capturing mood and ambience, through setting as well as a great Michael Shannon performance. At the very least, this could be a thrill ride. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘Fancy Dance,’ in theaters June 21, on Apple TV+ June 28\u003c/strong>\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/AmPPiLaiN8g'\n title='//www.youtube.com/embed/AmPPiLaiN8g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It has taken far too long for Erica Tremblay’s profound feature debut to get a proper release — it premiered at Sundance back in January 2023 — but the wait is worth it. Lily Gladstone plays Jax, a woman caring for her young niece on a Native American reservation after her sister goes missing. Part crime drama and part road trip movie, it avoids emotional clichés while offering an underseen perspective and a dynamic performance from Gladstone. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘Kinds of Kindness,’ in theaters June 21\u003c/strong>\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/inAuktwXbew'\n title='//www.youtube.com/embed/inAuktwXbew'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Viewers who know Yorgos Lanthimos’ recent work — \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13846027/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\">\u003cem>The Favourite\u003c/em>\u003c/a> — might find him whimsically absurd. Those of us who’ve been with him from his 2009 breakthrough, \u003cem>Dogtooth\u003c/em>, however, know him to be a deadpan satirist of the most scalding, remorseless variety. He has reteamed with \u003cem>Dogtooth\u003c/em> writer Efthimis Filippou for this anthology film featuring the same stable of actors playing different roles in three shorts. Can’t wait to see him getting back to his roots; bring on the bleak. — Glen Weldon\u003c/p>\n\u003cp>\u003cstrong>‘Thelma,’ in theaters June 21\u003c/strong>\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/lyE_hYkZPPE'\n title='//www.youtube.com/embed/lyE_hYkZPPE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ninety-three-year-old Thelma (June Squibb) is duped by a phone scammer in the opening reel and then sets off on a geriatric \u003cem>Mission: Impossible\u003c/em> across Los Angeles to get her money back. Along the way, she enlists the aid (and electric scooter) of an old pal (the late Richard Roundtree), runs rings around her frantic daughter (Parker Posey) and matches wits with scammer Malcolm McDowell. An understated riot that’s arguably the most Sundance-ean comedy since \u003cem>Little Miss Sunshine\u003c/em>. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Horizon: An American Saga, Chapter 1\u003c/em> and \u003cem>Chapter 2\u003c/em>, in theaters June 28 and Aug. 16\u003c/strong>\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/YYsReoZMj1k'\n title='//www.youtube.com/embed/YYsReoZMj1k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kevin Costner’s passion project (he has said he mortgaged his 10-acre oceanfront property in Santa Barbara to finance it) returns him to \u003cem>Dances With Wolves\u003c/em> territory — settlers arriving in covered wagons, expecting Indigenous communities to disappear. \u003cem>Chapter 1\u003c/em> is reportedly roughly three hours long. \u003cem>Chapter 2\u003c/em> will hit theaters seven weeks later. And depending on whether audiences show up, Costner will spend his summer either shooting the next chapter or, I guess, nursing his wounds. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘A Quiet Place: Day One,’ in theaters June 28\u003c/strong>\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/gjx-iHGXk9Q'\n title='//www.youtube.com/embed/gjx-iHGXk9Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s not a spoiler anymore that \u003cem>A Quiet Place\u003c/em>‘s story made sequels complicated — but there are always prequels. This one, starring Lupita Nyong’o, rewinds all the way back to the alien invasion that got everybody to shut up in the first place. And unlike the other two films, it takes place smack in the middle of New York City, not the most natural place to attempt total silence. John Krasinski stepped back from both directing and writing the screenplay, which could be a problem — or a fresh start. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Beverly Hills Cop: Axel F,’ on Netflix July 3\u003c/strong>\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/KoxhkE_U3Ww'\n title='//www.youtube.com/embed/KoxhkE_U3Ww'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Street-smart Detroit detective Axel Foley is the role that made Eddie Murphy a movie star in 1984. This Part 4 has been in development since the mid-1990s, after morphing briefly into a TV pilot that never got picked up. Joining Murphy from the earlier films will be fellow cops Judge Reinhold, John Ashton and Paul Reiser, as well as Bronson Pinchot’s star-making art gallerist, Serge. Franchise newbies include Joseph Gordon-Levitt and Kevin Bacon. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Fly Me to the Moon,’ in theaters July 12\u003c/strong>\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/lW7enw6mFxs'\n title='//www.youtube.com/embed/lW7enw6mFxs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Space race rom-com” isn’t exactly well-trod territory, so this project from Greg Berlanti (\u003cem>Love, Simon\u003c/em>) could be a light, refreshing summer diversion starring a pair of ridiculously good-looking actors. Scarlett Johansson and Channing Tatum play a marketing consultant and NASA launch director who team up to stage a “backup” recording of the moon landing in case the actual moon-landing attempt fails. Presumably they fall in love, with at least one Sinatra song crooning in the background. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘National Anthem,’ in theaters July 12\u003c/strong>\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/oeGCjSOHfZ8'\n title='//www.youtube.com/embed/oeGCjSOHfZ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is the first feature by photographer Luke Gilford. Charlie Plummer stars as a young man in New Mexico who takes a job at a homestead of queer rodeo performers where, as often happens in films like this, he comes to learn things about himself. I haven’t yet seen it, but by all accounts it’s a quiet and lyrical movie that tells a queer story that isn’t rooted in trauma and tragedy, but in self-discovery and finding your people. It arrives at a time when those stories are much needed. — Glen Weldon\u003c/p>\n\u003cp>\u003cstrong>‘Sing Sing,’ in theaters July 12 (limited), Aug. 2 (wide)\u003c/strong>\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/j3dXc6P3zH8'\n title='//www.youtube.com/embed/j3dXc6P3zH8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One current rule: If it has \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> in it, it will be worth watching. \u003cem>Sing Sing\u003c/em> is about a man played by Domingo who is incarcerated for a crime he didn’t commit and who joins the New York prison’s theater program to produce a comedy with his fellow inmates. The movie’s publicity campaign makes some broad claims (including that it’s a “true story of resilience, humanity, and the transformative power of art”), but if it lives up to them the way its early reviews suggest, it will be special. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Twisters,’ in theaters July 19\u003c/strong>\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/wdok0rZdmx4'\n title='//www.youtube.com/embed/wdok0rZdmx4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The most intriguing thing about this sequel to the classic, bombastic disaster movie \u003cem>Twister\u003c/em> is that it’s directed by Lee Isaac Chung, who directed \u003cem>Minari\u003c/em> — one of the least bombastic films in recent memory. Glen Powell and Daisy Edgar-Jones star in this sequel, which certainly tries in its trailer to call to mind the goofy, special-effects-heavy, not-actually-advisable-in-a-storm feeling of the original. Will it have a plot? Who knows? Does it need a plot? Probably not! — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Deadpool & Wolverine,’ in theaters July 26\u003c/strong>\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/pn5fdK61o9c'\n title='//www.youtube.com/embed/pn5fdK61o9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Marvel may be releasing only one superhero movie this year, but it’s a double-header, with two regenerative dudes in spandex — one joke-spewing and disfigured, the other snarling and adamantium-clawed — teaming up to save something or other. Technically, it’s Ryan Reynolds’ movie, so he’ll be setting the tone, meaning lotsa laughs. What? — you say — Wolverine died in his last movie? Well, to that I say … multiverse … or time-shift … or who cares, if Hugh Jackman’s willing to come back. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Dìdi,’ in theaters July 26\u003c/strong>\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/e6gve8GtSuU'\n title='//www.youtube.com/embed/e6gve8GtSuU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Thirteen-year-old Chris begins Sean Wang’s semi-autobiographical, coming-of-age dramedy trading insults with his older sister, and he ends it choked up as she leaves home (and him) for college. In between, there are pranks, misadventures, a clumsy first romance and an ill-advised attempt to ingratiate himself with some cool high school skateboarders by claiming to be an expert filmmaker. The film, which charmed at Sundance, is a lot like its pint-size hero — cute, exasperating, promising. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Kneecap,’ in theaters Aug. 2\u003c/strong>\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/QB2LsoZOQpU'\n title='//www.youtube.com/embed/QB2LsoZOQpU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Raw, raunchy, violent and uproarious, this origin story of the titular Irish-language hip-hop group is both a riot and a call to arms. Filled with the fury of a populace that had to fight for the right to keep its own language, the film features rappers Naoise Ó Cairealláin and Liam Óg Ó Hannaidh, as well as the mild-mannered substitute music teacher who became their DJ, JJ Ó Dochartaigh, playing themselves — entirely professionally — through sex scenes, police beatings and drug-fueled jam sessions. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Close to You,’ in theaters Aug. 16\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13959596\" class=\"wp-caption aligncenter\" style=\"max-width: 966px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM.png\" alt=\"A shirtless young trans man leans up against a window frame and gazes outside.\" width=\"966\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM.png 966w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-800x444.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-768x426.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-672x372.png 672w\" sizes=\"(max-width: 966px) 100vw, 966px\">\u003cfigcaption class=\"wp-caption-text\">Elliot Page in ‘Close to You.’ \u003ccite>(Me+You Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Elliot Page, in his first movie role in six years, playing a trans man who’s wary about attending his first family reunion since his transition, this story already had hooks for audiences. Throw in reports that the film’s scenes were mostly improvised on the day of shooting, and it sounds like an emotional high-wire act. Page, who came out as trans in 2020, is also involved with another queer coming-of-age story this summer, as executive producer for the cheerleading tale \u003cem>Backspot\u003c/em>. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Between the Temples,’ in theaters Aug. 23\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13959595\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM.png\" alt=\"An older woman leans her head onto the shoulder of a younger man. \" width=\"1292\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-768x429.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Jason Schwartzman and Carol Kane in ‘Between the Temples.’ \u003ccite>(Sean Price Williams/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A depressed cantor (Jason Schwartzman) who can’t sing since his wife’s death gets an odd request while teaching bar/bat mitzvah classes at his synagogue. His septuagenarian grade-school music teacher (Carol Kane) recognizes he’s foundering and wants to help, so she asks him to tutor her for a late-in-life bat mitzvah. He resists, she insists, and things go predictably \u003cem>Harold and Maude\u003c/em> from there in plot terms, though Schwartzman and Kane bring their own quirks. — Bob Mondello\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "franz-kafka-tv-miniseries-review-kafkaesque-germany",
"title": "Franz Kafka’s Life Wasn't So Kafkaesque After All, TV Miniseries Shows",
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"headTitle": "Franz Kafka’s Life Wasn’t So Kafkaesque After All, TV Miniseries Shows | KQED",
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"content": "\u003cp>If you’ve ever felt powerless when confronted with faceless bureaucracy, confounded by absurd accusations or simply hopeless, chances are the word “kafkaesque” might sum up your situation.\u003c/p>\n\u003cp>But a television miniseries released this month shows Prague-born author Franz Kafka, whose work inspired the word, as anything but kafkaesque. Tortured recluse he is not here.\u003c/p>\n\u003cp>Instead, Kafka is a wrangler of labyrinthian bureaucratic systems, so successful in fact that his bosses do all in their power to keep him at home and prevent him from enlisting in World War I. That’s the story according to \u003cem>Kafka\u003c/em>, a six-part series that was co-produced by Germany’s ARD, Austria’s ORF and Superfilm.\u003c/p>\n\u003cp>[aside postid='arts_13959459']“We all think we hear of the bureau, or the office, that it’s a dark world and it’s apocalyptic (for Kafka). But in the real world, it was a paradise,” Director David Schalko told NPR’s Michel Martin during a joint interview with Joel Basman, who plays the title role.\u003c/p>\n\u003cp>Schalko said he was inspired to take on the project after reading Reiner Stach’s \u003ca href=\"https://press.princeton.edu/our-authors/stach-reiner\">three-volume biography\u003c/a> of Kafka, originally published in German between 2002 and 2014. In rejecting the usual tropes of equivocating Kafka’s angst-ridden works with the writer’s life, Schalko’s biopic offers a lush, more humanly complex picture.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uAANEfhwgw8\u003c/p>\n\u003ch3>One perspective per episode\u003c/h3>\n\u003cp>ChaiFlicks, \u003ca href=\"https://www.chaiflicks.com/\">a streaming platform focused on Jewish content\u003c/a>, is releasing new episodes weekly since the June 6 U.S. debut. Each episode focuses on a different perspective of Kafka’s life.\u003c/p>\n\u003cp>The first theme is the author’s relationship with his close friend Max Brod — who ultimately defied Kafka’s wish to have all his manuscripts burned and instead posthumously became his biographer and literary executor.\u003c/p>\n\u003cp>The other episodes focus on his (bourgeois) family, three of his lovers and his role as an insurance lawyer.\u003c/p>\n\u003cfigure id=\"attachment_13959520\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959520\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM.png\" alt=\"A man wearing a suit and spectacles sits with a woman leaning on his shoulder who has fallen asleep.\" width=\"1290\" height=\"744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-800x461.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-1020x588.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-768x443.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Max Brod (David Kross) and his wife Elsa (Tamara Stern) escaped Prague on one of the last trains to leave the city before Nazi forces took control, recognizing the danger to Jews like himself. He carried Franz Kafka’s papers with him in a suitcase. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In episode four, Kafka wins successive court cases and contracts for the company. He is held in high esteem by his superiors at the Workers’ Accident Insurance Institute. They also admire his writings and press him to review their own mediocre texts. It’s an admiration that Kafka does not reciprocate.\u003c/p>\n\u003cp>“He was very good rhetorically and he was fighting for the insurance company,” Schalko said. “It’s not the silent Kafka who is not able to talk in front of other people. It shows a complete different Kafka.”\u003c/p>\n\u003cfigure id=\"attachment_13959521\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM.png\" alt=\"A man with neat black hair stands in a room lit in purple and pink hues.\" width=\"1278\" height=\"770\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-800x482.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-1020x615.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-768x463.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">The series alternates between biographical material, historical context and scenes from Kafka’s writings. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Basman says he felt compelled in portraying Kafka to “get away from the cliché of him being a depressed person. First of all, he’s a funny man. He’s got humor. And of course, he’s got his issues, and we all got them in our lives, but he was far away from depressed.”