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"content": "\u003cp>The Golden Globe Awards are back on the first Sunday in January with plenty of behind-the-scenes changes aimed at cementing a yearslong comeback effort.\u003c/p>\n\u003cp>[aside postid='arts_13897003']The show is known for its boozy celebration of film and television and as an early stop for awards season contenders. Scandals have led to a membership revamp and a new broadcaster for the Jan. 7 show, but a key question remains: Will viewers tune in?\u003c/p>\n\u003cp>Here’s what to know about the 81st Golden Globe Awards.\u003c/p>\n\u003ch2>How can I watch The Golden Globes?\u003c/h2>\n\u003cp>Viewers in the United States can catch the ceremony, broadcast live from the Beverly Hilton Hotel, beginning at 5 p.m.\u003c/p>\n\u003cp>The three-hour show will have a strong lead-in since CBS is airing an NFL game directly before the Globes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>CBS says the show will air on its app and stream on Paramount+, but there’s an important caveat. Only Paramount+ subscribers with the Showtime add-on will be able to watch the show live. Otherwise, it’ll be available on the streaming platform on Monday.\u003c/p>\n\u003ch2>Who’s hosting the Globes?\u003c/h2>\n\u003cfigure id=\"attachment_13939920\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939920\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-scaled.jpg\" alt=\"A man wearing all black and a baseball cap talks into a microphone onstage in a dark room.\" width=\"2560\" height=\"1705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-1920x1279.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Jo Koy performs in Louisville, March 2023. \u003ccite>(Stephen J. Cohen/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Comedian Jo Koy, who has headlined several Netflix specials and starred in last year’s comedy film \u003cem>Easter Sunday\u003c/em>, will host.\u003c/p>\n\u003cp>Organizers cited his “infectious energy and relatable humor” in announcing Koy would headline the event.\u003c/p>\n\u003cp>Hosting the Globes typically requires serving a mix of biting humor to the audience of film and television stars and keeping the ceremony from getting too sloppy.\u003c/p>\n\u003cp>Previous hosts include Ricky Gervais, whose jokes were particularly caustic, the duo of Tina Fey and Amy Poehler and last year’s emcee, Jerrod Carmichael.\u003c/p>\n\u003ch2>What’s new with the Golden Globes?\u003c/h2>\n\u003cp>The 81st Golden Globe Awards will be the first major broadcast of awards season, with a new home on CBS. And while to audiences it might look similar on the surface, it’s been a tumultuous few years behind the scenes following a bombshell report in the \u003cem>Los Angeles Times\u003c/em>. The 2021 report found that there were no Black members in the Hollywood Foreign Press Association, which voted on the awards.\u003c/p>\n\u003cp>[aside postid='arts_13932204']Stars and studios boycotted the Globes and NBC refused to air it in 2022 as a result. After the group added journalists of color to its ranks and instituted other reforms to address ethical concerns, the show came back in January 2023 in a one-year probationary agreement with NBC. The network did not opt to renew.\u003c/p>\n\u003cp>In June, billionaire Todd Boehly was granted approval to dissolve the HFPA and reinvent the Golden Globes as a for-profit organization. Its assets were acquired by Boehly’s Eldridge Industries, along with Dick Clark Productions, a group that is owned by Penske Media whose assets also include \u003cem>Variety, Deadline, The Hollywood Reporter, Rolling Stone \u003c/em>and\u003cem> Billboard\u003c/em>.\u003c/p>\n\u003ch2>Golden Globe Nominees\u003c/h2>\n\u003cfigure id=\"attachment_13939315\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939315\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-scaled.jpe\" alt=\"A woman wearing a white cowboy hat and striking pink pants, vest and neck scarf poses in front of a table full of schoolgirls.\" width=\"2560\" height=\"1272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-scaled.jpe 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-800x398.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-1020x507.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-160x80.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-768x382.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-1536x763.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-2048x1018.jpe 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-1920x954.jpe 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Margot Robbie in a moment from ‘Barbie.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/forum/2010101893867/is-life-in-plastic-so-fantastic\">\u003cem>Barbie\u003c/em>\u003c/a> is the top nominee this year, followed closely by \u003cem>Oppenheimer.\u003c/em>\u003c/p>\n\u003cp>The films reflect one unique aspect of the Globes — they split the top film winners into two categories. With Greta Gerwig’s \u003cem>Barbie\u003c/em> and Christopher Nolan’s \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a> leading the way, it gives the show a chance to capitalize on the \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">Barbenheimer craze\u003c/a> that boosted theaters in 2023.\u003c/p>\n\u003cp>[aside postid='arts_13931753']Films nominated for best motion picture drama include \u003cem>Oppenheimer\u003c/em>, Martin Scorsese’s \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic#:~:text=Scorsese's%20'Killers%20of%20the%20Flower,of%20Greed%2C%20Richly%20Told%20%7C%20KQED\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>, Bradley Cooper’s \u003ca href=\"https://www.kqed.org/arts/13938332/maestro-bradley-cooper-review\">\u003cem>Maestro\u003c/em>\u003c/a>, Celine Song’s \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a>, Justine Triet’s \u003ca href=\"https://www.kqed.org/arts/13936363/anatomy-of-a-fall-movie-review-sandra-huller-palme-dor-france\">\u003cem>Anatomy of a Fall\u003c/em> \u003c/a>and Jonathan Glazer’s \u003cem>The Zone of Interest\u003c/em>.\u003c/p>\n\u003cp>In the best motion picture musical or comedy category, \u003cem>Barbie\u003c/em> was joined by Ben Affleck’s \u003cem>Air\u003c/em>, Cord Jefferson’s \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a>, Alexander Payne’s \u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a>, Todd Haynes’ \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a> and Yorgos Lanthimos’ \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>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13930048/succession-creator-on-finale-jesse-armstrong-shiv-tom-sarah-snook-kieran-culkin\">\u003cem>Succession\u003c/em>\u003c/a> was the top-nominated television program, with nine nods including for series stars Brian Cox, Jeremy Strong, Sarah Snook and Kieran Culkin, followed by Hulu’s \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://apnews.com/article/golden-globe-nominations-list-2024-9e04a98d20c92e8ce2b947040c7a879e\">For the full list of nominees, click here\u003c/a>.\u003c/p>\n\u003ch2>What are the Globes known for?\u003c/h2>\n\u003cp>The Golden Globe Awards had long been one of the highest-profile awards season broadcasts, second only to the Oscars.\u003c/p>\n\u003cp>The show was touted as an A-list party whose hosts often took a more irreverent tone than their Academy counterparts. It also only honored the flashiest filmmaking categories — picture, director, actors among them — meaning no long speeches from visual effects supervisors or directors of little-known shorts.\u003c/p>\n\u003cp>[aside postid='arts_13938158']But the voting body was a small group of around 87 members who wielded incredible influence in the industry and often accepted lavish gifts and travel from studios and awards publicists eager to court favor and win votes.\u003c/p>\n\u003cp>Some years, the HFPA were pilloried for nominating poorly reviewed films with big-name talent in hopes of getting them to the show — the most infamous being \u003cem>The Tourist\u003c/em>, with Angelina Jolie and Johnny Depp. In the past decade, they’ve more often overlapped with the Oscars. The show also recognizes television.\u003c/p>\n\u003cp>Before the expose and public relations crisis though, no one in the industry took much umbrage with who was voting on the awards. The show had become an important part of the Hollywood awards ecosystem, a platform for Oscar hopefuls and was, until recently, a reliable ratings draw. As of 2019, the broadcast was still pulling in nearly 19 million viewers. In 2023, NBC’s Tuesday night broadcast got its smallest audience ever for a traditional broadcast, with 6.3 million viewers.\u003c/p>\n\u003ch2>What about \u003cem>60 Minutes\u003c/em>?\u003c/h2>\n\u003cp>The Globes, and New Year’s Eve celebrations, will keep \u003cem>60 Minutes\u003c/em> from airing the next two weeks.\u003c/p>\n\u003cp>CBS is airing \u003cem>New Year’s Eve Live: Nashville’s Big Bash\u003c/em> on Dec. 31.\u003c/p>\n\u003cp>CBS says \u003cem>60 Minutes\u003c/em> will resume on Jan. 14.\u003c/p>\n\u003ch2>Who votes on the Globes now?\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>The group nominating and voting for the awards is now made up of a more diverse group of over 300 people from around the world.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Golden Globe Awards are back on the first Sunday in January with plenty of behind-the-scenes changes aimed at cementing a yearslong comeback effort.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The show is known for its boozy celebration of film and television and as an early stop for awards season contenders. Scandals have led to a membership revamp and a new broadcaster for the Jan. 7 show, but a key question remains: Will viewers tune in?\u003c/p>\n\u003cp>Here’s what to know about the 81st Golden Globe Awards.\u003c/p>\n\u003ch2>How can I watch The Golden Globes?\u003c/h2>\n\u003cp>Viewers in the United States can catch the ceremony, broadcast live from the Beverly Hilton Hotel, beginning at 5 p.m.\u003c/p>\n\u003cp>The three-hour show will have a strong lead-in since CBS is airing an NFL game directly before the Globes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>CBS says the show will air on its app and stream on Paramount+, but there’s an important caveat. Only Paramount+ subscribers with the Showtime add-on will be able to watch the show live. Otherwise, it’ll be available on the streaming platform on Monday.\u003c/p>\n\u003ch2>Who’s hosting the Globes?\u003c/h2>\n\u003cfigure id=\"attachment_13939920\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939920\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-scaled.jpg\" alt=\"A man wearing all black and a baseball cap talks into a microphone onstage in a dark room.\" width=\"2560\" height=\"1705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-1920x1279.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Jo Koy performs in Louisville, March 2023. \u003ccite>(Stephen J. Cohen/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Comedian Jo Koy, who has headlined several Netflix specials and starred in last year’s comedy film \u003cem>Easter Sunday\u003c/em>, will host.\u003c/p>\n\u003cp>Organizers cited his “infectious energy and relatable humor” in announcing Koy would headline the event.\u003c/p>\n\u003cp>Hosting the Globes typically requires serving a mix of biting humor to the audience of film and television stars and keeping the ceremony from getting too sloppy.\u003c/p>\n\u003cp>Previous hosts include Ricky Gervais, whose jokes were particularly caustic, the duo of Tina Fey and Amy Poehler and last year’s emcee, Jerrod Carmichael.\u003c/p>\n\u003ch2>What’s new with the Golden Globes?\u003c/h2>\n\u003cp>The 81st Golden Globe Awards will be the first major broadcast of awards season, with a new home on CBS. And while to audiences it might look similar on the surface, it’s been a tumultuous few years behind the scenes following a bombshell report in the \u003cem>Los Angeles Times\u003c/em>. The 2021 report found that there were no Black members in the Hollywood Foreign Press Association, which voted on the awards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Stars and studios boycotted the Globes and NBC refused to air it in 2022 as a result. After the group added journalists of color to its ranks and instituted other reforms to address ethical concerns, the show came back in January 2023 in a one-year probationary agreement with NBC. The network did not opt to renew.\u003c/p>\n\u003cp>In June, billionaire Todd Boehly was granted approval to dissolve the HFPA and reinvent the Golden Globes as a for-profit organization. Its assets were acquired by Boehly’s Eldridge Industries, along with Dick Clark Productions, a group that is owned by Penske Media whose assets also include \u003cem>Variety, Deadline, The Hollywood Reporter, Rolling Stone \u003c/em>and\u003cem> Billboard\u003c/em>.\u003c/p>\n\u003ch2>Golden Globe Nominees\u003c/h2>\n\u003cfigure id=\"attachment_13939315\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939315\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-scaled.jpe\" alt=\"A woman wearing a white cowboy hat and striking pink pants, vest and neck scarf poses in front of a table full of schoolgirls.\" width=\"2560\" height=\"1272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-scaled.jpe 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-800x398.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-1020x507.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-160x80.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-768x382.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-1536x763.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-2048x1018.jpe 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-1920x954.jpe 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Margot Robbie in a moment from ‘Barbie.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/forum/2010101893867/is-life-in-plastic-so-fantastic\">\u003cem>Barbie\u003c/em>\u003c/a> is the top nominee this year, followed closely by \u003cem>Oppenheimer.\u003c/em>\u003c/p>\n\u003cp>The films reflect one unique aspect of the Globes — they split the top film winners into two categories. With Greta Gerwig’s \u003cem>Barbie\u003c/em> and Christopher Nolan’s \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a> leading the way, it gives the show a chance to capitalize on the \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">Barbenheimer craze\u003c/a> that boosted theaters in 2023.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Films nominated for best motion picture drama include \u003cem>Oppenheimer\u003c/em>, Martin Scorsese’s \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic#:~:text=Scorsese's%20'Killers%20of%20the%20Flower,of%20Greed%2C%20Richly%20Told%20%7C%20KQED\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>, Bradley Cooper’s \u003ca href=\"https://www.kqed.org/arts/13938332/maestro-bradley-cooper-review\">\u003cem>Maestro\u003c/em>\u003c/a>, Celine Song’s \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a>, Justine Triet’s \u003ca href=\"https://www.kqed.org/arts/13936363/anatomy-of-a-fall-movie-review-sandra-huller-palme-dor-france\">\u003cem>Anatomy of a Fall\u003c/em> \u003c/a>and Jonathan Glazer’s \u003cem>The Zone of Interest\u003c/em>.\u003c/p>\n\u003cp>In the best motion picture musical or comedy category, \u003cem>Barbie\u003c/em> was joined by Ben Affleck’s \u003cem>Air\u003c/em>, Cord Jefferson’s \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a>, Alexander Payne’s \u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a>, Todd Haynes’ \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a> and Yorgos Lanthimos’ \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>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13930048/succession-creator-on-finale-jesse-armstrong-shiv-tom-sarah-snook-kieran-culkin\">\u003cem>Succession\u003c/em>\u003c/a> was the top-nominated television program, with nine nods including for series stars Brian Cox, Jeremy Strong, Sarah Snook and Kieran Culkin, followed by Hulu’s \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://apnews.com/article/golden-globe-nominations-list-2024-9e04a98d20c92e8ce2b947040c7a879e\">For the full list of nominees, click here\u003c/a>.\u003c/p>\n\u003ch2>What are the Globes known for?\u003c/h2>\n\u003cp>The Golden Globe Awards had long been one of the highest-profile awards season broadcasts, second only to the Oscars.\u003c/p>\n\u003cp>The show was touted as an A-list party whose hosts often took a more irreverent tone than their Academy counterparts. It also only honored the flashiest filmmaking categories — picture, director, actors among them — meaning no long speeches from visual effects supervisors or directors of little-known shorts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the voting body was a small group of around 87 members who wielded incredible influence in the industry and often accepted lavish gifts and travel from studios and awards publicists eager to court favor and win votes.\u003c/p>\n\u003cp>Some years, the HFPA were pilloried for nominating poorly reviewed films with big-name talent in hopes of getting them to the show — the most infamous being \u003cem>The Tourist\u003c/em>, with Angelina Jolie and Johnny Depp. In the past decade, they’ve more often overlapped with the Oscars. The show also recognizes television.\u003c/p>\n\u003cp>Before the expose and public relations crisis though, no one in the industry took much umbrage with who was voting on the awards. The show had become an important part of the Hollywood awards ecosystem, a platform for Oscar hopefuls and was, until recently, a reliable ratings draw. As of 2019, the broadcast was still pulling in nearly 19 million viewers. In 2023, NBC’s Tuesday night broadcast got its smallest audience ever for a traditional broadcast, with 6.3 million viewers.\u003c/p>\n\u003ch2>What about \u003cem>60 Minutes\u003c/em>?\u003c/h2>\n\u003cp>The Globes, and New Year’s Eve celebrations, will keep \u003cem>60 Minutes\u003c/em> from airing the next two weeks.\u003c/p>\n\u003cp>CBS is airing \u003cem>New Year’s Eve Live: Nashville’s Big Bash\u003c/em> on Dec. 31.\u003c/p>\n\u003cp>CBS says \u003cem>60 Minutes\u003c/em> will resume on Jan. 14.\u003c/p>\n\u003ch2>Who votes on the Globes now?\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>The group nominating and voting for the awards is now made up of a more diverse group of over 300 people from around the world.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "NPR's Year in Review: 50 Wonderful Things From 2023",