\u003c/p>\n\u003ch3>A century since Kafka’s death\u003c/h3>\n\u003cp>The series’ release coincides with the 100th anniversary of Kafka’s death this month. And it comes at a time of renewed interest in the writer, who has become an unexpected hot item among a younger generation reflecting on alienation via \u003ca href=\"https://www.tiktok.com/@aquariuscat444/video/7263000782516030752\">posts\u003c/a> on TikTok.\u003c/p>\n\u003cp>[aside postid='arts_13959205']Just last year, readers could finally access a \u003ca href=\"https://www.amazon.com/Diaries-Franz-Kafka/dp/0805243550\">new translation\u003c/a> of Kafka’s diaries, by Ross Benjamin. Prior versions relied on a manuscript heavily edited and redacted by Kafka’s friend Brod, whose version was polished and removed lewd, homoerotic and unflattering material concerning Kafka and himself.\u003c/p>\n\u003cp>The unfiltered version shows a more hesitant Kafka who often left his thoughts unfinished mid-sentence — not surprising for an author who never didn’t complete the three novels he started and whose characters struggled with the impossibility of finishing tasks.\u003c/p>\n\u003cfigure id=\"attachment_13959522\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959522\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM.png\" alt=\"Two 1940s era women sit next to each other at a desk looking incredulous.\" width=\"1292\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-800x495.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-1020x632.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-768x476.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Kafka’s longtime fiancée Felice Bauer (Lia von Blarer, right) got so fed up with his constant equivocation that she confronted him alongside her friend, Grete Bloch (Marie-Luise Stockinger), an event that inspired the novel ‘The Trial.’ \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez | Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The feeling to wake up and feel like vermin, like an insect, and feeling the shame and get canceled by the others, is a feeling you know from social media very well,” Schalko said, while pointing to arbitrary arrests in Russia as another example.\u003c/p>\n\u003cp>“He also writes about the bureaucracy and how it feels to be a human being in a system that doesn’t see you as a human being. And that’s a big issue in our times as well.”\u003c/p>\n\u003cp>[aside postid='arts_13958863']In a memorable scene in episode three, Kafka brings home for dinner a traditional Yiddish theater actor he befriended, Yitzhak Löwy. But Kafka’s domineering father, Hermann, disapproves and says Löwy is dirty and compares him to an insect.\u003c/p>\n\u003cp>The confrontation inspired Kafka to write his novella \u003cem>The Metamorphosis\u003c/em>, the story of a man who turns into a bug. Kafka had also written a 100-page letter criticizing his father — the closest he came to writing an autobiography — though he neither sent nor published it.\u003c/p>\n\u003cfigure id=\"attachment_13959523\" class=\"wp-caption aligncenter\" style=\"max-width: 1302px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM.png\" alt=\"A man sits against a tree, clutching a book between his hands in deep thought.\" width=\"1302\" height=\"806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM.png 1302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-800x495.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-1020x631.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-768x475.png 768w\" sizes=\"(max-width: 1302px) 100vw, 1302px\">\u003cfigcaption class=\"wp-caption-text\">The poet Rainer Maria Rilke, played by Lars Eidinger, is shown moved to tears after reading Kafka’s ‘The Metamorphosis,’ the story of a man who turns into an insect that was inspired by a confrontation between Kafka’s domineering father and the writer’s Yiddish actor friend Yitzhak Löwy. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>“For his father, it was more important to be accepted by the elites of Prague; he tried to maybe even hide his Judaism,” Basman said.\u003c/p>\n\u003cp>The Swiss-born actor says he could relate to this ambiguity in Kafka’s family identity because his own father is originally from Israel but he’s an atheist.\u003c/p>\n\u003cp>“I was never Jewish enough, but I also was never Swiss enough … I realized, okay, people want to brand you and if they can’t brand you, they don’t want you on their team,” Basman said.\u003c/p>\n\u003cp>“I think for Kafka, religion was also just a journey of getting to know himself because it was hidden by his father so strongly that he took this journey by himself.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003ch3>Kafka and women\u003c/h3>\n\u003cp>The women in Kafka’s life also left an indelible mark. He was engaged several times but never married. One of his fiancées was Felice Bauer, Brod’s cousin. The pair meet and only get to know each superficially before Kafka sends her hundreds of agonizing letters for months on end, through an initial parting, a second engagement and a final breakup.\u003c/p>\n\u003cp>[aside postid='arts_13959163']Fed up with Kafka’s constant equivocation, Bauer at one point confronts him, letters in hand, with her friend Grete Bloch — another recipient of letters from Kafka — by her side. The episode drawn from the writer’s life inspired his novel \u003cem>The Trial\u003c/em>, published posthumously in 1925.\u003c/p>\n\u003cp>The protagonist Joseph K. navigates an absurdly complex bureaucratic system and makes mistakes that make him look guilty of an unknown crime for which he is put on trial and then executed “like a dog.”\u003c/p>\n\u003cfigure id=\"attachment_13959525\" class=\"wp-caption aligncenter\" style=\"max-width: 1282px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959525\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM.png\" alt=\"A man lies in the grass, while a woman lies partially on his chest, happily reading a letter.\" width=\"1282\" height=\"782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM.png 1282w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-800x488.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-1020x622.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-768x468.png 768w\" sizes=\"(max-width: 1282px) 100vw, 1282px\">\u003cfigcaption class=\"wp-caption-text\">Kafka was engaged four times and never married, keeping most relationships long-distance via extensive letter-writing. His penultimate relationship was with the writer Milena Jesenská (Liv Lisa Fries), who recognizes his talent. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Kafka’ is available to stream on \u003c/em>\u003ca href=\"https://www.chaiflicks.com/videos/kafka-episode-1-1080p-25fps-stereo-1\">ChaiFlicks\u003c/a>\u003cem>. New episodes will release weekly.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve ever felt powerless when confronted with faceless bureaucracy, confounded by absurd accusations or simply hopeless, chances are the word “kafkaesque” might sum up your situation.\u003c/p>\n\u003cp>But a television miniseries released this month shows Prague-born author Franz Kafka, whose work inspired the word, as anything but kafkaesque. Tortured recluse he is not here.\u003c/p>\n\u003cp>Instead, Kafka is a wrangler of labyrinthian bureaucratic systems, so successful in fact that his bosses do all in their power to keep him at home and prevent him from enlisting in World War I. That’s the story according to \u003cem>Kafka\u003c/em>, a six-part series that was co-produced by Germany’s ARD, Austria’s ORF and Superfilm.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We all think we hear of the bureau, or the office, that it’s a dark world and it’s apocalyptic (for Kafka). But in the real world, it was a paradise,” Director David Schalko told NPR’s Michel Martin during a joint interview with Joel Basman, who plays the title role.\u003c/p>\n\u003cp>Schalko said he was inspired to take on the project after reading Reiner Stach’s \u003ca href=\"https://press.princeton.edu/our-authors/stach-reiner\">three-volume biography\u003c/a> of Kafka, originally published in German between 2002 and 2014. In rejecting the usual tropes of equivocating Kafka’s angst-ridden works with the writer’s life, Schalko’s biopic offers a lush, more humanly complex picture.\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/uAANEfhwgw8'\n title='//www.youtube.com/embed/uAANEfhwgw8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>One perspective per episode\u003c/h3>\n\u003cp>ChaiFlicks, \u003ca href=\"https://www.chaiflicks.com/\">a streaming platform focused on Jewish content\u003c/a>, is releasing new episodes weekly since the June 6 U.S. debut. Each episode focuses on a different perspective of Kafka’s life.\u003c/p>\n\u003cp>The first theme is the author’s relationship with his close friend Max Brod — who ultimately defied Kafka’s wish to have all his manuscripts burned and instead posthumously became his biographer and literary executor.\u003c/p>\n\u003cp>The other episodes focus on his (bourgeois) family, three of his lovers and his role as an insurance lawyer.\u003c/p>\n\u003cfigure id=\"attachment_13959520\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959520\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM.png\" alt=\"A man wearing a suit and spectacles sits with a woman leaning on his shoulder who has fallen asleep.\" width=\"1290\" height=\"744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-800x461.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-1020x588.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-768x443.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Max Brod (David Kross) and his wife Elsa (Tamara Stern) escaped Prague on one of the last trains to leave the city before Nazi forces took control, recognizing the danger to Jews like himself. He carried Franz Kafka’s papers with him in a suitcase. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In episode four, Kafka wins successive court cases and contracts for the company. He is held in high esteem by his superiors at the Workers’ Accident Insurance Institute. They also admire his writings and press him to review their own mediocre texts. It’s an admiration that Kafka does not reciprocate.\u003c/p>\n\u003cp>“He was very good rhetorically and he was fighting for the insurance company,” Schalko said. “It’s not the silent Kafka who is not able to talk in front of other people. It shows a complete different Kafka.”\u003c/p>\n\u003cfigure id=\"attachment_13959521\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM.png\" alt=\"A man with neat black hair stands in a room lit in purple and pink hues.\" width=\"1278\" height=\"770\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-800x482.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-1020x615.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-768x463.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">The series alternates between biographical material, historical context and scenes from Kafka’s writings. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Basman says he felt compelled in portraying Kafka to “get away from the cliché of him being a depressed person. First of all, he’s a funny man. He’s got humor. And of course, he’s got his issues, and we all got them in our lives, but he was far away from depressed.”\u003c/p>\n\u003ch3>A century since Kafka’s death\u003c/h3>\n\u003cp>The series’ release coincides with the 100th anniversary of Kafka’s death this month. And it comes at a time of renewed interest in the writer, who has become an unexpected hot item among a younger generation reflecting on alienation via \u003ca href=\"https://www.tiktok.com/@aquariuscat444/video/7263000782516030752\">posts\u003c/a> on TikTok.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Just last year, readers could finally access a \u003ca href=\"https://www.amazon.com/Diaries-Franz-Kafka/dp/0805243550\">new translation\u003c/a> of Kafka’s diaries, by Ross Benjamin. Prior versions relied on a manuscript heavily edited and redacted by Kafka’s friend Brod, whose version was polished and removed lewd, homoerotic and unflattering material concerning Kafka and himself.\u003c/p>\n\u003cp>The unfiltered version shows a more hesitant Kafka who often left his thoughts unfinished mid-sentence — not surprising for an author who never didn’t complete the three novels he started and whose characters struggled with the impossibility of finishing tasks.\u003c/p>\n\u003cfigure id=\"attachment_13959522\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959522\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM.png\" alt=\"Two 1940s era women sit next to each other at a desk looking incredulous.\" width=\"1292\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-800x495.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-1020x632.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-768x476.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Kafka’s longtime fiancée Felice Bauer (Lia von Blarer, right) got so fed up with his constant equivocation that she confronted him alongside her friend, Grete Bloch (Marie-Luise Stockinger), an event that inspired the novel ‘The Trial.’ \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez | Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The feeling to wake up and feel like vermin, like an insect, and feeling the shame and get canceled by the others, is a feeling you know from social media very well,” Schalko said, while pointing to arbitrary arrests in Russia as another example.\u003c/p>\n\u003cp>“He also writes about the bureaucracy and how it feels to be a human being in a system that doesn’t see you as a human being. And that’s a big issue in our times as well.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a memorable scene in episode three, Kafka brings home for dinner a traditional Yiddish theater actor he befriended, Yitzhak Löwy. But Kafka’s domineering father, Hermann, disapproves and says Löwy is dirty and compares him to an insect.\u003c/p>\n\u003cp>The confrontation inspired Kafka to write his novella \u003cem>The Metamorphosis\u003c/em>, the story of a man who turns into a bug. Kafka had also written a 100-page letter criticizing his father — the closest he came to writing an autobiography — though he neither sent nor published it.\u003c/p>\n\u003cfigure id=\"attachment_13959523\" class=\"wp-caption aligncenter\" style=\"max-width: 1302px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM.png\" alt=\"A man sits against a tree, clutching a book between his hands in deep thought.\" width=\"1302\" height=\"806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM.png 1302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-800x495.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-1020x631.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-768x475.png 768w\" sizes=\"(max-width: 1302px) 100vw, 1302px\">\u003cfigcaption class=\"wp-caption-text\">The poet Rainer Maria Rilke, played by Lars Eidinger, is shown moved to tears after reading Kafka’s ‘The Metamorphosis,’ the story of a man who turns into an insect that was inspired by a confrontation between Kafka’s domineering father and the writer’s Yiddish actor friend Yitzhak Löwy. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>“For his father, it was more important to be accepted by the elites of Prague; he tried to maybe even hide his Judaism,” Basman said.\u003c/p>\n\u003cp>The Swiss-born actor says he could relate to this ambiguity in Kafka’s family identity because his own father is originally from Israel but he’s an atheist.\u003c/p>\n\u003cp>“I was never Jewish enough, but I also was never Swiss enough … I realized, okay, people want to brand you and if they can’t brand you, they don’t want you on their team,” Basman said.\u003c/p>\n\u003cp>“I think for Kafka, religion was also just a journey of getting to know himself because it was hidden by his father so strongly that he took this journey by himself.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003ch3>Kafka and women\u003c/h3>\n\u003cp>The women in Kafka’s life also left an indelible mark. He was engaged several times but never married. One of his fiancées was Felice Bauer, Brod’s cousin. The pair meet and only get to know each superficially before Kafka sends her hundreds of agonizing letters for months on end, through an initial parting, a second engagement and a final breakup.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Fed up with Kafka’s constant equivocation, Bauer at one point confronts him, letters in hand, with her friend Grete Bloch — another recipient of letters from Kafka — by her side. The episode drawn from the writer’s life inspired his novel \u003cem>The Trial\u003c/em>, published posthumously in 1925.\u003c/p>\n\u003cp>The protagonist Joseph K. navigates an absurdly complex bureaucratic system and makes mistakes that make him look guilty of an unknown crime for which he is put on trial and then executed “like a dog.”\u003c/p>\n\u003cfigure id=\"attachment_13959525\" class=\"wp-caption aligncenter\" style=\"max-width: 1282px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959525\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM.png\" alt=\"A man lies in the grass, while a woman lies partially on his chest, happily reading a letter.