"headTitle": "NPR’s Year in Review: 50 Wonderful Things From 2023 | KQED",
"content": "\u003cp>I’ve been making annual lists of \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1221652903&live=1\">50 Wonderful Pop Culture Things\u003c/a> since 2010. They include things you’ve probably heard of and things you might not have, things that are meaningful and things that are hilarious, things that matter and things that don’t at all. In this year in which TV and film were both interrupted for months as a result of labor disputes, there was plenty to admire even as production ground to a halt.\u003c/p>\n\u003cp>[aside postid='arts_13939862']The usual caveats apply: These are not objectively the best things; they are just wonderful things. There were far more than 50 wonderful things to admire this year, and there is far (far) more that I never saw or read or heard at all. But it never hurts to look back on the year and realize that in fact, delight was upon you over and over.\u003c/p>\n\u003cp>1. The best podcast I started listening to this year was\u003ca href=\"https://www.ifbookspod.com/\"> \u003cem>If Books Could Kill\u003c/em>, \u003c/a>hosted by Michael Hobbes and Peter Shamshiri. The premise is that they dive into “airport books” from self-help to political posturing to investigate their claims. It’s very funny and deeply researched, and in a world where it’s easy to feel like you’re losing your grip, it’s a good reminder: your grip is fine. You’re just being handed a lot of slippery things. Start with their January episode \u003ca href=\"https://podcasts.apple.com/us/podcast/if-books-could-kill/id1651876897?i=1000596707945\">about John Gray’s \u003cem>Men Are From Mars, Women Are From Venus\u003c/em>\u003c/a>. You never forget an episode that makes you cackle in your car.\u003c/p>\n\u003cp>2. It’s hard to pick a single moment from the scorching fourth and final season of \u003cem>Succession. \u003c/em>But the \u003ca href=\"https://www.youtube.com/watch?v=KH55hmX0-Uo&ab_channel=HBO\">balcony fight between Shiv and Tom\u003c/a> that went on and on and got worse and worse, more and more painful, encapsulated exactly what has worked so well about the show. It was a years-long story reaching its inevitable nuclear meltdown, and Sarah Snook and Matthew Macfadyen played it brilliantly. “I think you are incapable of love.” Yikes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KH55hmX0-Uo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>3. Rarely has a show come back from a truly great first season and made a truly great second season. \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a> managed to do it with the help of an exquisite cast, both regulars and guest stars. There are enough powerful performances on that show to make five more just like it. When pastry chef Marcus went off to Copenhagen and studied with Luca, played by Will Poulter, the fact that the focus was far away from Carmy did nothing to detract from the episode’s power and its thematic connections to the season.\u003c/p>\n\u003cp>4. The changes to Amy’s (Ali Wong) hair over the course of \u003cem>\u003ca href=\"https://www.kqed.org/arts/13927211/ali-wong-steven-yeun-serve-up-epic-feud-in-netflixs-beef\">Beef\u003c/a> —\u003c/em> long and straight, blond and bobbed and parted on the side, dark and bobbed with bangs — are really effective at underscoring her struggle with who she is and wants to be. Hair department head Nicole Venables was clearly working at the top of her game.\u003c/p>\n\u003cfigure id=\"attachment_13939915\" class=\"wp-caption aligncenter\" style=\"max-width: 1866px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939915\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM.png\" alt=\"The same attractive Asian woman is seen with her hair worn in a black bob with bangs, a white bob and long and flowing.\" width=\"1866\" height=\"1060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM.png 1866w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-800x454.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-1020x579.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-160x91.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-768x436.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-1536x873.png 1536w\" sizes=\"(max-width: 1866px) 100vw, 1866px\">\u003cfigcaption class=\"wp-caption-text\">A look back at Amy’s hairstyles in ‘Beef.’ \u003ccite>(Andrew Cooper/ Netflix )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>5. Michael Schulman’s book \u003ca href=\"https://www.npr.org/2023/02/22/1158513159/oscar-wars-michael-schulman-academy-awards-controversies\">\u003cem>Oscar Wars\u003c/em>\u003c/a> is a great education in Hollywood history, but it’s also dishy as all get out. My highlight? A story about Joan Fontaine (supposedly!) telling people that she was considered for the role of Melanie in \u003cem>Gone With the Wind\u003c/em>, but was told she wasn’t plain enough, so she recommended her sister (and frenemy at best), Olivia de Havilland. That is so ice-cold, you could wrap it up and use it on your swollen ankle.\u003c/p>\n\u003cp>6. Greta Lee should be and likely will be in every awards conversation for her stellar work in \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a>. But even on Apple’s inconsistent \u003ca href=\"https://www.npr.org/2023/09/13/1198991146/the-morning-show-season-3-review\">\u003cem>The Morning Show\u003c/em>,\u003c/a> she’s always a standout as Stella, a young entertainment executive who faced some terrible choices in the show’s third season.\u003c/p>\n\u003cp>7. Had I been involved in the making of \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a>, I would have cared about nothing so much as exactly what song all the Kens should play when they, soaking in a bath of toxic masculinity, attempt to impress and win over the Barbies. Whatever I settled on would have been nowhere near as perfect as “\u003ca href=\"https://www.youtube.com/watch?v=uJLgKXp375I&ab_channel=AtlanticRecords\">Push\u003c/a>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x8Y57NWv5m0\u003c/p>\n\u003cp>8. The bright romantic comedy \u003ca href=\"https://www.npr.org/2023/03/30/1166717149/rye-lane-review\">\u003cem>Rye Lane\u003c/em>\u003c/a> has a lot to recommend it. But perhaps nothing stuck with me as much as its stunning colors — deep golds and yellows, bright pinks and reds, rich greens and blues. From director Raine Allen-Miller, it would be a stunner even with the sound off.\u003c/p>\n\u003cp>9. Whatever your feelings about the franchise, there is nothing to fault in the sequence in \u003ca href=\"https://www.npr.org/2023/06/29/1185129902/mission-impossible-is-back-but-will-you-accept-it-or-will-it-self-destruct\">\u003cem>Mission: Impossible — Dead Reckoning Part One\u003c/em>\u003c/a> in which Tom Cruise and Hayley Atwell are struggling to survive in a train that’s dangling off a cliff. A gas line, vats of oil, and a ratz-a-fratzin \u003cem>grand piano \u003c/em>all play into the gloriously silly, tooth-grindingly tense scene.\u003c/p>\n\u003cfigure id=\"attachment_13939901\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939901\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/shrinking_photo_010402_wide-42f66da259a6934d5edc408a57896cea18f00257-scaled-e1703838143772.jpg\" alt=\"A man in his seventies sits in a leather chair, his glasses propped on his forehead, looking concerned.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Harrison Ford in ‘Shrinking.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>10. Harrison Ford hasn’t made a lot of straight-up comedy in this stage of his career, so what a joy to see him in \u003ca href=\"https://www.npr.org/2023/01/31/1152527309/shrinking-review-harrison-ford-jason-segel\">\u003cem>Shrinking\u003c/em>\u003c/a>, alongside Jason Segel and Jessica Williams. All three play therapists who work together, and Ford deploys his brutal deadpan to make completely ordinary dialogue feel like punchline after punchline.