\" width=\"1282\" height=\"782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM.png 1282w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-800x488.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-1020x622.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-768x468.png 768w\" sizes=\"(max-width: 1282px) 100vw, 1282px\">\u003cfigcaption class=\"wp-caption-text\">Kafka was engaged four times and never married, keeping most relationships long-distance via extensive letter-writing. His penultimate relationship was with the writer Milena Jesenská (Liv Lisa Fries), who recognizes his talent. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Kafka’ is available to stream on \u003c/em>\u003ca href=\"https://www.chaiflicks.com/videos/kafka-episode-1-1080p-25fps-stereo-1\">ChaiFlicks\u003c/a>\u003cem>. New episodes will release weekly.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We live in an age obsessed with self-creation. Our social media-fueled culture is less about changing the world than about shaping how the world sees us.\u003c/p>\n\u003cp>Nobody did it any better than \u003ca href=\"https://www.npr.org/tags/695894666/karl-lagerfeld\" target=\"695894666\" rel=\"noopener\">Karl Lagerfeld\u003c/a>, who died in 2019 after four decades as a lion king in the fashion world. Beginning as a somewhat ridiculous outsider from Germany, Lagerfeld used his genius for self-invention to wind up designing for \u003ca href=\"https://www.npr.org/tags/533752330/fendi\" target=\"533752330\" rel=\"noopener\">Fendi\u003c/a>, resurrecting the moribund house of Chanel and creating a personal look so distinctive — white hair, dark sunglasses, fingerless gloves and crisp detachable collars — that it could serve as the emoji for Fashion Designer.\u003c/p>\n\u003cp>[aside postid='arts_13928464']His hard-won rise in ‘70s Paris is the theme of \u003cem>Becoming Karl Lagerfeld\u003c/em>, a smart, dishy, hugely entertaining new French series on Hulu. The show doesn’t pretend to offer the definitive take on an enormously complicated man. Instead, its brisk six episodes offer emblematic incidents — or perhaps pressure points — that take us surprisingly deep inside a figure who moved constantly forward, spurred on by ambition, loneliness and a keen sense of self-protection.\u003c/p>\n\u003cp>We first meet Karl in Paris through the eyes of Jacques de Bascher, a self-destructive young aristocrat played with scene-stealing charisma by the French Canadian actor Théodore Pellerin. Always looking for distractions, Jacques fixates on the uncharismatic Karl — that’s the superb German actor Daniel Brühl — who at this point is something of a brainy schlub who lives with his acerbic mother and stuffs his face with sweets when he’s angry. You know you’re watching a French series, not an American one, when, in this show’s equivalent of a meet cute, Jacques and Karl discover their affinity by quoting the daunting Austrian novelist Robert Musil.\u003c/p>\n\u003cp>Jacques dreams of being a great writer, but he fritters away his gifts in drink and drugs and sex; he yearns for love. Although Karl cares for him, he’s too relentless a work-machine to provide such consolations. Karl never stops hustling and scheming. He’s chasing a stardom to equal his one-time-friend, now-nemesis Yves Saint Laurent — that’s a terrific Arnaud Valois — who’s celebrated as a haute-couture genius with his own label while Karl toils away on ready-to-wear for the house of Chloe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dWs94_ZaDLw\u003c/p>\n\u003cp>Jacques and Karl share a long, tortuous, asexual sort of love. Their relationship becomes the through-line of Karl’s story, which includes his battles with fashion power broker Pierre Bergé, Jacques’ disastrous affair with Saint Laurent, and Karl’s struggles designing a dress for \u003ca href=\"https://www.npr.org/2017/06/19/533090309/gallery-gives-movie-star-marlene-dietrich-the-big-picture-treatment\" target=\"533090309\" rel=\"noopener\">Marlene Dietrich\u003c/a> who pointedly asks, “Do you have a style?” This was always the big question about Lagerfeld, who, like that other self-inventor, \u003ca href=\"https://www.npr.org/artists/15289962/david-bowie\" target=\"15289962\" rel=\"noopener\">David Bowie\u003c/a>, tried on many styles and used whichever one would help him get ahead at that moment.\u003c/p>\n\u003cp>In this year’s other fashion series, The New Look, Christian Dior and \u003ca href=\"https://www.npr.org/2005/05/05/4630900/the-timeless-appeal-of-coco-chanel\" target=\"4630900\" rel=\"noopener\">Coco Chanel\u003c/a> felt like animatronic creatures in a diorama. By contrast, \u003cem>Becoming Karl Lagerfeld\u003c/em> feels urgent and alive — like a present day story that happens to be set in the past. Whether it’s Jacques’ desperation, Karl’s impacted passion or shocking betrayals, the show pulses with feeling, even wringing genuine poignancy from the pop song “Take on Me.”\u003c/p>\n\u003cp>[aside postid='arts_13958404']Without flaunting its seriousness, the show gets you thinking about the characters — for instance, how the controlled Karl and out-of-control Jacques are complementary halves of a complete human being. And it explores the isolation, even lunacy lurking inside the quest for fame.\u003c/p>\n\u003cp>Focusing on a brief period of time, \u003cem>Becoming Karl Lagerfeld\u003c/em> never overtly tries to explain its often-contradictory hero. Instead, it lets Brühl reveal the powerful emotions that flit across Karl’s face even as he attempts to bottle them up. By the end, I felt I understood him surprisingly well and grasped how he could become a fashion legend.\u003c/p>\n\u003cp>Now is the show completely true? Did Dietrich really castigate Karl for a dress he made her? Did Karl really flee when Jacques tried to sleep with him? Who cares! The opening crawl acknowledges that much of the action is fictionalized. Besides, \u003cem>Becoming Karl Lagerfeld\u003c/em> isn’t about the Kennedy assassination or World War II. It’s about a fashion designer, one who cultivated his personal mythology and became notorious for his delight in saying reprehensible things.\u003c/p>\n\u003cp>“I have no human feelings,” Lagerfeld famously told an interviewer. What he’d like least about this show, I suspect, is that it shows he did.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Becoming Karl Lagerfeld’ begins streaming on Hulu on June 7, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>His hard-won rise in ‘70s Paris is the theme of \u003cem>Becoming Karl Lagerfeld\u003c/em>, a smart, dishy, hugely entertaining new French series on Hulu. The show doesn’t pretend to offer the definitive take on an enormously complicated man. Instead, its brisk six episodes offer emblematic incidents — or perhaps pressure points — that take us surprisingly deep inside a figure who moved constantly forward, spurred on by ambition, loneliness and a keen sense of self-protection.\u003c/p>\n\u003cp>We first meet Karl in Paris through the eyes of Jacques de Bascher, a self-destructive young aristocrat played with scene-stealing charisma by the French Canadian actor Théodore Pellerin. Always looking for distractions, Jacques fixates on the uncharismatic Karl — that’s the superb German actor Daniel Brühl — who at this point is something of a brainy schlub who lives with his acerbic mother and stuffs his face with sweets when he’s angry. You know you’re watching a French series, not an American one, when, in this show’s equivalent of a meet cute, Jacques and Karl discover their affinity by quoting the daunting Austrian novelist Robert Musil.\u003c/p>\n\u003cp>Jacques dreams of being a great writer, but he fritters away his gifts in drink and drugs and sex; he yearns for love. Although Karl cares for him, he’s too relentless a work-machine to provide such consolations. Karl never stops hustling and scheming. He’s chasing a stardom to equal his one-time-friend, now-nemesis Yves Saint Laurent — that’s a terrific Arnaud Valois — who’s celebrated as a haute-couture genius with his own label while Karl toils away on ready-to-wear for the house of Chloe.\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/dWs94_ZaDLw'\n title='//www.youtube.com/embed/dWs94_ZaDLw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jacques and Karl share a long, tortuous, asexual sort of love. Their relationship becomes the through-line of Karl’s story, which includes his battles with fashion power broker Pierre Bergé, Jacques’ disastrous affair with Saint Laurent, and Karl’s struggles designing a dress for \u003ca href=\"https://www.npr.org/2017/06/19/533090309/gallery-gives-movie-star-marlene-dietrich-the-big-picture-treatment\" target=\"533090309\" rel=\"noopener\">Marlene Dietrich\u003c/a> who pointedly asks, “Do you have a style?” This was always the big question about Lagerfeld, who, like that other self-inventor, \u003ca href=\"https://www.npr.org/artists/15289962/david-bowie\" target=\"15289962\" rel=\"noopener\">David Bowie\u003c/a>, tried on many styles and used whichever one would help him get ahead at that moment.\u003c/p>\n\u003cp>In this year’s other fashion series, The New Look, Christian Dior and \u003ca href=\"https://www.npr.org/2005/05/05/4630900/the-timeless-appeal-of-coco-chanel\" target=\"4630900\" rel=\"noopener\">Coco Chanel\u003c/a> felt like animatronic creatures in a diorama. By contrast, \u003cem>Becoming Karl Lagerfeld\u003c/em> feels urgent and alive — like a present day story that happens to be set in the past. Whether it’s Jacques’ desperation, Karl’s impacted passion or shocking betrayals, the show pulses with feeling, even wringing genuine poignancy from the pop song “Take on Me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Without flaunting its seriousness, the show gets you thinking about the characters — for instance, how the controlled Karl and out-of-control Jacques are complementary halves of a complete human being. And it explores the isolation, even lunacy lurking inside the quest for fame.\u003c/p>\n\u003cp>Focusing on a brief period of time, \u003cem>Becoming Karl Lagerfeld\u003c/em> never overtly tries to explain its often-contradictory hero. Instead, it lets Brühl reveal the powerful emotions that flit across Karl’s face even as he attempts to bottle them up. By the end, I felt I understood him surprisingly well and grasped how he could become a fashion legend.\u003c/p>\n\u003cp>Now is the show completely true? Did Dietrich really castigate Karl for a dress he made her? Did Karl really flee when Jacques tried to sleep with him? Who cares! The opening crawl acknowledges that much of the action is fictionalized. Besides, \u003cem>Becoming Karl Lagerfeld\u003c/em> isn’t about the Kennedy assassination or World War II. It’s about a fashion designer, one who cultivated his personal mythology and became notorious for his delight in saying reprehensible things.\u003c/p>\n\u003cp>“I have no human feelings,” Lagerfeld famously told an interviewer. What he’d like least about this show, I suspect, is that it shows he did.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Becoming Karl Lagerfeld’ begins streaming on Hulu on June 7, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It seems the film industry’s reputation is in a perpetual state of lament. \u003cem>They don’t make them like they used to\u003c/em> can be and often is applied to movie stars, special effects, non-franchise screenplays, erotic thrillers, rom-coms.\u003c/p>\n\u003cp>There’s validity to these concerns, though every now and then, a new movie comes along with a strong whiff of throwback energy — deliberate yet breezy pacing, crackling banter that’s at once contemporary and timeless, and a performance that convinces you a star’s been born right here in this moment on screen. And with it comes the warm reminder that they still \u003cem>can \u003c/em>make them like they used to, and sometimes still do. Richard Linklater’s sexy, nihilistic comedy \u003cem>Hit Man\u003c/em> is one of those movies.\u003c/p>\n\u003cp>[aside postid='arts_13958891']Glen Powell is Gary Johnson, a conventionally attractive yet aggressively plain psych and philosophy professor at the University of New Orleans. He’s the type of unassuming jean shorts-wearing guy who blends easily into the background and is perfectly content being boring; he lives alone in the suburbs with two cats named Ego and Id, drives a Honda Civic, and appears to have no social life to speak of.\u003c/p>\n\u003cp>His sole quirk, if we’re going to call it that, is that he moonlights with the New Orleans Police Department, and as the movie begins, that part-time gig suddenly kicks into overdrive. When dirtbag undercover detective Jasper (Austin Amelio) is suspended for a police brutality case, Gary replaces him as the department’s go-to fake hit man, meeting with — and arresting — all varieties of disgruntled recruiters as “Ron.” It turns out Gary relishes convincing unsuspecting strangers he’s a cold-blooded assassin. He researches his would-be “clients” to tailor his persona to their hit man fantasies, using an array of elaborate costumes, wigs, and fake makeup. For one suspect, he eerily resembles Patrick Bateman.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DXwa8DKIK7g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Hit Man \u003c/em>sounds wacky in premise, but it’s loosely based on a \u003ca href=\"https://www.texasmonthly.com/true-crime/hit-man-2/\">\u003cem>Texas Monthly\u003c/em> profile\u003c/a> of a real Gary Johnson, who worked on-call for the Houston Police Department and was dubbed the “Laurence Olivier” of undercover murder-for-hire investigations. Linklater and Powell, who co-wrote the screenplay, take the bones of Johnson’s story and embellish it for cinematic effect, slipping from a slick, lightly comical procedural in the first act to an erotic cat-and-mouse game by the film’s climax.\u003c/p>\n\u003cp>Like the private detective archetype in film noir, Gary is eventually hired by a gorgeous young woman, except in this case, she’s looking to off her controlling husband. Maddy (Adria Arjona) is, of course, pouty and flirty and femme fatale-y, and gets him entangled in quite a compromising pickle.\u003c/p>\n\u003cfigure id=\"attachment_13959389\" class=\"wp-caption aligncenter\" style=\"max-width: 1466px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959389\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM.png\" alt=\"A woman leans back, eyes closed against a man in a lover's embrace.\" width=\"1466\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM.png 1466w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-800x494.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-1020x630.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-768x475.png 768w\" sizes=\"(max-width: 1466px) 100vw, 1466px\">\u003cfigcaption class=\"wp-caption-text\">Adria Arjona as Madison and Glen Powell as Gary Johnson in ’Hit Man.‘ \u003ccite>(Brian Roedel/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story stays grounded by avoiding a few present-day pop culture clichés — thankfully there are no obvious needle-drops here — and the clear, electric chemistry between Powell and Arjona, whose dynamic evokes Jack and Karen’s frenetic dalliance in \u003cem>Out of Sight\u003c/em>.\u003c/p>\n\u003cp>But above all, this is Powell’s movie. It’s almost too easy to draw direct parallels between him and Gary, but sometimes the most obvious thing is also the most correct. The actor’s been kicking around Hollywood for some time now, more recently playing an antagonist in \u003cem>Top Gun: Maverick\u003c/em> and \u003ca href=\"https://www.nytimes.com/2024/04/23/movies/anyone-but-you-sydney-sweeney-glen-powell.html\">whipping gossip blogs into a frenzy\u003c/a> with his \u003cem>Anyone But You \u003c/em>co-star Sydney Sweeney. Yet like Gary the professor, he’s been more of a side salad than an entrée, inoffensive and fine, not exactly memorable.\u003c/p>\n\u003cp>[aside postid='arts_13959268']Ron the fake-contract-killer affords Gary the chance to tap into a part of himself that’s far more fascinating, and Powell plays this uber-confident side to the hilt. When Ron utters a corny catchphrase about pie with a straight face or goes off on a smooth tangent in great detail about how he’ll “dispose” of a body, Glen Powell, capital-M Movie Star suddenly makes sense as a concept.\u003c/p>\n\u003cp>\u003cem>Hit Man\u003c/em>’s final act is the kind you either go with or get frustrated by. It’s a big swing that tests the limits of suspending disbelief. But the movie’s driving theme reflects curiosity about the human capacity for change and self-creation, a struggle to decipher where the “real” essence of you begins and/or ends. In Gary, Linklater and Powell find a character who cleverly demonstrates how anyone, especially a movie actor, can mold the persona they wish to have — with the right tools.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hit Man’ begins streaming on Netflix on June 7, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It seems the film industry’s reputation is in a perpetual state of lament. \u003cem>They don’t make them like they used to\u003c/em> can be and often is applied to movie stars, special effects, non-franchise screenplays, erotic thrillers, rom-coms.