\u003c/p>\n\u003cp>11. About five minutes into \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a>, Julianne Moore, seen in profile, opens the refrigerator in her sunny kitchen. The foreboding piano of the score (by Marcelo Zarvos, adapting a 1971 score by Michel Legrand for the film \u003cem>The Go-Between\u003c/em>) suddenly sounds loudly, and she stares into the refrigerator, as if she’s seeing the Ark of the Covenant. The camera pushes in. And then she says, “I don’t think we have enough hot dogs.” Is this a comedy? A drama? A horror movie? In that early moment, it is, as it will remain, hard to say.\u003c/p>\n\u003cfigure id=\"attachment_13939902\" class=\"wp-caption aligncenter\" style=\"max-width: 1424px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939902\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180.jpg\" alt=\"A crazed bear, howls in the woods, its tongue sticking out.\" width=\"1424\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180.jpg 1424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180-768x432.jpg 768w\" sizes=\"(max-width: 1424px) 100vw, 1424px\">\u003cfigcaption class=\"wp-caption-text\">The title ‘Cocaine Bear’ says it all, and the film delivers on that promise in 95 minutes. \u003ccite>(Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>12. \u003ca href=\"https://www.kqed.org/arts/13925388/cocaine-bear-is-here-to-strike-a-blow-to-staid-hollywood\">\u003cem>Cocaine Bear\u003c/em>\u003c/a>. The fact that they made it, the fact that they gave it that title, the fact that it’s so gory and gleeful and comfortable being what it is.\u003c/p>\n\u003cp>13. There is a scene near the end of \u003ca href=\"https://www.kqed.org/arts/13938358/saltburn-review-emerald-fennell-shocking-scenes-jacob-elordi\">\u003cem>Saltburn\u003c/em>\u003c/a> in which an elaborate lunch table full of wealthy people trying desperately to act normal under bizarre circumstances is plunged into haunting red light by the closing of the curtains. Emerald Fennell, who wrote and directed, simply doesn’t do anything halfway.\u003c/p>\n\u003cfigure id=\"attachment_13939897\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939897\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gro-09769_r-1-_wide-e73d26bb40e8b60f639bffe967b22f0abb2b2ba5-scaled-e1703838474386.jpg\" alt=\"Three women stand and gaze upwards. They are wearing superhero uniforms.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Iman Vellani as Ms. Marvel, Brie Larson as Captain Marvel and Teyonah Parris as Captain Monica Rambeau in ‘The Marvels.’ \u003ccite>(Laura Radford/ Marvel Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>14. Iman Vellani’s performance as Kamala Khan in \u003ca href=\"https://www.npr.org/2023/11/10/1197956743/the-marvels-is-a-light-comedy-about-light-powers\">\u003cem>The Marvels\u003c/em>\u003c/a> bubbles with energy, and a scene where she and Captain Marvel (Brie Larson) keep switching places, disappearing and reappearing in her parents’ house, is a kinetic, rambunctious delight. If you were put off by the talk about \u003cem>The Marvels \u003c/em>falling flat at the box office, don’t let that keep you from checking it out.\u003c/p>\n\u003cp>15. My favorite food host of the year is a three-way tie. Sohla El-Waylly and her husband Ham have been doing the series \u003ca href=\"https://www.youtube.com/watch?v=rVLIdFk-8no&list=PLYG6O_GQCZwikXIXw5p0vFQBif-RxUpHy&ab_channel=NYTCooking\">“Mystery Menu”\u003c/a> for the NYT cooking channel for a while now, but if you haven’t seen it — their experimentation with durian, for instance — check it out immediately. \u003cem>Also\u003c/em>: an equally good way to approach the NYT cooking channel is to watch absolutely anything \u003ca href=\"https://www.youtube.com/watch?v=pyv6lO1SBS0&list=PLYG6O_GQCZwgKmY38LuycalANW67g_yYV&ab_channel=NYTCooking\">featuring Eric Kim\u003c/a>, who is enchanting. \u003cem>Also also\u003c/em>: Anything on the Epicurious channel with chef Saul Montiel will brighten your day. \u003ca href=\"https://www.youtube.com/watch?v=QjyyDCPXy7k&list=PLz3-p2q6vFYWi_e0AWEkj2h22l0u1bqER&index=29&ab_channel=Epicurious\">Here he is making calzones.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13939903\" class=\"wp-caption aligncenter\" style=\"max-width: 1798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939903\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2.jpg\" alt=\"A tall young man and a shorter, older man with a mustache stand side by side in a snowy field. \" width=\"1798\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2.jpg 1798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-768x460.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-1536x921.jpg 1536w\" sizes=\"(max-width: 1798px) 100vw, 1798px\">\u003cfigcaption class=\"wp-caption-text\">Dominic Sessa, left, and Paul Giamatti in ‘The Holdovers.’ \u003ccite>(Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>16. All of the performances in \u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a> are top-notch, but it was especially promising to discover Dominic Sessa, a young actor on the screen for the first time. Playing Angus Tully, a high school kid who’s both smart and foolish (as so many are), he offers exquisite touches of both swagger and insecurity, enough to keep up with towering performances from Paul Giamatti and Da’Vine Joy Randolph. All three leads deserve many award nominations; he may be the one who loses out. But bet on him in the future. He’ll be back.\u003c/p>\n\u003cp>17. The tense final moments of the suspense thriller \u003ca href=\"https://www.kqed.org/arts/13935443/fair-play-review-netflix-gender-phoebe-dynevor#:~:text=Fair%20Play%20is%20visually%20moody,gray%20of%20their%20austere%20office.\">\u003cem>Fair Play\u003c/em>\u003c/a> had me unsure what I even \u003cem>wanted\u003c/em> to happen, and what actually happened was better than what I would have come up with anyway. That is exactly the ending you want from a psychologically complex story like this one, about a couple torn asunder by a promotion at work.\u003c/p>\n\u003cfigure id=\"attachment_13939904\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939904\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/platonic_photo_010403_wide-a74509800a306a1af17583f3735bdaa794cf2065-scaled-e1703838852943.jpg\" alt=\"A 30-something man sits confidently at an office desk, smiling at someone somewhat awkwardly.\" width=\"1920\" height=\"1079\">\u003cfigcaption class=\"wp-caption-text\">Luke Macfarlane in ‘Platonic.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>18. Luke MacFarlane is a veteran of holiday love stories (it’s probably adequate to note he was in films called both \u003cem>Sense & Sensibility & Snowmen \u003c/em>and \u003cem>A Shoe Addict’s Christmas\u003c/em>), and he made a splash with Billy Eichner in \u003cem>Bros\u003c/em> in 2022. This year, he was very funny in \u003ca href=\"https://tv.apple.com/us/show/platonic/umc.cmc.y7bc18x7co813l8i2tlsyb4l\">\u003cem>Platonic\u003c/em>\u003c/a>, playing the loving husband of a woman (Rose Byrne) whose friendship with an old pal (Seth Rogen) takes off anew. The part could be a real nothing; he makes it sing. (\u003cem>Platonic \u003c/em>runner-up: the scene, featuring Guy Branum, in which he throws electric scooters like a track star throws a discus is a sport. As it should be.)\u003c/p>\n\u003cp>19. There was nothing like the go-for-broke madness of Peacock’s\u003ca href=\"#1170610821\"> \u003cem>Mrs. Davis\u003c/em>, \u003c/a>an action-adventure comedic thriller about a nun who’s trying to resist the intrusions of an all-knowing AI who is suddenly in everyone’s ear. (Said AI is called Mrs. Davis, you see.) Betty Gilpin played Simone, the nun, with such control and flexibility that the wild plot developments around her didn’t distract from the character work.\u003c/p>\n\u003cfigure id=\"attachment_13939905\" class=\"wp-caption aligncenter\" style=\"max-width: 776px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939905\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_197587_00171_wide-5aaca6d0f9b84408cb67b0d3276fcda1a9256137.jpg\" alt=\"A woman with long shaggy blond hair stares worried into a phone screen. \" width=\"776\" height=\"436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_197587_00171_wide-5aaca6d0f9b84408cb67b0d3276fcda1a9256137.jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_197587_00171_wide-5aaca6d0f9b84408cb67b0d3276fcda1a9256137-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_197587_00171_wide-5aaca6d0f9b84408cb67b0d3276fcda1a9256137-768x432.jpg 768w\" sizes=\"(max-width: 776px) 100vw, 776px\">\u003cfigcaption class=\"wp-caption-text\">Natasha Lyonne in ‘Poker Face.’ \u003ccite>(Phillip Caruso/ Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>20. Rian Johnson created the episodic mystery show \u003ca href=\"https://www.kqed.org/arts/13924192/no-lie-natasha-lyonne-is-unforgettable-in-poker-face\">\u003cem>Poker Face\u003c/em>\u003c/a>, in which Natasha Lyonne played Charlie, a woman on the run who encounters a new mystery in every new town. Yes, the writing sparkled, and yes, the roster of guest stars — Judith Light! Lil Rel Howery! Hong Chau! Adrien Brody! — was top-tier. But at the center was Lyonne. From the minute she emerges from a trailer into the hot Nevada sun, sinks into a lawn chair, and grabs herself a beer and a smoke, the character already feels like an icon, and the show like a classic.\u003c/p>\n\u003cp>21. \u003ca href=\"https://www.npr.org/2023/01/15/1149054904/the-traitors-review-alan-cumming\">\u003cem>The Traitors\u003c/em> \u003c/a>is a fun reality competition show. But what set it apart was host Alan Cumming, whose pronunciation of “murrrrrder” and succession of impossibly debonair suits made him host of the year.\u003c/p>\n\u003cp>22. I had a spectacular time — spectacular! — watching the Philadelphia Phillies this fall. How do you not love Bryce Harper \u003ca href=\"https://www.mlb.com/video/harper-sprints-first-to-home\">running through a sign\u003c/a> from the third-base coach, scoring, and popping up on his toe?\u003c/p>\n\u003cfigure id=\"attachment_13939907\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939907\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/71nzsmfyhwl._sl1500__custom-1bdc6680756a679edab8654b3a8629a5f434f87d.jpg\" alt=\"A book cover featuring a cat in a suit.\" width=\"200\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/71nzsmfyhwl._sl1500__custom-1bdc6680756a679edab8654b3a8629a5f434f87d.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/71nzsmfyhwl._sl1500__custom-1bdc6680756a679edab8654b3a8629a5f434f87d-160x246.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Starter Villain.’ \u003ccite>(Tor Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>23. I dare you not to giggle at least once as the weird world of John Scalzi’s novel, \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=232\">\u003cem>Starter Villain\u003c/em>\u003c/a> unwinds in front of you. Is there a labor dispute? Yes. Does it involve dolphins? Yes. Is there a volcano, and are there supervillains? Yes and yes.\u003c/p>\n\u003cp>24. Sometimes it’s fun to just have something scare your socks off, and that’s what happened with \u003ca href=\"https://www.hulu.com/movie/9e96f51e-6806-4306-9773-e96b68d25305\">\u003cem>No One Will Save You\u003c/em>\u003c/a>, an eerie, almost dialogue-free “locked in the house and something terrible is happening” story starring Kaitlyn Dever. She hears a noise. She hides under the bed. She sees a pair of very upsetting feet go by. From there, she’s on her own.\u003c/p>\n\u003cp>25. Podcasts diving extra-deep into a particular film or show are of wildly differing quality. But\u003ca href=\"https://50mphpodcast.com/\"> \u003cem>50MPH\u003c/em>,\u003c/a> a planned 50-part (!!) series about the making of \u003cem>Speed\u003c/em>, has offered choice moments for the movie’s fans. Try \u003ca href=\"https://podcasts.apple.com/us/podcast/50-mph/id1691020723?i=1000625961446\">episode 12\u003c/a>, about the script development, which includes a detour into the involvement of one Joss Whedon.\u003c/p>\n\u003cp>26. Emma Cline’s novel \u003ca href=\"https://www.npr.org/2023/05/25/1178300477/in-the-guest-a-sex-worker-wreaks-havoc-on-the-glitzy-social-scene-at-the-hampton\">\u003cem>The Guest\u003c/em>\u003c/a> is about a woman whose boyfriend kicks her out and leaves her adrift in the Hamptons to survive with nothing. She imposes upon one person, then another, and Cline builds a sense of dread amid all the wealth: “No one on the shore noticed her, or looked twice. A couple walked past, heads bent, studying the sand for shells … Surely, if Alex had been in any real danger, someone would have reacted, one of these people would have stepped in to help.”\u003c/p>\n\u003cfigure id=\"attachment_13939908\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap091207034728_wide-a1a2587a9eee11ca90b5d981b831f43c13702513-e1703839359528.jpg\" alt=\"A man in a grey suit and red bowtie gestures wildly, mouth agape.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Paul Reubens, better known as Pee-wee Herman, died in July at age 70. \u003ccite>(Danny Moloshok/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>27. Paul Reubens, who created the character Pee-wee Herman, died on July 30, and was warmly and appropriately appreciated. What a delightful surprise, then, to see him in a cameo appearance in the affable comedy\u003ca href=\"https://www.npr.org/2023/11/08/1197956693/sandra-oh-and-awkwafina-are-perfect-opposites-in-quiz-lady\"> \u003cem>Quiz Lady\u003c/em>, \u003c/a>playing himself as the baffled target of a fan’s affections.\u003c/p>\n\u003cp>[aside postid='arts_13938757']28. I had trouble following the plot of the drama series \u003ca href=\"https://www.max.com/shows/full-circle/8996a19c-8e8b-4d8b-8f1a-fa146751d544\">\u003cem>Full Circle\u003c/em>,\u003c/a> which starred Claire Danes and Timothy Olyphant as a couple that learns their son has been kidnapped, which is only the very beginning of their problems. I did, however, greatly appreciate Vulture’s Kathryn VanArendonk \u003ca href=\"https://www.vulture.com/article/dennis-quaid-full-circle-braid-explained.html\">making a thorough investigation\u003c/a> of why on earth Dennis Quaid ended up wearing a braid. It involves a last-minute dash to a wig shop. It’s quite a tale.\u003c/p>\n\u003cp>29. Yes, Maureen Ryan is one of my very good friends and colleagues in the writing-about-television industry. But plenty of people agreed that as hard as it was to read, her book \u003ca href=\"https://www.npr.org/2023/06/03/1180008736/beloved-tv-show-lost-wasnt-immune-to-industrys-pervasive-toxic-culture\">\u003cem>Burn It Down\u003c/em>\u003c/a>, about abuse in Hollywood and the systems that enable it, was a tremendous example of dogged journalism that does what it sets out to do. Pleasant to read? No. Wonderful to know that this kind of work is still being done, and done so well? Yes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kes2P4IC2bQ&t=3s\u003c/p>\n\u003cp>30. The Tiny Desk at NPR has been growing and growing in the breadth of its offerings, the devotion of its audience, and the vibrancy of its innovation. This year, nothing landed quite like the \u003ca href=\"https://www.youtube.com/watch?v=kes2P4IC2bQ&t=3s&ab_channel=NPRMusic\">appearance by Juvenile\u003c/a>, which is irresistible even to people who don’t necessarily think they’re “Back That Azz Up” people. Trombone Shorty was there! Jon Batiste flew in from London! What a wondrous thing.\u003c/p>\n\u003cp>[aside postid='arts_13938881']31. Jimmy Tatro appeared in the comedy \u003ca href=\"https://www.hulu.com/watch/2e9ba993-a6a8-46e6-b2ac-6705badd7503\">\u003cem>Theater Camp\u003c/em>\u003c/a>, playing a character not dissimilar to the doofus jock he played in \u003cem>American Vandal\u003c/em>. Not to pigeonhole Tatro, but some actors have an eerily perfect touch with a particular kind of role, and Tatro is perhaps our foremost lovably lunkheaded bro.\u003c/p>\n\u003cp>32. Sam Sanders juggled two podcasts for much of the year: \u003ca href=\"https://www.vulture.com/into-it/\">\u003cem>Into It \u003c/em>\u003c/a>at Vulture and \u003ca href=\"https://www.stitcherstudios.com/shows/vibe-check\">\u003cem>Vibe Check\u003c/em>, \u003c/a>which he does with his friends Saeed Jones and Zach Stafford. Disappointingly, \u003cem>Into It \u003c/em>was a victim of cutbacks, but \u003cem>Vibe Check \u003c/em>continues, and it provided \u003ca href=\"https://podcasts.apple.com/us/podcast/life-has-been-lifing-lately/id1637476174?i=1000620850273\">one of the most moving episodes of the year\u003c/a> in a discussion of grief following the death of Sam’s mother.\u003c/p>\n\u003cp>33. There is a long history of shows making baffling choices when forced to replace a beloved host. When Padma Lakshmi decided to step away from \u003cem>Top Chef\u003c/em>, a lot of us thought, “They should pick somebody like [\u003cem>Top Chef \u003c/em>champion] Kristen Kish, but they won’t.” And then they did! Welcome the Kish era!\u003c/p>\n\u003cfigure id=\"attachment_13939909\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939909\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83.jpg\" alt=\"A Black man and a white man sit side-by-side in a jury box.\" width=\"1920\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-1536x862.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ishmel Sahid, left, and James Marsden play alternate jurors in the series ‘Jury Duty.’ \u003ccite>(Amazon Freevee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>34. \u003ca href=\"https://www.amazon.com/Jury-Duty-Season-1/dp/B0B8JM2BBS\">\u003cem>Jury Duty\u003c/em>\u003c/a> is the Amazon Freevee series in which a man named Ronald is called for jury duty, and he doesn’t know that everyone else from the judge to the other jurors to the lawyers and parties, is an actor. At the end, all is revealed to him — that he’s been sitting on a fake jury of a fake trial — and it could have been so, so painful to watch. But Ronald has a good sense of humor, and he chooses not to feel let down, even by his new pal, James Marsden (who plays himself in the fake scenario). They lucked out with Ronald, for sure.