\u003c/p>\n\u003cp>There’s validity to these concerns, though every now and then, a new movie comes along with a strong whiff of throwback energy — deliberate yet breezy pacing, crackling banter that’s at once contemporary and timeless, and a performance that convinces you a star’s been born right here in this moment on screen. And with it comes the warm reminder that they still \u003cem>can \u003c/em>make them like they used to, and sometimes still do. Richard Linklater’s sexy, nihilistic comedy \u003cem>Hit Man\u003c/em> is one of those movies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Glen Powell is Gary Johnson, a conventionally attractive yet aggressively plain psych and philosophy professor at the University of New Orleans. He’s the type of unassuming jean shorts-wearing guy who blends easily into the background and is perfectly content being boring; he lives alone in the suburbs with two cats named Ego and Id, drives a Honda Civic, and appears to have no social life to speak of.\u003c/p>\n\u003cp>His sole quirk, if we’re going to call it that, is that he moonlights with the New Orleans Police Department, and as the movie begins, that part-time gig suddenly kicks into overdrive. When dirtbag undercover detective Jasper (Austin Amelio) is suspended for a police brutality case, Gary replaces him as the department’s go-to fake hit man, meeting with — and arresting — all varieties of disgruntled recruiters as “Ron.” It turns out Gary relishes convincing unsuspecting strangers he’s a cold-blooded assassin. He researches his would-be “clients” to tailor his persona to their hit man fantasies, using an array of elaborate costumes, wigs, and fake makeup. For one suspect, he eerily resembles Patrick Bateman.\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/DXwa8DKIK7g'\n title='//www.youtube.com/embed/DXwa8DKIK7g'\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>\u003cem>Hit Man \u003c/em>sounds wacky in premise, but it’s loosely based on a \u003ca href=\"https://www.texasmonthly.com/true-crime/hit-man-2/\">\u003cem>Texas Monthly\u003c/em> profile\u003c/a> of a real Gary Johnson, who worked on-call for the Houston Police Department and was dubbed the “Laurence Olivier” of undercover murder-for-hire investigations. Linklater and Powell, who co-wrote the screenplay, take the bones of Johnson’s story and embellish it for cinematic effect, slipping from a slick, lightly comical procedural in the first act to an erotic cat-and-mouse game by the film’s climax.\u003c/p>\n\u003cp>Like the private detective archetype in film noir, Gary is eventually hired by a gorgeous young woman, except in this case, she’s looking to off her controlling husband. Maddy (Adria Arjona) is, of course, pouty and flirty and femme fatale-y, and gets him entangled in quite a compromising pickle.\u003c/p>\n\u003cfigure id=\"attachment_13959389\" class=\"wp-caption aligncenter\" style=\"max-width: 1466px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959389\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM.png\" alt=\"A woman leans back, eyes closed against a man in a lover's embrace.\" width=\"1466\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM.png 1466w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-800x494.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-1020x630.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-768x475.png 768w\" sizes=\"(max-width: 1466px) 100vw, 1466px\">\u003cfigcaption class=\"wp-caption-text\">Adria Arjona as Madison and Glen Powell as Gary Johnson in ’Hit Man.‘ \u003ccite>(Brian Roedel/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story stays grounded by avoiding a few present-day pop culture clichés — thankfully there are no obvious needle-drops here — and the clear, electric chemistry between Powell and Arjona, whose dynamic evokes Jack and Karen’s frenetic dalliance in \u003cem>Out of Sight\u003c/em>.\u003c/p>\n\u003cp>But above all, this is Powell’s movie. It’s almost too easy to draw direct parallels between him and Gary, but sometimes the most obvious thing is also the most correct. The actor’s been kicking around Hollywood for some time now, more recently playing an antagonist in \u003cem>Top Gun: Maverick\u003c/em> and \u003ca href=\"https://www.nytimes.com/2024/04/23/movies/anyone-but-you-sydney-sweeney-glen-powell.html\">whipping gossip blogs into a frenzy\u003c/a> with his \u003cem>Anyone But You \u003c/em>co-star Sydney Sweeney. Yet like Gary the professor, he’s been more of a side salad than an entrée, inoffensive and fine, not exactly memorable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ron the fake-contract-killer affords Gary the chance to tap into a part of himself that’s far more fascinating, and Powell plays this uber-confident side to the hilt. When Ron utters a corny catchphrase about pie with a straight face or goes off on a smooth tangent in great detail about how he’ll “dispose” of a body, Glen Powell, capital-M Movie Star suddenly makes sense as a concept.\u003c/p>\n\u003cp>\u003cem>Hit Man\u003c/em>’s final act is the kind you either go with or get frustrated by. It’s a big swing that tests the limits of suspending disbelief. But the movie’s driving theme reflects curiosity about the human capacity for change and self-creation, a struggle to decipher where the “real” essence of you begins and/or ends. In Gary, Linklater and Powell find a character who cleverly demonstrates how anyone, especially a movie actor, can mold the persona they wish to have — with the right tools.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hit Man’ begins streaming on Netflix on June 7, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What to Watch This Summer: 18 TV Shows to Look Forward To",
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"content": "\u003cp>It looks like we are in for a \u003ca href=\"https://www.npr.org/2024/05/27/1198912427/summer-2024-forecast-extreme-heat-hurricanes-wildfire\">very hot summer\u003c/a>. If you find yourself stuck inside looking for your next show, our critics can help — they’ve scanned the broadcast and streaming horizons to find the shows you should check out in June, July and August. Take a look:\u003c/p>\n\u003ch2>June\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=WPIcQNMQchQ\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Clipped\u003c/em>, June 4, FX on Hulu\u003c/strong>\u003c/p>\n\u003cp>It sounds like a dated \u003cem>Saturday Night Live\u003c/em> parody: a drama on the explosive impact of racist statements by then–Los Angeles Clippers owner Donald Sterling, leaked to the public in 2014. But the elevated cast — Laurence Fishburne as Clippers coach Doc Rivers, Ed O’Neill as Sterling and LeVar Burton as himself — hints at more. Ultimately, \u003ca href=\"https://www.npr.org/2024/05/24/nx-s1-4979750/clipped-review-donald-sterling-scandal-la-clippers-fx-hulu\">the show explores class, race, sports and modern striving\u003c/a> with surprising quality, including a meditation on how Black stars handle rage, which should get its own Emmy Award. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0Hy1q_YIAL4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Fantasmas\u003c/em>, June 7, Max\u003c/strong>\u003c/p>\n\u003cp>Created, written, starring and directed by Julio Torres (\u003ca href=\"https://www.kqed.org/arts/13952668/problemista-review-julio-torres-tilda-swinton-hasbro\">\u003cem>Problemista\u003c/em>\u003c/a>, \u003cem>Los Espookys\u003c/em>), this six-episode comedy series offers a queer (in every sense of the word) perspective on life in NYC. The plot: Torres loses an earring and goes looking for it. The execution: high weirdness, exquisitely wrought, as the loose narrative wanders through the lives of random New Yorkers whom Torres stumbles across on his quest. Smart, funny and scathing when it wants to be, \u003cem>Fantasmas \u003c/em>is bracingly and idiosyncratically itself. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_yUW-bQ3buY\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Queenie\u003c/em>, June 7, Hulu\u003c/strong>\u003c/p>\n\u003cp>There is something magnetic in watching a powerfully awkward protagonist stumble through life — especially Queenie, a 20-something Jamaican British woman caught between life as the daughter of immigrants and a painful breakup with a white boyfriend coddling vaguely racist relatives. Based on a bestselling novel, Hulu’s series offers a deeply revealing urban comedy centered on a strong Black woman in London struggling to process her past so she can build a better future. Like most of us. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZNSY3lMioHs\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Presumed Innocent\u003c/em>, June 12, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Presumed Innocent\u003c/em>, a bestselling legal thriller by Scott Turow, became a Harrison Ford movie in 1990. Now, more than 30 years later, \u003ca href=\"https://www.kqed.org/arts/13954333/jake-gyllenhaals-road-house-remake-is-surprisingly-good\">Jake Gyllenhaal\u003c/a> steps in to lead a new TV adaptation for Apple. Gyllenhaal plays Rusty Sabich, a lawyer whose obsessive affair with a woman in his office becomes an existential threat to him after she turns up murdered. His mortified wife, played here by Ruth Negga, is forced to face the possibility that he murdered his lover and the fact that he had one. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EzFXDvC-EwM\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Boys\u003c/em>, Season 4,\u003c/strong> \u003cstrong>June 13, Prime Video\u003c/strong>\u003c/p>\n\u003cp>This cartoonishly violent and sexualized series — starring corporate-designed superheroes who are secretly psychopaths — evolved over three seasons from jabbing at the Marvel/DC comic industrial complex to satirizing media and MAGA-style conservatism. The new episodes amp up the dynamic, with a new hero who comes off like Lauren Boebert in a cape, supported by a propaganda-filled TV channel and a twisted Superman-like team leader whose detachment from humanity may be the world’s biggest threat. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YN2H_sKcmGw\u003c/p>\n\u003cp>\u003cstrong>\u003cem>House of the Dragon\u003c/em>, Season 2, June 16, HBO, Max\u003c/strong>\u003c/p>\n\u003cp>Yeah, that first season was very uneven. But it did what it had to do, introducing us to the individual chess pieces and carefully arranging them on the sides they’re playing for: Team Black (Rhaenyra and her sweet-natured, albeit illegitimate sons) vs. Team Green (Alicent and her brood of monstrous sociopaths). But with the arrival of Season 2, the war known as the Dance of the Dragons is finally underway, and the whole dang chessboard is about to get engulfed in gouts of fiery breath. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P-1V_dRubUg\u003c/p>\n\u003cp>\u003cstrong>The 77th Tony Awards, June 16, CBS, Paramount+\u003c/strong>\u003c/p>\n\u003cp>Always. Watch. The Tonys. Haven’t taken in any Broadway this year? Doesn’t matter. Where other award shows devolve into pompous self-congratulation, the Tonys broadcast is aimed squarely at us, as we sit on our couches at home. It’s a collective siren song sent out by thousands of professional, desperate, try-hard theater people with one objective: to get us to haul our butts to see a show. As such, it’s painstakingly engineered to entertain and enrapture. Always. Watch. The Tonys. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-QqOkpu9_tg\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Orphan Black: Echoes\u003c/em>, June 23, AMC, AMC+, BBC America\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Jessica Jones\u003c/em> star Krysten Ritter leads another Comic-Con-friendly franchise, a spinoff of Canadian science fiction series \u003cem>Orphan Black\u003c/em>. Ritter is one of several women with missing memories who fear they are the product of a mysterious process wielded by a secretive organization. But don’t worry — it’s set nearly 40 years after the first show’s conclusion, and most viewers won’t need to know much about the mothership series to keep up with this tale of sisterhood, science and runaway progress. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PwFty8yi1cU\u003c/p>\n\u003cp>\u003cstrong>\u003cem>My Lady Jane\u003c/em>, June 27, Prime Video\u003c/strong>\u003c/p>\n\u003cp>A breezy, girlboss alt-history take on Lady Jane Grey, who, in our world, ruled England for nine days before being imprisoned and beheaded as a traitor. In the world of the series — as in the novels it is based on — Jane lives to fight, and frolic, another day. Are there schemes and plots and twists? You betcha. It’s the sort of quippy, performatively quirky show (this version of England is teeming with magical shape-changers) that goes down like an ice-cold Pimm’s cup on a hot summer afternoon. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rUlP-BkJUFs\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Bear\u003c/em>, Season 3, June 27, FX on Hulu\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Bear \u003c/em>has already put out two exceptional seasons and is so strong now that even when Jeremy Allen White is on the sidelines, the rest of the cast hits home run after home run. As the show returns, Carmy (White) and Sydney (Ayo Edebiri) are opening their new restaurant, and Richie (Ebon Moss-Bachrach) is fresh off some tremendous training in service. It’s not easy to keep churning out season after season that’s absolutely top quality, but if anybody can, it’s this team. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003ch2>July\u003c/h2>\n\u003cfigure id=\"attachment_13959209\" class=\"wp-caption aligncenter\" style=\"max-width: 1266px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959209\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM.png\" alt=\"An unhappy-looking woman sits in a large room. People around her sit at scattered tables.\" width=\"1266\" height=\"858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM.png 1266w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-800x542.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-1020x691.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-768x520.png 768w\" sizes=\"(max-width: 1266px) 100vw, 1266px\">\u003cfigcaption class=\"wp-caption-text\">Rashida Jones in ’Sunny.‘ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Sunny\u003c/em>, July 10, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>Rashida Jones stars as Suzie, an American expat living in Kyoto, Japan, when her husband and son go missing following a plane crash. She’s gifted a domestic robot named Sunny (Joanna Sotomura), and the two form a bond as Suzie processes her loss. The series is based on Colin O’Sullivan’s novel \u003cem>The Dark Manual\u003c/em> and looks like it has the potential to grapple with complicated questions around tech and human connection in our current era of AI paranoia. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OgEkSnH0g2g\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Tulsa King\u003c/em>, Season 2, July 14, Paramount+\u003c/strong>\u003c/p>\n\u003cp>This show’s first-season success always seemed like a happy accident — an implausible dramedy about an exiled New York mobster rebuilding his life in Oklahoma, buoyed by star Sylvester Stallone’s watchable charm and unlikely comedic skill. The new season adds another watchable actor — \u003cem>Justified \u003c/em>alum Neal McDonough — but also sees former showrunner Terence Winter (\u003cem>Boardwalk Empire\u003c/em>, \u003cem>The Sopranos\u003c/em>) step down. Let’s hope all that change adds up to more coherent stories the second time around. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959210\" class=\"wp-caption aligncenter\" style=\"max-width: 1134px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959210\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM.png\" alt=\"A grey-haired man sits behind a news desk gesturing with one hand.\" width=\"1134\" height=\"718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM.png 1134w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-800x507.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-1020x646.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-768x486.png 768w\" sizes=\"(max-width: 1134px) 100vw, 1134px\">\u003cfigcaption class=\"wp-caption-text\">Jon Stewart is back as one of the hosts of ‘The Daily Show,’ which will be on the road at the Republican National Convention in Milwaukee in July and the Democratic National Convention in Chicago in August. \u003ccite>(Comedy Central)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>The Daily Show \u003c/em>and \u003cem>The Late Show \u003c/em>at the RNC and DNC, week of July 15 (RNC) and week of Aug. 19 (DNC), CBS, Paramount+, Comedy Central\u003c/strong>\u003c/p>\n\u003cp>Two of TV’s biggest political comedy shows gate-crash the electoral process. Comedy Central’s \u003cem>The Daily Show\u003c/em>, reportedly with part-time host Jon Stewart, heads to Milwaukee for the Republican National Convention and to Chicago for the Democratic National Convention. Stephen Colbert’s \u003cem>The Late Show\u003c/em> goes live from New York for the RNC but broadcasts on the road for Democrats in Chi-Town. Pray to the comedy gods for a Colbert-Stewart tag-team ambush interview of Donald Trump and/or Joe Biden. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6xouFXMOvaU\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Those About to Die\u003c/em>, July 18, Peacock\u003c/strong>\u003c/p>\n\u003cp>It’s tough to know why the streaming service known for \u003cem>Poker Face\u003c/em> and \u003cem>Bel-Air\u003c/em> greenlit an epic, $140 million limited series about corruption and violence in ancient Rome’s gladiator contests. But it has Anthony Hopkins as a Roman emperor, \u003cem>Independence Day\u003c/em> director Roland Emmerich as a co-director and lots of allusions to entertaining the public with bloody combat. So let the games begin. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959211\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959211\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM.png\" alt=\"A worried looking white woman stands before a department store window, glancing to the side. A Black woman is standing the window.\" width=\"936\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM.png 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-800x458.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-768x440.png 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Portman and Moses Ingram in ‘Lady in the Lake.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Lady in the Lake\u003c/em>, July 19, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>Not to be confused with the Raymond Chandler story of a similar name, this miniseries is based on a novel by Laura Lippman about a homemaker turned investigative reporter who becomes preoccupied with the separate murders of a white girl and a Black woman in 1960s Baltimore. The subject matter alone is intriguing, but a cast led by Natalie Portman and Moses Ingram (\u003cem>The Queen’s Gambit\u003c/em>) seals the deal. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IKxQEIOu_Yg\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Olympic Highlights with Kevin Hart and Kenan Thompson\u003c/em>, July 26, NBC, Peacock\u003c/strong>\u003c/p>\n\u003cp>For those only marginally interested in the Olympics, Kevin Hart and Snoop Dogg made must-see TV out of side-splitting Games commentary in 2021. NBCUniversal is amping up that strategy this year, pairing Hart with \u003cem>SNL\u003c/em>‘s Kenan Thompson over an eight-episode Peacock series, while featuring \u003cem>SNL\u003c/em> alum and superfan Leslie Jones in their coverage of the Paris events. I can’t wait to see some of comedy’s sharpest talents take on the biggest — and most rigid — sports establishment of them all. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003ch2>August\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=s0LVj0yo308\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Umbrella Academy\u003c/em>, Season 4, Aug. 8, Netflix\u003c/strong>\u003c/p>\n\u003cp>All six episodes of this deeply, profoundly, ecstatically weird series’ fourth and final season drop on the same day. I’ll be there with a bowl of popcorn — and a phone open to the show’s wiki to help me reorient myself. Look, any series that features fractious superpowered siblings, branching timelines, a masked assassin played by Mary J. Blige and a kugelblitz (look it up) would be a lot to deal with, but \u003cem>The Umbrella Academy\u003c/em>’s consistently wry, absurdist tone keeps it all grounded(ish). I’ll miss it. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959213\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM.png\" alt=\"A Black woman with very short hair stands on a bridge, holding a cell phone to her ear.\" width=\"1118\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM.png 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-800x522.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-1020x666.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-768x501.png 768w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">Myha’la Herrold as Harper Stern in ‘Industry.’ \u003ccite>(Nick Strasburg/ HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Industry\u003c/em>, Season 3, Aug. 11, HBO, Max\u003c/strong>\u003c/p>\n\u003cp>A show with this much dry and confusing finance jargon shouldn’t be this gripping; it stands as a testament to the great cast (especially Myha’la Herrold and Ken Leung) and well-paced drama that it is. When the series last left off, some primary players were in shambles because of exposed secrets, and power structures were realigned yet again. \u003cem>Succession \u003c/em>may be long over, but at least we’ve still got the chaotic ecosystem of London’s cutthroat Pierpoint investment bank. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Amazon supports NPR and pays to distribute some of our content.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Shows you should check out in June, July and August — including the return of ‘The Bear’ and ‘House of the Dragon.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It looks like we are in for a \u003ca href=\"https://www.npr.org/2024/05/27/1198912427/summer-2024-forecast-extreme-heat-hurricanes-wildfire\">very hot summer\u003c/a>. If you find yourself stuck inside looking for your next show, our critics can help — they’ve scanned the broadcast and streaming horizons to find the shows you should check out in June, July and August. Take a look:\u003c/p>\n\u003ch2>June\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WPIcQNMQchQ'\n title='//www.youtube.com/embed/WPIcQNMQchQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Clipped\u003c/em>, June 4, FX on Hulu\u003c/strong>\u003c/p>\n\u003cp>It sounds like a dated \u003cem>Saturday Night Live\u003c/em> parody: a drama on the explosive impact of racist statements by then–Los Angeles Clippers owner Donald Sterling, leaked to the public in 2014. But the elevated cast — Laurence Fishburne as Clippers coach Doc Rivers, Ed O’Neill as Sterling and LeVar Burton as himself — hints at more. Ultimately, \u003ca href=\"https://www.npr.org/2024/05/24/nx-s1-4979750/clipped-review-donald-sterling-scandal-la-clippers-fx-hulu\">the show explores class, race, sports and modern striving\u003c/a> with surprising quality, including a meditation on how Black stars handle rage, which should get its own Emmy Award. \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/0Hy1q_YIAL4'\n title='//www.youtube.com/embed/0Hy1q_YIAL4'\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>\u003cstrong>\u003cem>Fantasmas\u003c/em>, June 7, Max\u003c/strong>\u003c/p>\n\u003cp>Created, written, starring and directed by Julio Torres (\u003ca href=\"https://www.kqed.org/arts/13952668/problemista-review-julio-torres-tilda-swinton-hasbro\">\u003cem>Problemista\u003c/em>\u003c/a>, \u003cem>Los Espookys\u003c/em>), this six-episode comedy series offers a queer (in every sense of the word) perspective on life in NYC. The plot: Torres loses an earring and goes looking for it. The execution: high weirdness, exquisitely wrought, as the loose narrative wanders through the lives of random New Yorkers whom Torres stumbles across on his quest. Smart, funny and scathing when it wants to be, \u003cem>Fantasmas \u003c/em>is bracingly and idiosyncratically itself. \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/_yUW-bQ3buY'\n title='//www.youtube.com/embed/_yUW-bQ3buY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Queenie\u003c/em>, June 7, Hulu\u003c/strong>\u003c/p>\n\u003cp>There is something magnetic in watching a powerfully awkward protagonist stumble through life — especially Queenie, a 20-something Jamaican British woman caught between life as the daughter of immigrants and a painful breakup with a white boyfriend coddling vaguely racist relatives. Based on a bestselling novel, Hulu’s series offers a deeply revealing urban comedy centered on a strong Black woman in London struggling to process her past so she can build a better future. Like most of us. \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/ZNSY3lMioHs'\n title='//www.youtube.com/embed/ZNSY3lMioHs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Presumed Innocent\u003c/em>, June 12, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Presumed Innocent\u003c/em>, a bestselling legal thriller by Scott Turow, became a Harrison Ford movie in 1990. Now, more than 30 years later, \u003ca href=\"https://www.kqed.org/arts/13954333/jake-gyllenhaals-road-house-remake-is-surprisingly-good\">Jake Gyllenhaal\u003c/a> steps in to lead a new TV adaptation for Apple. Gyllenhaal plays Rusty Sabich, a lawyer whose obsessive affair with a woman in his office becomes an existential threat to him after she turns up murdered. His mortified wife, played here by Ruth Negga, is forced to face the possibility that he murdered his lover and the fact that he had one. \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/EzFXDvC-EwM'\n title='//www.youtube.com/embed/EzFXDvC-EwM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>The Boys\u003c/em>, Season 4,\u003c/strong> \u003cstrong>June 13, Prime Video\u003c/strong>\u003c/p>\n\u003cp>This cartoonishly violent and sexualized series — starring corporate-designed superheroes who are secretly psychopaths — evolved over three seasons from jabbing at the Marvel/DC comic industrial complex to satirizing media and MAGA-style conservatism. The new episodes amp up the dynamic, with a new hero who comes off like Lauren Boebert in a cape, supported by a propaganda-filled TV channel and a twisted Superman-like team leader whose detachment from humanity may be the world’s biggest threat. \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/YN2H_sKcmGw'\n title='//www.youtube.com/embed/YN2H_sKcmGw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>House of the Dragon\u003c/em>, Season 2, June 16, HBO, Max\u003c/strong>\u003c/p>\n\u003cp>Yeah, that first season was very uneven. But it did what it had to do, introducing us to the individual chess pieces and carefully arranging them on the sides they’re playing for: Team Black (Rhaenyra and her sweet-natured, albeit illegitimate sons) vs. Team Green (Alicent and her brood of monstrous sociopaths). But with the arrival of Season 2, the war known as the Dance of the Dragons is finally underway, and the whole dang chessboard is about to get engulfed in gouts of fiery breath. \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/P-1V_dRubUg'\n title='//www.youtube.com/embed/P-1V_dRubUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>The 77th Tony Awards, June 16, CBS, Paramount+\u003c/strong>\u003c/p>\n\u003cp>Always. Watch. The Tonys. Haven’t taken in any Broadway this year? Doesn’t matter. Where other award shows devolve into pompous self-congratulation, the Tonys broadcast is aimed squarely at us, as we sit on our couches at home. It’s a collective siren song sent out by thousands of professional, desperate, try-hard theater people with one objective: to get us to haul our butts to see a show. As such, it’s painstakingly engineered to entertain and enrapture. Always. Watch. The Tonys. \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/-QqOkpu9_tg'\n title='//www.youtube.com/embed/-QqOkpu9_tg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Orphan Black: Echoes\u003c/em>, June 23, AMC, AMC+, BBC America\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Jessica Jones\u003c/em> star Krysten Ritter leads another Comic-Con-friendly franchise, a spinoff of Canadian science fiction series \u003cem>Orphan Black\u003c/em>. Ritter is one of several women with missing memories who fear they are the product of a mysterious process wielded by a secretive organization. But don’t worry — it’s set nearly 40 years after the first show’s conclusion, and most viewers won’t need to know much about the mothership series to keep up with this tale of sisterhood, science and runaway progress. \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/PwFty8yi1cU'\n title='//www.youtube.com/embed/PwFty8yi1cU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>My Lady Jane\u003c/em>, June 27, Prime Video\u003c/strong>\u003c/p>\n\u003cp>A breezy, girlboss alt-history take on Lady Jane Grey, who, in our world, ruled England for nine days before being imprisoned and beheaded as a traitor. In the world of the series — as in the novels it is based on — Jane lives to fight, and frolic, another day. Are there schemes and plots and twists? You betcha. It’s the sort of quippy, performatively quirky show (this version of England is teeming with magical shape-changers) that goes down like an ice-cold Pimm’s cup on a hot summer afternoon. \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/rUlP-BkJUFs'\n title='//www.youtube.com/embed/rUlP-BkJUFs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>The Bear\u003c/em>, Season 3, June 27, FX on Hulu\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Bear \u003c/em>has already put out two exceptional seasons and is so strong now that even when Jeremy Allen White is on the sidelines, the rest of the cast hits home run after home run. As the show returns, Carmy (White) and Sydney (Ayo Edebiri) are opening their new restaurant, and Richie (Ebon Moss-Bachrach) is fresh off some tremendous training in service. It’s not easy to keep churning out season after season that’s absolutely top quality, but if anybody can, it’s this team. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003ch2>July\u003c/h2>\n\u003cfigure id=\"attachment_13959209\" class=\"wp-caption aligncenter\" style=\"max-width: 1266px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959209\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM.png\" alt=\"An unhappy-looking woman sits in a large room. People around her sit at scattered tables.\" width=\"1266\" height=\"858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM.png 1266w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-800x542.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-1020x691.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-768x520.png 768w\" sizes=\"(max-width: 1266px) 100vw, 1266px\">\u003cfigcaption class=\"wp-caption-text\">Rashida Jones in ’Sunny.‘ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Sunny\u003c/em>, July 10, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>Rashida Jones stars as Suzie, an American expat living in Kyoto, Japan, when her husband and son go missing following a plane crash. She’s gifted a domestic robot named Sunny (Joanna Sotomura), and the two form a bond as Suzie processes her loss. The series is based on Colin O’Sullivan’s novel \u003cem>The Dark Manual\u003c/em> and looks like it has the potential to grapple with complicated questions around tech and human connection in our current era of AI paranoia. \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/OgEkSnH0g2g'\n title='//www.youtube.com/embed/OgEkSnH0g2g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Tulsa King\u003c/em>, Season 2, July 14, Paramount+\u003c/strong>\u003c/p>\n\u003cp>This show’s first-season success always seemed like a happy accident — an implausible dramedy about an exiled New York mobster rebuilding his life in Oklahoma, buoyed by star Sylvester Stallone’s watchable charm and unlikely comedic skill. The new season adds another watchable actor — \u003cem>Justified \u003c/em>alum Neal McDonough — but also sees former showrunner Terence Winter (\u003cem>Boardwalk Empire\u003c/em>, \u003cem>The Sopranos\u003c/em>) step down. Let’s hope all that change adds up to more coherent stories the second time around. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959210\" class=\"wp-caption aligncenter\" style=\"max-width: 1134px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959210\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM.png\" alt=\"A grey-haired man sits behind a news desk gesturing with one hand.\" width=\"1134\" height=\"718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM.png 1134w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-800x507.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-1020x646.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-768x486.png 768w\" sizes=\"(max-width: 1134px) 100vw, 1134px\">\u003cfigcaption class=\"wp-caption-text\">Jon Stewart is back as one of the hosts of ‘The Daily Show,’ which will be on the road at the Republican National Convention in Milwaukee in July and the Democratic National Convention in Chicago in August. \u003ccite>(Comedy Central)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>The Daily Show \u003c/em>and \u003cem>The Late Show \u003c/em>at the RNC and DNC, week of July 15 (RNC) and week of Aug. 19 (DNC), CBS, Paramount+, Comedy Central\u003c/strong>\u003c/p>\n\u003cp>Two of TV’s biggest political comedy shows gate-crash the electoral process. Comedy Central’s \u003cem>The Daily Show\u003c/em>, reportedly with part-time host Jon Stewart, heads to Milwaukee for the Republican National Convention and to Chicago for the Democratic National Convention. Stephen Colbert’s \u003cem>The Late Show\u003c/em> goes live from New York for the RNC but broadcasts on the road for Democrats in Chi-Town. Pray to the comedy gods for a Colbert-Stewart tag-team ambush interview of Donald Trump and/or Joe Biden. \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/6xouFXMOvaU'\n title='//www.youtube.com/embed/6xouFXMOvaU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Those About to Die\u003c/em>, July 18, Peacock\u003c/strong>\u003c/p>\n\u003cp>It’s tough to know why the streaming service known for \u003cem>Poker Face\u003c/em> and \u003cem>Bel-Air\u003c/em> greenlit an epic, $140 million limited series about corruption and violence in ancient Rome’s gladiator contests. But it has Anthony Hopkins as a Roman emperor, \u003cem>Independence Day\u003c/em> director Roland Emmerich as a co-director and lots of allusions to entertaining the public with bloody combat. So let the games begin. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959211\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959211\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM.png\" alt=\"A worried looking white woman stands before a department store window, glancing to the side. A Black woman is standing the window.\" width=\"936\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM.png 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-800x458.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-768x440.png 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Portman and Moses Ingram in ‘Lady in the Lake.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Lady in the Lake\u003c/em>, July 19, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>Not to be confused with the Raymond Chandler story of a similar name, this miniseries is based on a novel by Laura Lippman about a homemaker turned investigative reporter who becomes preoccupied with the separate murders of a white girl and a Black woman in 1960s Baltimore. The subject matter alone is intriguing, but a cast led by Natalie Portman and Moses Ingram (\u003cem>The Queen’s Gambit\u003c/em>) seals the deal. \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/IKxQEIOu_Yg'\n title='//www.youtube.com/embed/IKxQEIOu_Yg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Olympic Highlights with Kevin Hart and Kenan Thompson\u003c/em>, July 26, NBC, Peacock\u003c/strong>\u003c/p>\n\u003cp>For those only marginally interested in the Olympics, Kevin Hart and Snoop Dogg made must-see TV out of side-splitting Games commentary in 2021. NBCUniversal is amping up that strategy this year, pairing Hart with \u003cem>SNL\u003c/em>‘s Kenan Thompson over an eight-episode Peacock series, while featuring \u003cem>SNL\u003c/em> alum and superfan Leslie Jones in their coverage of the Paris events. I can’t wait to see some of comedy’s sharpest talents take on the biggest — and most rigid — sports establishment of them all. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003ch2>August\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/s0LVj0yo308'\n title='//www.youtube.com/embed/s0LVj0yo308'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>The Umbrella Academy\u003c/em>, Season 4, Aug. 8, Netflix\u003c/strong>\u003c/p>\n\u003cp>All six episodes of this deeply, profoundly, ecstatically weird series’ fourth and final season drop on the same day. I’ll be there with a bowl of popcorn — and a phone open to the show’s wiki to help me reorient myself. Look, any series that features fractious superpowered siblings, branching timelines, a masked assassin played by Mary J. Blige and a kugelblitz (look it up) would be a lot to deal with, but \u003cem>The Umbrella Academy\u003c/em>’s consistently wry, absurdist tone keeps it all grounded(ish). I’ll miss it. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959213\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM.png\" alt=\"A Black woman with very short hair stands on a bridge, holding a cell phone to her ear.\" width=\"1118\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM.png 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-800x522.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-1020x666.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-768x501.png 768w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">Myha’la Herrold as Harper Stern in ‘Industry.’ \u003ccite>(Nick Strasburg/ HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Industry\u003c/em>, Season 3, Aug. 11, HBO, Max\u003c/strong>\u003c/p>\n\u003cp>A show with this much dry and confusing finance jargon shouldn’t be this gripping; it stands as a testament to the great cast (especially Myha’la Herrold and Ken Leung) and well-paced drama that it is. When the series last left off, some primary players were in shambles because of exposed secrets, and power structures were realigned yet again. \u003cem>Succession \u003c/em>may be long over, but at least we’ve still got the chaotic ecosystem of London’s cutthroat Pierpoint investment bank. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "this-is-why-you-dream-meanings-rahul-jandial-new-book",
"title": "7 Surprising Facts About Dreams — Why We Have Them and What They Mean",
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"headTitle": "7 Surprising Facts About Dreams — Why We Have Them and What They Mean | KQED",
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"content": "\u003cp>I had a nightmare last night.\u003c/p>\n\u003cp>It began like many of my dreams do — I was on vacation with my extended family. This time, we were in Australia, visiting family friends in a big house. Things took a turn when — in some way that I can’t quite explain — I got mixed up in this Australian family’s jewelry theft and smuggling operation. And I lied about it in front of my relatives, to protect myself and my co-conspirators. Before I woke up, I was terrified I’d be sent to prison.\u003c/p>\n\u003cp>[aside postid='arts_13958707']The dream seems bizarre, but when I pick the narrative apart, there are clear connections to my waking life. For instance, I recently listened to a podcast where a pair of fancy \u003ca href=\"https://pod.link/1597761181/episode/437f349b7890953941305bfb92d58e04\">hairpins suspiciously go missing\u003c/a> during a family gathering. Moreover, I’m moving tomorrow and still have packing to do. When the movers arrive in the morning, if I haven’t finished packing, I’ll face the consequences of my lack of preparedness — a crime, at least to my subconscious.\u003c/p>\n\u003cp>Dr. Rahul Jandial, neurosurgeon, neuroscientist and author of \u003cem>\u003ca href=\"https://www.penguinrandomhouse.com/books/735627/this-is-why-you-dream-by-rahul-jandial-md-phd/\">This is Why You Dream: What Your Sleeping Brain Reveals About Your Waking Life\u003c/a>\u003c/em>, says the major themes and images of vivid dreams like these are worth paying attention to, and trying to derive meaning from. (For me, I decided that the next time I have to move, I’m taking the day before off!)\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/2556x2557+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F97%2Fab%2Ffd03e4f34c7ebcb8fb72af1a8859%2Frahul-jandial-author-photo-003.jpg\" alt=\"Close up of an attractive middle aged man.\" width=\"1200\" height=\"1200\">\u003cfigcaption class=\"wp-caption-text\">Dr. Rahul Jandial (Sam Lim/Penguin Random House)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>I spoke with Dr. Jandial about what else we can learn from our dreams, including some of modern science’s most remarkable findings, and theories, about the dreaming brain.\u003c/p>\n\u003ch3>1. Dreams are not random\u003c/h3>\n\u003cp>From dream diaries recorded in ancient Egypt and China to reports from anthropologists in the Amazon, to surveys of modern Americans, evidence shows our dreams have a lot in common. For example, being chased and falling are pretty consistent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Reports of nightmares and erotic dreams are nearly universal,” Jandial says, while people rarely report dreaming about math. Jandial says the lack of math makes sense because the part of your brain primarily responsible for logic — the prefrontal cortex — is typically not involved in dreaming.\u003c/p>\n\u003ch3>2. Our brains are super active when we dream\u003c/h3>\n\u003cp>Jandial learned something fundamental about dreams in the midst of performing brain surgery.\u003c/p>\n\u003cp>It was awake surgery — he’d numbed the scalp and partially opened the skull. (The brain does not feel pain). Jandial was operating on the left temporal lobe, where language is typically located. Working carefully to avoid damage, he went millimeter by millimeter, stimulating the neurons, and asking the patient to count to ten at each spot.\u003c/p>\n\u003cp>[aside postid='arts_13958728']But after one such zap of electricity, Jandial’s patient experienced a nightmare that had recurred for him since childhood.\u003c/p>\n\u003cp>Research has since confirmed that nightmares, and all dreams, arise from brain activity. “Now we know from different measurements of electricity and metabolic usage, the sleeping-dreaming brain is burning hot. It’s sparking with electricity. We might be asleep, but the brain is on fire,” Jandial says.\u003c/p>\n\u003ch3>3. When you first wake up, or while you’re drifting off, is fertile time for creativity\u003c/h3>\n\u003cp>Salvador Dali had a method for capturing his thoughts just as he was falling asleep, which Jandial recounts in \u003cem>This is Why You Dream\u003c/em>. The artist would sit in a chair holding a large key above a plate on the floor. When he nodded off, the key would drop on the plate and wake him up. Then he’d sketch what he remembered from the last few moments of sleep — an inspiration for his surrealist paintings. Brain imaging studies support the potential of sleep-entry as a moment of insight, says Jandial.\u003c/p>\n\u003cp>Fortunately for those of us who prefer to fall asleep and stay there, thank you very much, you can also get inspiration from your dreams when you first wake up. “I get all my ideas when I wake slowly,” Jandial says. He writes down what he remembers in the first few minutes after waking, before checking the news or Instagram. It’s not all great stuff, “But when there are good ideas, it’s from that time. It’s not from two o’clock with my espresso,” he says.\u003c/p>\n\u003ch3>4. Nightmares? Write a new script\u003c/h3>\n\u003cp>Jandial says nightmares around occasional stressful events, like my dream about the jewelry heist — are usually not cause for concern. But if you’re stuck in a loop of recurring fearful dreams, there is something you can try: Imagery Rehearsal Therapy.\u003c/p>\n\u003cp>This is something you can do with a therapist. “If [a patient has] a recurrent nightmare of an explosion or an airplane crashing, they’ll go to the therapist to draw out the map of the dream, the dreamscape, if you will, and then they’ll rehearse that the airplane landed safely,” or that they arrived home from a drive instead of crashing, Jandial explains. After time, he says many patients see their nightmares change.\u003c/p>\n\u003ch3>5. Dreams about cheating are normal. They don’t mean there’s something wrong with your relationship\u003c/h3>\n\u003cp>In surveys, a majority of people report erotic dreams. And for people in relationships, these dreams contain “high rates of infidelity, whether people report being in healthy relationships or unhealthy relationships,” Jandial says.\u003c/p>\n\u003cp>[aside postid='arts_13957998']But sexy dreams have rules too. “When you look at the pattern of erotic dreams, the acts seem to be wild, but the characters are surprisingly narrow. Celebrities, even family members, repellent bosses; it’s a small collection of people as a pattern.” Jandial and others theorize that having sexual dreams about people familiar to us may be a feature our brains evolved to keep us open to procreation and increase the likelihood of the species’ survival.\u003c/p>\n\u003ch3>6. Near the end of life, dreams can provide comfort\u003c/h3>\n\u003cp>Treating patients at City of Hope cancer center in Los Angeles, Jandial observes a phenomenon he calls “dreams to the rescue.” For some patients near the end of their lives, “even though the day is filled with struggle, the dreams are of reconciliation, of hope, of positive emotions. I was surprised to find that end-of-life dreams are a common thing, and they lean positive.”\u003c/p>\n\u003cp>Jandial says there’s evidence that death may come with one final dream. “Once the heart stops, with the last gush of blood up the carotid [artery] to the brain, the brain’s electricity explodes in the minute or two after cardiac death…Those patterns look like expansive electrical brainwave patterns of dreaming and memory recall,” Jandial says.\u003c/p>\n\u003ch3>7. Dreams can be ‘a portal to your inner self’ — and mental health\u003c/h3>\n\u003cp>Everyone has anxiety dreams from time to time. Some are literal, like dreaming you’re on a podium naked when you actually have to give a speech the next day, says Jandial. But others can be more symbolic, and these are worth tuning in to.\u003c/p>\n\u003cp>Jandial remembers one he had during the pandemic. In waking life, he’d just learned to sail. In the dream he was sailing a boat and, “there was a massive waterfall,” he recounts. “And I was sailing horizontally and I had to constantly keep the helm, or the wheel, up-river just to go straight and not fall off.”\u003c/p>\n\u003cp>He interprets it as his brain’s way of helping him process a difficult time. He was raising teenagers and working as a cancer surgeon amid COVID fears. “There were wars on many fronts for me at that time. And what I walked away with is just by avoiding going all over the waterfall, you’re doing it.”\u003c/p>\n\u003cp>[aside postid='arts_13958699']He says if you have a powerful dream, it’s worth thinking about why. “Dreams with a strong emotion and a powerful central image, those are ones\u003cem> not \u003c/em>to ignore,” he says. “The dreaming brain is serving a function, and if it gives you a nugget of an emotional and visual dream, reflect on that. That’s a portal to yourself that no therapist can even get to.”\u003c/p>\n\u003cp>And repeated anxiety dreams, he says “I think that’s something to pay attention to. That might be a vital sign for your mental health.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story also appears in the June 2 issue of the NPR Health newsletter. \u003ca href=\"https://www.npr.org/newsletter/health\">Click here to subscribe.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I had a nightmare last night.\u003c/p>\n\u003cp>It began like many of my dreams do — I was on vacation with my extended family. This time, we were in Australia, visiting family friends in a big house. Things took a turn when — in some way that I can’t quite explain — I got mixed up in this Australian family’s jewelry theft and smuggling operation. And I lied about it in front of my relatives, to protect myself and my co-conspirators. Before I woke up, I was terrified I’d be sent to prison.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The dream seems bizarre, but when I pick the narrative apart, there are clear connections to my waking life. For instance, I recently listened to a podcast where a pair of fancy \u003ca href=\"https://pod.link/1597761181/episode/437f349b7890953941305bfb92d58e04\">hairpins suspiciously go missing\u003c/a> during a family gathering. Moreover, I’m moving tomorrow and still have packing to do. When the movers arrive in the morning, if I haven’t finished packing, I’ll face the consequences of my lack of preparedness — a crime, at least to my subconscious.\u003c/p>\n\u003cp>Dr. Rahul Jandial, neurosurgeon, neuroscientist and author of \u003cem>\u003ca href=\"https://www.penguinrandomhouse.com/books/735627/this-is-why-you-dream-by-rahul-jandial-md-phd/\">This is Why You Dream: What Your Sleeping Brain Reveals About Your Waking Life\u003c/a>\u003c/em>, says the major themes and images of vivid dreams like these are worth paying attention to, and trying to derive meaning from. (For me, I decided that the next time I have to move, I’m taking the day before off!)\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/2556x2557+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F97%2Fab%2Ffd03e4f34c7ebcb8fb72af1a8859%2Frahul-jandial-author-photo-003.jpg\" alt=\"Close up of an attractive middle aged man.\" width=\"1200\" height=\"1200\">\u003cfigcaption class=\"wp-caption-text\">Dr. Rahul Jandial (Sam Lim/Penguin Random House)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>I spoke with Dr. Jandial about what else we can learn from our dreams, including some of modern science’s most remarkable findings, and theories, about the dreaming brain.\u003c/p>\n\u003ch3>1. Dreams are not random\u003c/h3>\n\u003cp>From dream diaries recorded in ancient Egypt and China to reports from anthropologists in the Amazon, to surveys of modern Americans, evidence shows our dreams have a lot in common. For example, being chased and falling are pretty consistent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Reports of nightmares and erotic dreams are nearly universal,” Jandial says, while people rarely report dreaming about math. Jandial says the lack of math makes sense because the part of your brain primarily responsible for logic — the prefrontal cortex — is typically not involved in dreaming.\u003c/p>\n\u003ch3>2. Our brains are super active when we dream\u003c/h3>\n\u003cp>Jandial learned something fundamental about dreams in the midst of performing brain surgery.\u003c/p>\n\u003cp>It was awake surgery — he’d numbed the scalp and partially opened the skull. (The brain does not feel pain). Jandial was operating on the left temporal lobe, where language is typically located. Working carefully to avoid damage, he went millimeter by millimeter, stimulating the neurons, and asking the patient to count to ten at each spot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But after one such zap of electricity, Jandial’s patient experienced a nightmare that had recurred for him since childhood.