\u003c/p>\n\u003cp>35. There were some impressive videos of striking actors advocating for themselves and their colleagues as their strike (and the WGA strike) wore on. One of the best \u003ca href=\"https://x.com/LisaCullen/status/1656337549495762951?s=20\">came from Mandy Patinkin\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/LisaCullen/status/1656337549495762951?s=20\u003c/p>\n\u003cp>36. John Mulaney’s Netflix special\u003ca href=\"https://www.kqed.org/arts/13928322/baby-j-john-mulaney-stand-up-review-netflix\">\u003cem> Baby J\u003c/em>\u003c/a> was deeply uncomfortable to watch, as he recounted his experiences with addiction, intervention and rehab. But the story of having an intervention with a room full of comedians sparkled. “Do you know what it’s like to have 12 people save your life?” he asks in a discussion of his indebtedness. “It’s too many people.”\u003c/p>\n\u003cp>37. Last year in this space, I saluted Karina Longworth’s excellent podcast series \u003cem>You Must Remember This\u003c/em>, and its miniseries \u003cem>Erotic ’80s\u003c/em>. What happened this year? \u003cem>Erotic ’90s\u003c/em>, of course, and it was perhaps even better. Try the \u003ca href=\"https://podcasts.apple.com/us/podcast/you-must-remember-this/id858124601?i=1000607274568\">Julia Roberts episode\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13939911\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939911\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-tcp-05246_high_res_jpeg_wide-5c0544d47d9f6bbc91455c849ba94e8d7f075681-scaled-e1703839832634.jpe\" alt=\"One Black woman leans on the shoulder of another, outdoors in the sun.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Danielle Brooks and Fantasia Barrino in ‘The Color Purple.’ \u003ccite>(Eli Adé/ Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>38. Danielle Brooks gives only one of several excellent performances in \u003ca href=\"https://www.kqed.org/arts/13939793/the-color-purple-successfully-squeezes-popular-entertainment-out-of-art\">\u003cem>The Color Purple\u003c/em>\u003c/a>. (What a joy to see Fantasia Barrino thriving, having watched her on \u003cem>American Idol \u003c/em>so many years ago.) But Brooks’ work is emotional and haunting and also tremendously funny — she plays Sofia, played in the Spielberg movie by Oprah Winfrey — and she never misses a step.\u003c/p>\n\u003cp>[aside postid='arts_13939793']39. I don’t spend as much time dunking on terrible things as I used to, but there’s a particular pleasure to be found in an evisceration of something you very much disliked. Thus, please enjoy \u003ca href=\"https://buttnews.substack.com/p/fat-suit-fart-attack-the-whale\">Lindy West’s piece\u003c/a> on \u003cem>The Whale\u003c/em>.\u003c/p>\n\u003cp>40. In \u003ca href=\"https://www.kqed.org/arts/13936363/anatomy-of-a-fall-movie-review-sandra-huller-palme-dor-france\">\u003cem>Anatomy of a Fall\u003c/em>\u003c/a>, Sandra Hüller plays a woman who might — or might not — have done something terrible. In effect, to sustain the uncertainty, she has to play two women simultaneously: one who is covering up guilt, and one who is being unfairly accused. It’s a remarkable trick.\u003c/p>\n\u003cp>41. It has sometimes been hard to remember, as Twitter becomes unusable for me, that it could be a genuine source of friendly small talk. As a salute to that particular piece of its history, \u003ca href=\"https://twitter.com/lindaholmes/status/1633277824906797058\">enjoy this thread\u003c/a> in which a thousand people answered the call for pictures of their pets.\u003c/p>\n\u003cfigure id=\"attachment_13939912\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939912\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/american-fiction-f_03320_r_rgb_custom-9c4efdd6045ee9b2208c20de69d920421838c08b-scaled-e1703840068351.jpg\" alt=\"A Black woman and man walk down a grassy path, surrounded on both sides by tall shrubs and plants. They are smiling.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">Erika Alexander and Jeffrey Wright in ‘American Fiction.’ \u003ccite>(Claire Folger/ Orion Releasing LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>42. Jeffrey Wright’s performance in \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a> as an intellectual convinced that he’s at the mercy of a foolish literary establishment (which is … probably right) is part of the movie’s appeal. But maybe even better is the part of the performance that focuses on the character’s complex, fractured relationships with his family. Wright is one of our very best.\u003c/p>\n\u003cp>[aside postid='arts_13932204']43. \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a> is a category of movie we’ve seen before, in that it’s an examination of a very famous man with a complicated legacy. But director Christopher Nolan is a master of capturing the unthinkably enormous, so it’s unsurprising that his approach to presenting the detonation of a nuclear bomb is inventive and meticulously done.\u003c/p>\n\u003cp>44. The crime thriller \u003cem>Sharper \u003c/em>sort of came and went (\u003ca href=\"https://tv.apple.com/us/movie/sharper/umc.cmc.5ud0ivpwgqw2st0u4z73gwpar\">you can find it on Apple TV+\u003c/a>); it stars Julianne Moore, Sebastian Stan and Justice Smith as three of the people tied up in a complicated (really complicated) plot that involves con artists, guns, money and a lot of beautiful people. There’s a kind of pleasure in twisty thrillers that you can’t quite get anywhere else, and the closing chapter of this one delivered it.\u003c/p>\n\u003cfigure id=\"attachment_13939913\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939913\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/the_diplomat_s1_e4_-native-_00_38_18_16r_wide-4e9514c2c795b64e9326a8f746d70853f47cd2b6-scaled-e1703840309929.jpg\" alt=\"An attractive middle-aged woman holds a telephone to her ear. She looks concerned.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Keri Russell in ‘The Diplomat.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>45. After \u003cem>The Americans \u003c/em>and \u003cem>Felicity \u003c/em>(and, sure, \u003cem>Cocaine Bear\u003c/em>), nobody needs to prove the versatility of Keri Russell. But playing a new ambassador named Kate in \u003ca href=\"https://www.npr.org/2023/04/19/1170685432/the-diplomat-review-keri-russell\">\u003cem>The Diplomat\u003c/em>\u003c/a>, the way she moves from one room to another, the way she picks up and puts down various objects, even the way she squirms as someone puts makeup on her, all contribute to a vision of Kate as a superbly competent and capable person, which makes her spy-thriller adventures much easier to care about.\u003c/p>\n\u003cp>[aside postid='arts_13939092']46. The level of difficulty in Emma Stone’s performance in Yorgos Lanthimos’ \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> is extraordinary: she’s playing a woman who is, sort of, a child. But she rapidly grows emotionally and intellectually older, more and more independent and lustful. Stone makes it all seem like one performance, one character.\u003c/p>\n\u003cp>47. I very much liked \u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.bff6d26e-9aa3-47b3-9bbb-92acb9942cdb?autoplay=0&ref_=atv_cf_strg_wb\">\u003cem>Deadloch\u003c/em>\u003c/a>, an Australian comedy-crime series that is both a small-time crime series in the tradition of \u003cem>Broadchurch \u003c/em>and a send-up of those very shows. I didn’t know the actors, I didn’t know much about the show until I watched it, and I was delighted to discover it. Most of those things are also true of runner-up Australian comedy \u003ca href=\"https://www.npr.org/2023/12/04/1197958569/colin-from-accounts-deserves-a-raise\">\u003cem>Colin From Accounts\u003c/em>\u003c/a>, which is also worth a watch.\u003c/p>\n\u003cp>48. I was slow to get attached to \u003cem>Only Murders in the Building\u003c/em>, which focused this season on the production of a musical. But Steve Martin’s delivery of the patter song \u003ca href=\"https://www.youtube.com/watch?v=Piv19tK4lH4&t=2s&ab_channel=Hulu\">“Which of the Pickwick Triplets Did it?”\u003c/a> was the best reason of all to get on board.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Piv19tK4lH4&t=2s&ab_channel=Hulu\u003c/p>\n\u003cp>49. Hopefully, I can be forgiven for sneaking some older stuff in here by talking about a project that was great for me this year: The Criterion Collection continues to be a wonderful source for classic movies, and I used its collection of some of the films from the \u003ca href=\"https://www.criterionchannel.com/sight-sound-s-greatest-films-of-all-time\">Sight & Sound poll\u003c/a> as a way into movies including \u003cem>The Passion of Joan of Arc\u003c/em>, \u003cem>Black Orpheus\u003c/em>, \u003cem>Cleo from 5 to 7\u003c/em>, and the film that topped the list: \u003cem>Jean Dielman, 23, quai du Commerce, 1080 Bruxelles\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>50. This was the year I got (deeply) into \u003cem>The Flop House\u003c/em>, a podcast that’s been around since late 2007 (what? I was busy) and passed its 400th episode. Each week, hosts Dan McCoy, Stuart Wellington and Elliott Kalan talk about a movie that’s either a commercial or critical disappointment. There are guest hosts sometimes, there is a longstanding fixation on the more disposable work of Nicolas Cage (whom they rightly revere as an actor), and you can start right at the beginning of January with \u003ca href=\"https://podcasts.apple.com/us/podcast/the-flop-house/id263585537?i=1000594413409\">their consideration of \u003cem>Black Adam\u003c/em>\u003c/a>. From the not-so-wonderful, the wonderful can sometimes emerge.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+year+in+review%3A+50+wonderful+things+from+2023&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’ve been making annual lists of \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1221652903&live=1\">50 Wonderful Pop Culture Things\u003c/a> since 2010. They include things you’ve probably heard of and things you might not have, things that are meaningful and things that are hilarious, things that matter and things that don’t at all. In this year in which TV and film were both interrupted for months as a result of labor disputes, there was plenty to admire even as production ground to a halt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The usual caveats apply: These are not objectively the best things; they are just wonderful things. There were far more than 50 wonderful things to admire this year, and there is far (far) more that I never saw or read or heard at all. But it never hurts to look back on the year and realize that in fact, delight was upon you over and over.\u003c/p>\n\u003cp>1. The best podcast I started listening to this year was\u003ca href=\"https://www.ifbookspod.com/\"> \u003cem>If Books Could Kill\u003c/em>, \u003c/a>hosted by Michael Hobbes and Peter Shamshiri. The premise is that they dive into “airport books” from self-help to political posturing to investigate their claims. It’s very funny and deeply researched, and in a world where it’s easy to feel like you’re losing your grip, it’s a good reminder: your grip is fine. You’re just being handed a lot of slippery things. Start with their January episode \u003ca href=\"https://podcasts.apple.com/us/podcast/if-books-could-kill/id1651876897?i=1000596707945\">about John Gray’s \u003cem>Men Are From Mars, Women Are From Venus\u003c/em>\u003c/a>. You never forget an episode that makes you cackle in your car.\u003c/p>\n\u003cp>2. It’s hard to pick a single moment from the scorching fourth and final season of \u003cem>Succession. \u003c/em>But the \u003ca href=\"https://www.youtube.com/watch?v=KH55hmX0-Uo&ab_channel=HBO\">balcony fight between Shiv and Tom\u003c/a> that went on and on and got worse and worse, more and more painful, encapsulated exactly what has worked so well about the show. It was a years-long story reaching its inevitable nuclear meltdown, and Sarah Snook and Matthew Macfadyen played it brilliantly. “I think you are incapable of love.” Yikes.\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/KH55hmX0-Uo'\n title='//www.youtube.com/embed/KH55hmX0-Uo'\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>3. Rarely has a show come back from a truly great first season and made a truly great second season. \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a> managed to do it with the help of an exquisite cast, both regulars and guest stars. There are enough powerful performances on that show to make five more just like it. When pastry chef Marcus went off to Copenhagen and studied with Luca, played by Will Poulter, the fact that the focus was far away from Carmy did nothing to detract from the episode’s power and its thematic connections to the season.\u003c/p>\n\u003cp>4. The changes to Amy’s (Ali Wong) hair over the course of \u003cem>\u003ca href=\"https://www.kqed.org/arts/13927211/ali-wong-steven-yeun-serve-up-epic-feud-in-netflixs-beef\">Beef\u003c/a> —\u003c/em> long and straight, blond and bobbed and parted on the side, dark and bobbed with bangs — are really effective at underscoring her struggle with who she is and wants to be. Hair department head Nicole Venables was clearly working at the top of her game.\u003c/p>\n\u003cfigure id=\"attachment_13939915\" class=\"wp-caption aligncenter\" style=\"max-width: 1866px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939915\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM.png\" alt=\"The same attractive Asian woman is seen with her hair worn in a black bob with bangs, a white bob and long and flowing.\" width=\"1866\" height=\"1060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM.png 1866w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-800x454.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-1020x579.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-160x91.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-768x436.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-1536x873.png 1536w\" sizes=\"(max-width: 1866px) 100vw, 1866px\">\u003cfigcaption class=\"wp-caption-text\">A look back at Amy’s hairstyles in ‘Beef.’ \u003ccite>(Andrew Cooper/ Netflix )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>5. Michael Schulman’s book \u003ca href=\"https://www.npr.org/2023/02/22/1158513159/oscar-wars-michael-schulman-academy-awards-controversies\">\u003cem>Oscar Wars\u003c/em>\u003c/a> is a great education in Hollywood history, but it’s also dishy as all get out. My highlight? A story about Joan Fontaine (supposedly!) telling people that she was considered for the role of Melanie in \u003cem>Gone With the Wind\u003c/em>, but was told she wasn’t plain enough, so she recommended her sister (and frenemy at best), Olivia de Havilland. That is so ice-cold, you could wrap it up and use it on your swollen ankle.\u003c/p>\n\u003cp>6. Greta Lee should be and likely will be in every awards conversation for her stellar work in \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a>. But even on Apple’s inconsistent \u003ca href=\"https://www.npr.org/2023/09/13/1198991146/the-morning-show-season-3-review\">\u003cem>The Morning Show\u003c/em>,\u003c/a> she’s always a standout as Stella, a young entertainment executive who faced some terrible choices in the show’s third season.\u003c/p>\n\u003cp>7. Had I been involved in the making of \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a>, I would have cared about nothing so much as exactly what song all the Kens should play when they, soaking in a bath of toxic masculinity, attempt to impress and win over the Barbies. Whatever I settled on would have been nowhere near as perfect as “\u003ca href=\"https://www.youtube.com/watch?v=uJLgKXp375I&ab_channel=AtlanticRecords\">Push\u003c/a>.”\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/x8Y57NWv5m0'\n title='//www.youtube.com/embed/x8Y57NWv5m0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>8. The bright romantic comedy \u003ca href=\"https://www.npr.org/2023/03/30/1166717149/rye-lane-review\">\u003cem>Rye Lane\u003c/em>\u003c/a> has a lot to recommend it. But perhaps nothing stuck with me as much as its stunning colors — deep golds and yellows, bright pinks and reds, rich greens and blues. From director Raine Allen-Miller, it would be a stunner even with the sound off.\u003c/p>\n\u003cp>9. Whatever your feelings about the franchise, there is nothing to fault in the sequence in \u003ca href=\"https://www.npr.org/2023/06/29/1185129902/mission-impossible-is-back-but-will-you-accept-it-or-will-it-self-destruct\">\u003cem>Mission: Impossible — Dead Reckoning Part One\u003c/em>\u003c/a> in which Tom Cruise and Hayley Atwell are struggling to survive in a train that’s dangling off a cliff. A gas line, vats of oil, and a ratz-a-fratzin \u003cem>grand piano \u003c/em>all play into the gloriously silly, tooth-grindingly tense scene.\u003c/p>\n\u003cfigure id=\"attachment_13939901\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939901\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/shrinking_photo_010402_wide-42f66da259a6934d5edc408a57896cea18f00257-scaled-e1703838143772.jpg\" alt=\"A man in his seventies sits in a leather chair, his glasses propped on his forehead, looking concerned.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Harrison Ford in ‘Shrinking.