\u003c/p>\n\u003cp>Research has since confirmed that nightmares, and all dreams, arise from brain activity. “Now we know from different measurements of electricity and metabolic usage, the sleeping-dreaming brain is burning hot. It’s sparking with electricity. We might be asleep, but the brain is on fire,” Jandial says.\u003c/p>\n\u003ch3>3. When you first wake up, or while you’re drifting off, is fertile time for creativity\u003c/h3>\n\u003cp>Salvador Dali had a method for capturing his thoughts just as he was falling asleep, which Jandial recounts in \u003cem>This is Why You Dream\u003c/em>. The artist would sit in a chair holding a large key above a plate on the floor. When he nodded off, the key would drop on the plate and wake him up. Then he’d sketch what he remembered from the last few moments of sleep — an inspiration for his surrealist paintings. Brain imaging studies support the potential of sleep-entry as a moment of insight, says Jandial.\u003c/p>\n\u003cp>Fortunately for those of us who prefer to fall asleep and stay there, thank you very much, you can also get inspiration from your dreams when you first wake up. “I get all my ideas when I wake slowly,” Jandial says. He writes down what he remembers in the first few minutes after waking, before checking the news or Instagram. It’s not all great stuff, “But when there are good ideas, it’s from that time. It’s not from two o’clock with my espresso,” he says.\u003c/p>\n\u003ch3>4. Nightmares? Write a new script\u003c/h3>\n\u003cp>Jandial says nightmares around occasional stressful events, like my dream about the jewelry heist — are usually not cause for concern. But if you’re stuck in a loop of recurring fearful dreams, there is something you can try: Imagery Rehearsal Therapy.\u003c/p>\n\u003cp>This is something you can do with a therapist. “If [a patient has] a recurrent nightmare of an explosion or an airplane crashing, they’ll go to the therapist to draw out the map of the dream, the dreamscape, if you will, and then they’ll rehearse that the airplane landed safely,” or that they arrived home from a drive instead of crashing, Jandial explains. After time, he says many patients see their nightmares change.\u003c/p>\n\u003ch3>5. Dreams about cheating are normal. They don’t mean there’s something wrong with your relationship\u003c/h3>\n\u003cp>In surveys, a majority of people report erotic dreams. And for people in relationships, these dreams contain “high rates of infidelity, whether people report being in healthy relationships or unhealthy relationships,” Jandial says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But sexy dreams have rules too. “When you look at the pattern of erotic dreams, the acts seem to be wild, but the characters are surprisingly narrow. Celebrities, even family members, repellent bosses; it’s a small collection of people as a pattern.” Jandial and others theorize that having sexual dreams about people familiar to us may be a feature our brains evolved to keep us open to procreation and increase the likelihood of the species’ survival.\u003c/p>\n\u003ch3>6. Near the end of life, dreams can provide comfort\u003c/h3>\n\u003cp>Treating patients at City of Hope cancer center in Los Angeles, Jandial observes a phenomenon he calls “dreams to the rescue.” For some patients near the end of their lives, “even though the day is filled with struggle, the dreams are of reconciliation, of hope, of positive emotions. I was surprised to find that end-of-life dreams are a common thing, and they lean positive.”\u003c/p>\n\u003cp>Jandial says there’s evidence that death may come with one final dream. “Once the heart stops, with the last gush of blood up the carotid [artery] to the brain, the brain’s electricity explodes in the minute or two after cardiac death…Those patterns look like expansive electrical brainwave patterns of dreaming and memory recall,” Jandial says.\u003c/p>\n\u003ch3>7. Dreams can be ‘a portal to your inner self’ — and mental health\u003c/h3>\n\u003cp>Everyone has anxiety dreams from time to time. Some are literal, like dreaming you’re on a podium naked when you actually have to give a speech the next day, says Jandial. But others can be more symbolic, and these are worth tuning in to.\u003c/p>\n\u003cp>Jandial remembers one he had during the pandemic. In waking life, he’d just learned to sail. In the dream he was sailing a boat and, “there was a massive waterfall,” he recounts. “And I was sailing horizontally and I had to constantly keep the helm, or the wheel, up-river just to go straight and not fall off.”\u003c/p>\n\u003cp>He interprets it as his brain’s way of helping him process a difficult time. He was raising teenagers and working as a cancer surgeon amid COVID fears. “There were wars on many fronts for me at that time. And what I walked away with is just by avoiding going all over the waterfall, you’re doing it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He says if you have a powerful dream, it’s worth thinking about why. “Dreams with a strong emotion and a powerful central image, those are ones\u003cem> not \u003c/em>to ignore,” he says. “The dreaming brain is serving a function, and if it gives you a nugget of an emotional and visual dream, reflect on that. That’s a portal to yourself that no therapist can even get to.”\u003c/p>\n\u003cp>And repeated anxiety dreams, he says “I think that’s something to pay attention to. That might be a vital sign for your mental health.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story also appears in the June 2 issue of the NPR Health newsletter. \u003ca href=\"https://www.npr.org/newsletter/health\">Click here to subscribe.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last week Season 3 of \u003cem>Abbott Elementary \u003c/em>came to an end, and the one thing every single viewer had predicted would happen since the premiere of the pilot episode finally did happen: Nerdy, awkward school teachers Janine (Quinta Brunson) and Gregory (Tyler James Williams) got together. For real, for real. To get there, it only took an untold number of gawky flirtations resulting in direct-to-camera looks of embarrassment, a drunken one-off kiss (in Season 2, during a work conference), and several spectacularly failed attempts at dating other people while denying or downplaying their romantic interests in one another.\u003c/p>\n\u003cp>Surely plenty of fans have found joy in the resolution of this long-delayed one true pairing; if so, I’m genuinely happy for you. But call me the “will they-won’t they?” grinch — I’m mostly just relieved the convoluted storyline can finally (hopefully!) be put to rest. The writers’ insistence on making them the \u003ca href=\"https://theoffice.fandom.com/wiki/Jim-Pam_Relationship\">Jim-and-Pam\u003c/a> of \u003cem>Abbott \u003c/em>has long been the least interesting element of this smart and consistently funny series, and as utterly charming as Brunson and Williams are, even they couldn’t keep the perpetually unresolved sexual tension between their characters from grating by Season 3. (The episode where Jacob and Gregory attempt to go on a double date and Gregory gets distracted by seeing Janine out with school district rep Manny might’ve been less tedious had it not been such a similar iteration of several earlier plotlines.)\u003c/p>\n\u003cp>[aside postid='arts_13958131']Of course, this is TV Writing 101, one of the oldest tropes in the playbook. Some shows have found clever ways to mess around with it, as with the deeply intimate but platonic work relationship between \u003cem>30 Rock\u003c/em>’s Liz Lemon and Jack Donaghy — anyone actively rooting for them to be A Thing plucked that desire from thin air, because there was \u003cem>zero\u003c/em> amorous chemistry popping off between those two. (The writers poked fun at this expectation all the time, as when the pair mistakenly married in Season 5.) Before being unceremoniously canceled, \u003cem>Happy Endings \u003c/em>began with Alex and Dave’s broken engagement, which provided plenty of “will-they-won’t-they-get-back-together” fodder a la those classic Hollywood remarriage comedies like \u003cem>The Awful Truth.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Living Single \u003c/em>actually managed to juggle two different versions of this trope in satisfying ways: the flirtatiously antagonistic Beatrice-and-Benedick vibes shared between corporate climbers Maxine and Kyle, and the goofy puppy love of TV’s original Awkward Black Couple, handyman Overton and office manager Synclaire. In both cases, the show confronted the simmering tensions early; Max and Kyle sleep together in Season 2, making their ongoing love-hate dynamic that much funnier throughout the rest of the series, and Overton and Synclaire make it official in Season 1, allowing them to explore other silly hurdles and milestones throughout their courtship.\u003c/p>\n\u003cp>It’s easy enough to imagine a version of \u003cem>Abbott \u003c/em>that took a page out of \u003cem>30 Rock\u003c/em>, and gave us a fruitful platonic friendship with Janine and Gregory. But watching a lot of TV primes us “will-they” grinches for disappointment, because it seems we’re vastly outnumbered, or at least not as vocal in our annoyance as the champions are about their excitement. \u003cem>Law & Order: SVU \u003c/em>fans have been rooting for Benson and Stabler to get together for 25 years, and recently \u003ca href=\"https://ew.com/mariska-hargitay-reveals-benson-stabler-svu-kiss-changed-last-minute-8641981\">almost got their wish\u003c/a>. And I’m already exhausted by the corner of social media that insists on ’shipping not only Carmy and Sydney on \u003cem>The Bear\u003c/em>, but also \u003ca href=\"https://www.nytimes.com/2024/05/22/style/ayo-edebiri-jeremy-allen-white-dating.html\">Jeremy Allen White and Ayo Edebiri\u003c/a>, the real-life actors who portray them.\u003c/p>\n\u003cfigure id=\"attachment_13959028\" class=\"wp-caption aligncenter\" style=\"max-width: 1858px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959028\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM.png\" alt=\"A white man and Black woman work side-by-side in a home kitchen.\" width=\"1858\" height=\"1162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM.png 1858w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-1536x961.png 1536w\" sizes=\"(max-width: 1858px) 100vw, 1858px\">\u003cfigcaption class=\"wp-caption-text\">What’s cooking between Sydney (Ayo Ebebiri) and Carmy (Jeremy Allen White) in ‘The Bear?’ Dinner. \u003ccite>(Chuck Hodes/ FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if Janine and Gregory \u003cem>must \u003c/em>be more than just friends, \u003cem>Abbott \u003c/em>has the opportunity to inject the next season with some inspiring coupledom obstacles. They’re both richly drawn characters with distinct personalities and flaws, finding their way within the challenging and chaotic public-school ecosystem. It’s been delightful watching her learn how to more efficiently channel her do-gooder energy and him loosen up and accept that a job as principal is not in the cards just yet. Now that they’re both a little more confident in themselves, here’s hoping they follow in the footsteps of their Awkward Black Couple predecessors Overton and Synclaire, and the show opens them up to less hackneyed storylines together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">Sign up for the newsletter\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">Apple Podcasts\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">Spotify\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Janine and Gregory. Jim and Pam. Sydney and Carmy? Critic Aisha Harris explores our obsession with simmering sexual tension.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week Season 3 of \u003cem>Abbott Elementary \u003c/em>came to an end, and the one thing every single viewer had predicted would happen since the premiere of the pilot episode finally did happen: Nerdy, awkward school teachers Janine (Quinta Brunson) and Gregory (Tyler James Williams) got together. For real, for real. To get there, it only took an untold number of gawky flirtations resulting in direct-to-camera looks of embarrassment, a drunken one-off kiss (in Season 2, during a work conference), and several spectacularly failed attempts at dating other people while denying or downplaying their romantic interests in one another.\u003c/p>\n\u003cp>Surely plenty of fans have found joy in the resolution of this long-delayed one true pairing; if so, I’m genuinely happy for you. But call me the “will they-won’t they?” grinch — I’m mostly just relieved the convoluted storyline can finally (hopefully!) be put to rest. The writers’ insistence on making them the \u003ca href=\"https://theoffice.fandom.com/wiki/Jim-Pam_Relationship\">Jim-and-Pam\u003c/a> of \u003cem>Abbott \u003c/em>has long been the least interesting element of this smart and consistently funny series, and as utterly charming as Brunson and Williams are, even they couldn’t keep the perpetually unresolved sexual tension between their characters from grating by Season 3. (The episode where Jacob and Gregory attempt to go on a double date and Gregory gets distracted by seeing Janine out with school district rep Manny might’ve been less tedious had it not been such a similar iteration of several earlier plotlines.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Of course, this is TV Writing 101, one of the oldest tropes in the playbook. Some shows have found clever ways to mess around with it, as with the deeply intimate but platonic work relationship between \u003cem>30 Rock\u003c/em>’s Liz Lemon and Jack Donaghy — anyone actively rooting for them to be A Thing plucked that desire from thin air, because there was \u003cem>zero\u003c/em> amorous chemistry popping off between those two. (The writers poked fun at this expectation all the time, as when the pair mistakenly married in Season 5.) Before being unceremoniously canceled, \u003cem>Happy Endings \u003c/em>began with Alex and Dave’s broken engagement, which provided plenty of “will-they-won’t-they-get-back-together” fodder a la those classic Hollywood remarriage comedies like \u003cem>The Awful Truth.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Living Single \u003c/em>actually managed to juggle two different versions of this trope in satisfying ways: the flirtatiously antagonistic Beatrice-and-Benedick vibes shared between corporate climbers Maxine and Kyle, and the goofy puppy love of TV’s original Awkward Black Couple, handyman Overton and office manager Synclaire. In both cases, the show confronted the simmering tensions early; Max and Kyle sleep together in Season 2, making their ongoing love-hate dynamic that much funnier throughout the rest of the series, and Overton and Synclaire make it official in Season 1, allowing them to explore other silly hurdles and milestones throughout their courtship.\u003c/p>\n\u003cp>It’s easy enough to imagine a version of \u003cem>Abbott \u003c/em>that took a page out of \u003cem>30 Rock\u003c/em>, and gave us a fruitful platonic friendship with Janine and Gregory. But watching a lot of TV primes us “will-they” grinches for disappointment, because it seems we’re vastly outnumbered, or at least not as vocal in our annoyance as the champions are about their excitement. \u003cem>Law & Order: SVU \u003c/em>fans have been rooting for Benson and Stabler to get together for 25 years, and recently \u003ca href=\"https://ew.com/mariska-hargitay-reveals-benson-stabler-svu-kiss-changed-last-minute-8641981\">almost got their wish\u003c/a>. And I’m already exhausted by the corner of social media that insists on ’shipping not only Carmy and Sydney on \u003cem>The Bear\u003c/em>, but also \u003ca href=\"https://www.nytimes.com/2024/05/22/style/ayo-edebiri-jeremy-allen-white-dating.html\">Jeremy Allen White and Ayo Edebiri\u003c/a>, the real-life actors who portray them.\u003c/p>\n\u003cfigure id=\"attachment_13959028\" class=\"wp-caption aligncenter\" style=\"max-width: 1858px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959028\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM.png\" alt=\"A white man and Black woman work side-by-side in a home kitchen.\" width=\"1858\" height=\"1162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM.png 1858w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-1536x961.png 1536w\" sizes=\"(max-width: 1858px) 100vw, 1858px\">\u003cfigcaption class=\"wp-caption-text\">What’s cooking between Sydney (Ayo Ebebiri) and Carmy (Jeremy Allen White) in ‘The Bear?’ Dinner. \u003ccite>(Chuck Hodes/ FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if Janine and Gregory \u003cem>must \u003c/em>be more than just friends, \u003cem>Abbott \u003c/em>has the opportunity to inject the next season with some inspiring coupledom obstacles. They’re both richly drawn characters with distinct personalities and flaws, finding their way within the challenging and chaotic public-school ecosystem. It’s been delightful watching her learn how to more efficiently channel her do-gooder energy and him loosen up and accept that a job as principal is not in the cards just yet. Now that they’re both a little more confident in themselves, here’s hoping they follow in the footsteps of their Awkward Black Couple predecessors Overton and Synclaire, and the show opens them up to less hackneyed storylines together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">Sign up for the newsletter\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">Apple Podcasts\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">Spotify\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the many charms of \u003cem>The Dead Don’t Hurt\u003c/em> is that you can’t immediately tell whether it’s trying to be an old-fashioned Western or a revisionist one. It has a lot of familiar genre signposts: men riding horses across rugged landscapes, a bloody shootout in a saloon, and two actors, \u003ca href=\"https://www.npr.org/2007/09/13/14384937/cronenberg-mortensen-making-eastern-promises\">Viggo Mortensen\u003c/a> and \u003ca href=\"https://www.npr.org/2022/12/25/1145471861/vicky-krieps-plays-the-rebellious-empress-elisabeth-in-new-period-film-corsage\">Vicky Krieps\u003c/a>, who bring traditional movie-star charisma to a tender love story.\u003c/p>\n\u003cp>[aside postid='arts_13958735']But at times the film feels casually subversive. The first of those horsemen we see is not a cowboy but a knight in shining armor — a figure out of a child’s fantastical dream. And then there’s the way the movie plays with time: That shootout, which technically happens at the end of the story, is instead shown at the very beginning.\u003c/p>\n\u003cp>Mortensen, who wrote and directed the movie, trusts us to know the Western well enough by now that he can play around with the form without losing our attention. He isn’t attempting a radical reinvention of the genre, but he is using its conventions to tell a different and politically resonant kind of story.\u003c/p>\n\u003cfigure id=\"attachment_13958962\" class=\"wp-caption aligncenter\" style=\"max-width: 1444px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958962\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM.png\" alt=\"An old west cowboy sits next to his horse on a bench, reading a book.\" width=\"1444\" height=\"946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM.png 1444w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM-768x503.png 768w\" sizes=\"(max-width: 1444px) 100vw, 1444px\">\u003cfigcaption class=\"wp-caption-text\">Viggo Mortensen plays Holger Olsen in ‘The Dead Don’t Hurt.’ \u003ccite>(Marcel-Zyskind/ Shout! Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s especially significant that the two lead characters are both immigrants. Mortensen stars as Holger Olsen, a wandering Danish-born carpenter who finds himself in San Francisco in the 1860s. That’s where he meets Vivienne, a French Canadian florist, played by Krieps, who’s every bit as independent-minded as he is.\u003c/p>\n\u003cp>The two fall in love, and Vivienne moves with Olsen to a dusty Nevada town called Elk Flats. Because the story is told out of sequence, we already know some bad things are headed their way, but for now, the mood is light and even comical as Vivienne grouchily sets about tidying their wooden shack of a home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Vivienne isn’t one for domestic confinement, and she soon gets a job bartending at the saloon, where she catches the eye of one of the nastiest customers in town: Weston Jeffries, played by Solly McLeod, the brutish son of a wealthy rancher. Meanwhile, with the Civil War under way, Olsen decides to join the Union Army, to Vivienne’s fury.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Xgv25Ni_jv0\u003c/p>\n\u003cp>One of the best things about \u003cem>The Dead Don’t Hurt\u003c/em> is that it honors Vivienne’s grit and capability while also acknowledging how alone and vulnerable she is in this hostile, male-dominated environment. Several months after Olsen leaves, Vivienne gives birth to a baby boy under circumstances that are shrouded in some mystery. Years later, Olsen returns to Vivienne and the child, but it isn’t an entirely happy reunion, and they face a grim reckoning with the town and some of its most corrupt individuals.\u003c/p>\n\u003cp>[aside postid='arts_13958855']Mortensen made his feature directing debut with the 2020 drama \u003cem>Falling\u003c/em>, in which he played a gay man trying to take care of his ailing, bigoted father. With \u003cem>The Dead Don’t Hurt\u003c/em>, he uses a story set in the past to comment on issues that are still with us in the present, from male violence against women to the complexity of immigrant relationships with their adopted country. Even as Vivienne embraces her life as an American settler, she proudly clings to her French Canadian roots, sometimes dreamily recalling the stories her mother told her about Joan of Arc — an obvious hero for a woman trying to forge her own unorthodox path through life.\u003c/p>\n\u003cp>As a director, Mortensen handles the material with quiet assurance; even when he cuts back and forth through time, he never loses the narrative thread. He also gives a gently grounded performance as Olsen, a decent man who sometimes makes impulsive, reckless decisions.\u003c/p>\n\u003cp>But this is ultimately Krieps’ movie. She’s often played women chafing against their proscribed stations in life, in dramas like \u003cem>Phantom Thread\u003c/em> and \u003cem>Corsage\u003c/em>. Here, she captures the indomitable spirit of a woman who’s making her way in a strange land and is determined to find and nurture beauty in even the harshest circumstances.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Dead Don’t Hurt’ is released nationwide on May 31, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the many charms of \u003cem>The Dead Don’t Hurt\u003c/em> is that you can’t immediately tell whether it’s trying to be an old-fashioned Western or a revisionist one. It has a lot of familiar genre signposts: men riding horses across rugged landscapes, a bloody shootout in a saloon, and two actors, \u003ca href=\"https://www.npr.org/2007/09/13/14384937/cronenberg-mortensen-making-eastern-promises\">Viggo Mortensen\u003c/a> and \u003ca href=\"https://www.npr.org/2022/12/25/1145471861/vicky-krieps-plays-the-rebellious-empress-elisabeth-in-new-period-film-corsage\">Vicky Krieps\u003c/a>, who bring traditional movie-star charisma to a tender love story.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But at times the film feels casually subversive. The first of those horsemen we see is not a cowboy but a knight in shining armor — a figure out of a child’s fantastical dream. And then there’s the way the movie plays with time: That shootout, which technically happens at the end of the story, is instead shown at the very beginning.\u003c/p>\n\u003cp>Mortensen, who wrote and directed the movie, trusts us to know the Western well enough by now that he can play around with the form without losing our attention. He isn’t attempting a radical reinvention of the genre, but he is using its conventions to tell a different and politically resonant kind of story.\u003c/p>\n\u003cfigure id=\"attachment_13958962\" class=\"wp-caption aligncenter\" style=\"max-width: 1444px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958962\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM.png\" alt=\"An old west cowboy sits next to his horse on a bench, reading a book.\" width=\"1444\" height=\"946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM.png 1444w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM-768x503.png 768w\" sizes=\"(max-width: 1444px) 100vw, 1444px\">\u003cfigcaption class=\"wp-caption-text\">Viggo Mortensen plays Holger Olsen in ‘The Dead Don’t Hurt.’ \u003ccite>(Marcel-Zyskind/ Shout! Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s especially significant that the two lead characters are both immigrants. Mortensen stars as Holger Olsen, a wandering Danish-born carpenter who finds himself in San Francisco in the 1860s. That’s where he meets Vivienne, a French Canadian florist, played by Krieps, who’s every bit as independent-minded as he is.\u003c/p>\n\u003cp>The two fall in love, and Vivienne moves with Olsen to a dusty Nevada town called Elk Flats. Because the story is told out of sequence, we already know some bad things are headed their way, but for now, the mood is light and even comical as Vivienne grouchily sets about tidying their wooden shack of a home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vivienne isn’t one for domestic confinement, and she soon gets a job bartending at the saloon, where she catches the eye of one of the nastiest customers in town: Weston Jeffries, played by Solly McLeod, the brutish son of a wealthy rancher. Meanwhile, with the Civil War under way, Olsen decides to join the Union Army, to Vivienne’s fury.\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/Xgv25Ni_jv0'\n title='//www.youtube.com/embed/Xgv25Ni_jv0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of the best things about \u003cem>The Dead Don’t Hurt\u003c/em> is that it honors Vivienne’s grit and capability while also acknowledging how alone and vulnerable she is in this hostile, male-dominated environment. Several months after Olsen leaves, Vivienne gives birth to a baby boy under circumstances that are shrouded in some mystery. Years later, Olsen returns to Vivienne and the child, but it isn’t an entirely happy reunion, and they face a grim reckoning with the town and some of its most corrupt individuals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mortensen made his feature directing debut with the 2020 drama \u003cem>Falling\u003c/em>, in which he played a gay man trying to take care of his ailing, bigoted father. With \u003cem>The Dead Don’t Hurt\u003c/em>, he uses a story set in the past to comment on issues that are still with us in the present, from male violence against women to the complexity of immigrant relationships with their adopted country. Even as Vivienne embraces her life as an American settler, she proudly clings to her French Canadian roots, sometimes dreamily recalling the stories her mother told her about Joan of Arc — an obvious hero for a woman trying to forge her own unorthodox path through life.\u003c/p>\n\u003cp>As a director, Mortensen handles the material with quiet assurance; even when he cuts back and forth through time, he never loses the narrative thread. He also gives a gently grounded performance as Olsen, a decent man who sometimes makes impulsive, reckless decisions.\u003c/p>\n\u003cp>But this is ultimately Krieps’ movie. She’s often played women chafing against their proscribed stations in life, in dramas like \u003cem>Phantom Thread\u003c/em> and \u003cem>Corsage\u003c/em>. Here, she captures the indomitable spirit of a woman who’s making her way in a strange land and is determined to find and nurture beauty in even the harshest circumstances.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Dead Don’t Hurt’ is released nationwide on May 31, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last week, as YouTuber Jenny Nicholson’s review/eulogy for the shuttered Disney Star Wars hotel started making the rounds, I was curious. I’d of course heard about the “immersive experience” officially called Star Wars: Galactic Starcruiser, and here was someone who’d actually experienced the, um, experience. But then I saw the video’s running time — four hours and five minutes! — and I closed the tab faster than I do whenever the algorithm wants to show me some dumbass trying to pick up a cobra.\u003c/p>\n\u003cp>[aside postid='arts_13958493']Who has the kind of time, I wondered, to sit around and watch YouTube for half the damn workday? In this, the era of TikTok? And Reels? And in what is, we have all been repeatedly assured, a time of shrinking attention spans?\u003c/p>\n\u003cp>In the case of Nicholson’s Starcruiser video, millions and millions of people have the time, it turns out. And she’s not alone: Over the past few years, you may have noticed YouTube suggesting videos to you so long they make \u003cem>Lawrence of Arabia\u003c/em> seem downright punchy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T0CpOYZZZW4&t=1s\u003c/p>\n\u003cp>In my feed, most of these take the form of disquietingly deep — and often critical — dives into various aspects of nerdy pop culture. “That internet D&D show we all used to love sucks now, and here’s three hours worth of proof!” “That new movie that everyone loves sucks, and here’s 63 reasons why!” “Here’s a recap of that series no one but you and me is watching, and the 43 glaring errors in continuity it overlooked!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s not hard to understand why this is happening. Nerds gonna nerd, after all. We love what we love, and we’re prepared to corner you at a party, maybe over by the onion dip, and talk to you (OK: at you) about our every concern with it. At considerable length. (Why, yes, we do notice you gazing imploringly over our shoulders for someone, anyone, to rescue you; we just don’t care, because the really interesting thing about \u003cem>Buffy\u003c/em> Season 4 that most people overlook is… ) And of course the YouTube monetization model prizes every precious minute it gets to spend with those delicious eyeballs of yours. Passion + Profit-Seeking is a powerful motivator; these videos will keep coming.\u003c/p>\n\u003cp>Or, if you truly believe in the marketplace of ideas, maybe they won’t. After all, most of these long-haul grievance videos aren’t worth anywhere near the time commitment they demand, and spending so many hours watching such sustained negativity leaves you feeling coated in a kind of psychic grime, a residue of greasy cynicism. I should note that Nicholson’s Starcruiser video is a glaring exception — she’s passionate, yes, but admirably clear-eyed about that passion. She makes her points (her many, many, many points) with equanimity and humor, and she’s got the literal receipts. She’s also quick to praise those aspects of the experience worth praising, and smartly drills down on the question of value-for-money.\u003c/p>\n\u003cp>[aside postid='arts_13958101']But there’s no denying that a shift is happening. TikTok itself — that online smithy wherein memes get forged and hammered — is launching longer videos, and Mr. Beast, arguably the quintessential YouTuber, recently started pumping out longer videos based, he says, on viewer demand.\u003c/p>\n\u003cp>Now, me? I’m so old I remember thinking a 13-minute music video was downright audacious. And I’ll admit, I didn’t actually watch the Starcruiser video, I listened to it while driving to and from the city for a movie screening. But I do watch several actual-play D&D YouTube shows, which sometimes stretch past the four-hour mark. And back in the early aughts I’d happily sink endless hours into reading smart, well-written TV recaps that might as well have been novellas. Is there any substantive difference?\u003c/p>\n\u003cp>But I choose to be heartened by the rise of long-form video. Or more specifically: By the willingness of people to watch a single video for hours on end. It suggests that quality of work continues to matter — you do, after all, still have to earn all those extra minutes of our attention. And in a culture so quick to blame a raft of societal ills on shrinking attention spans, it offers a surprising and intriguing counter-narrative to the experts who cite audience data to dictate precisely how long a YouTube video, or a web article, or a podcast episode “should” be.\u003c/p>\n\u003cp>Turns out the answer isn’t quantitative, but qualitative — not precise length, but personal value.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s ‘Pop Culture Happy Hour’ newsletter. Listen to ‘Pop Culture Happy Hour’ on Apple Podcasts and Spotify.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, as YouTuber Jenny Nicholson’s review/eulogy for the shuttered Disney Star Wars hotel started making the rounds, I was curious. I’d of course heard about the “immersive experience” officially called Star Wars: Galactic Starcruiser, and here was someone who’d actually experienced the, um, experience. But then I saw the video’s running time — four hours and five minutes! — and I closed the tab faster than I do whenever the algorithm wants to show me some dumbass trying to pick up a cobra.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Who has the kind of time, I wondered, to sit around and watch YouTube for half the damn workday? In this, the era of TikTok? And Reels? And in what is, we have all been repeatedly assured, a time of shrinking attention spans?\u003c/p>\n\u003cp>In the case of Nicholson’s Starcruiser video, millions and millions of people have the time, it turns out. And she’s not alone: Over the past few years, you may have noticed YouTube suggesting videos to you so long they make \u003cem>Lawrence of Arabia\u003c/em> seem downright punchy.\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/T0CpOYZZZW4'\n title='//www.youtube.com/embed/T0CpOYZZZW4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In my feed, most of these take the form of disquietingly deep — and often critical — dives into various aspects of nerdy pop culture. “That internet D&D show we all used to love sucks now, and here’s three hours worth of proof!” “That new movie that everyone loves sucks, and here’s 63 reasons why!” “Here’s a recap of that series no one but you and me is watching, and the 43 glaring errors in continuity it overlooked!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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},
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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