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>10. Harrison Ford hasn’t made a lot of straight-up comedy in this stage of his career, so what a joy to see him in \u003ca href=\"https://www.npr.org/2023/01/31/1152527309/shrinking-review-harrison-ford-jason-segel\">\u003cem>Shrinking\u003c/em>\u003c/a>, alongside Jason Segel and Jessica Williams. All three play therapists who work together, and Ford deploys his brutal deadpan to make completely ordinary dialogue feel like punchline after punchline.\u003c/p>\n\u003cp>11. About five minutes into \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a>, Julianne Moore, seen in profile, opens the refrigerator in her sunny kitchen. The foreboding piano of the score (by Marcelo Zarvos, adapting a 1971 score by Michel Legrand for the film \u003cem>The Go-Between\u003c/em>) suddenly sounds loudly, and she stares into the refrigerator, as if she’s seeing the Ark of the Covenant. The camera pushes in. And then she says, “I don’t think we have enough hot dogs.” Is this a comedy? A drama? A horror movie? In that early moment, it is, as it will remain, hard to say.\u003c/p>\n\u003cfigure id=\"attachment_13939902\" class=\"wp-caption aligncenter\" style=\"max-width: 1424px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939902\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180.jpg\" alt=\"A crazed bear, howls in the woods, its tongue sticking out.\" width=\"1424\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180.jpg 1424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180-768x432.jpg 768w\" sizes=\"(max-width: 1424px) 100vw, 1424px\">\u003cfigcaption class=\"wp-caption-text\">The title ‘Cocaine Bear’ says it all, and the film delivers on that promise in 95 minutes. \u003ccite>(Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>12. \u003ca href=\"https://www.kqed.org/arts/13925388/cocaine-bear-is-here-to-strike-a-blow-to-staid-hollywood\">\u003cem>Cocaine Bear\u003c/em>\u003c/a>. The fact that they made it, the fact that they gave it that title, the fact that it’s so gory and gleeful and comfortable being what it is.\u003c/p>\n\u003cp>13. There is a scene near the end of \u003ca href=\"https://www.kqed.org/arts/13938358/saltburn-review-emerald-fennell-shocking-scenes-jacob-elordi\">\u003cem>Saltburn\u003c/em>\u003c/a> in which an elaborate lunch table full of wealthy people trying desperately to act normal under bizarre circumstances is plunged into haunting red light by the closing of the curtains. Emerald Fennell, who wrote and directed, simply doesn’t do anything halfway.\u003c/p>\n\u003cfigure id=\"attachment_13939897\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939897\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gro-09769_r-1-_wide-e73d26bb40e8b60f639bffe967b22f0abb2b2ba5-scaled-e1703838474386.jpg\" alt=\"Three women stand and gaze upwards. They are wearing superhero uniforms.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Iman Vellani as Ms. Marvel, Brie Larson as Captain Marvel and Teyonah Parris as Captain Monica Rambeau in ‘The Marvels.’ \u003ccite>(Laura Radford/ Marvel Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>14. Iman Vellani’s performance as Kamala Khan in \u003ca href=\"https://www.npr.org/2023/11/10/1197956743/the-marvels-is-a-light-comedy-about-light-powers\">\u003cem>The Marvels\u003c/em>\u003c/a> bubbles with energy, and a scene where she and Captain Marvel (Brie Larson) keep switching places, disappearing and reappearing in her parents’ house, is a kinetic, rambunctious delight. If you were put off by the talk about \u003cem>The Marvels \u003c/em>falling flat at the box office, don’t let that keep you from checking it out.\u003c/p>\n\u003cp>15. My favorite food host of the year is a three-way tie. Sohla El-Waylly and her husband Ham have been doing the series \u003ca href=\"https://www.youtube.com/watch?v=rVLIdFk-8no&list=PLYG6O_GQCZwikXIXw5p0vFQBif-RxUpHy&ab_channel=NYTCooking\">“Mystery Menu”\u003c/a> for the NYT cooking channel for a while now, but if you haven’t seen it — their experimentation with durian, for instance — check it out immediately. \u003cem>Also\u003c/em>: an equally good way to approach the NYT cooking channel is to watch absolutely anything \u003ca href=\"https://www.youtube.com/watch?v=pyv6lO1SBS0&list=PLYG6O_GQCZwgKmY38LuycalANW67g_yYV&ab_channel=NYTCooking\">featuring Eric Kim\u003c/a>, who is enchanting. \u003cem>Also also\u003c/em>: Anything on the Epicurious channel with chef Saul Montiel will brighten your day. \u003ca href=\"https://www.youtube.com/watch?v=QjyyDCPXy7k&list=PLz3-p2q6vFYWi_e0AWEkj2h22l0u1bqER&index=29&ab_channel=Epicurious\">Here he is making calzones.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13939903\" class=\"wp-caption aligncenter\" style=\"max-width: 1798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939903\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2.jpg\" alt=\"A tall young man and a shorter, older man with a mustache stand side by side in a snowy field. \" width=\"1798\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2.jpg 1798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-768x460.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-1536x921.jpg 1536w\" sizes=\"(max-width: 1798px) 100vw, 1798px\">\u003cfigcaption class=\"wp-caption-text\">Dominic Sessa, left, and Paul Giamatti in ‘The Holdovers.’ \u003ccite>(Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>16. All of the performances in \u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a> are top-notch, but it was especially promising to discover Dominic Sessa, a young actor on the screen for the first time. Playing Angus Tully, a high school kid who’s both smart and foolish (as so many are), he offers exquisite touches of both swagger and insecurity, enough to keep up with towering performances from Paul Giamatti and Da’Vine Joy Randolph. All three leads deserve many award nominations; he may be the one who loses out. But bet on him in the future. He’ll be back.\u003c/p>\n\u003cp>17. The tense final moments of the suspense thriller \u003ca href=\"https://www.kqed.org/arts/13935443/fair-play-review-netflix-gender-phoebe-dynevor#:~:text=Fair%20Play%20is%20visually%20moody,gray%20of%20their%20austere%20office.\">\u003cem>Fair Play\u003c/em>\u003c/a> had me unsure what I even \u003cem>wanted\u003c/em> to happen, and what actually happened was better than what I would have come up with anyway. That is exactly the ending you want from a psychologically complex story like this one, about a couple torn asunder by a promotion at work.\u003c/p>\n\u003cfigure id=\"attachment_13939904\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939904\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/platonic_photo_010403_wide-a74509800a306a1af17583f3735bdaa794cf2065-scaled-e1703838852943.jpg\" alt=\"A 30-something man sits confidently at an office desk, smiling at someone somewhat awkwardly.\" width=\"1920\" height=\"1079\">\u003cfigcaption class=\"wp-caption-text\">Luke Macfarlane in ‘Platonic.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>18. Luke MacFarlane is a veteran of holiday love stories (it’s probably adequate to note he was in films called both \u003cem>Sense & Sensibility & Snowmen \u003c/em>and \u003cem>A Shoe Addict’s Christmas\u003c/em>), and he made a splash with Billy Eichner in \u003cem>Bros\u003c/em> in 2022. This year, he was very funny in \u003ca href=\"https://tv.apple.com/us/show/platonic/umc.cmc.y7bc18x7co813l8i2tlsyb4l\">\u003cem>Platonic\u003c/em>\u003c/a>, playing the loving husband of a woman (Rose Byrne) whose friendship with an old pal (Seth Rogen) takes off anew. The part could be a real nothing; he makes it sing. (\u003cem>Platonic \u003c/em>runner-up: the scene, featuring Guy Branum, in which he throws electric scooters like a track star throws a discus is a sport. As it should be.)\u003c/p>\n\u003cp>19. There was nothing like the go-for-broke madness of Peacock’s\u003ca href=\"#1170610821\"> \u003cem>Mrs. Davis\u003c/em>, \u003c/a>an action-adventure comedic thriller about a nun who’s trying to resist the intrusions of an all-knowing AI who is suddenly in everyone’s ear. (Said AI is called Mrs. Davis, you see.) Betty Gilpin played Simone, the nun, with such control and flexibility that the wild plot developments around her didn’t distract from the character work.\u003c/p>\n\u003cfigure id=\"attachment_13939905\" class=\"wp-caption aligncenter\" style=\"max-width: 776px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939905\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_197587_00171_wide-5aaca6d0f9b84408cb67b0d3276fcda1a9256137.jpg\" alt=\"A woman with long shaggy blond hair stares worried into a phone screen. \" width=\"776\" height=\"436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_197587_00171_wide-5aaca6d0f9b84408cb67b0d3276fcda1a9256137.jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_197587_00171_wide-5aaca6d0f9b84408cb67b0d3276fcda1a9256137-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_197587_00171_wide-5aaca6d0f9b84408cb67b0d3276fcda1a9256137-768x432.jpg 768w\" sizes=\"(max-width: 776px) 100vw, 776px\">\u003cfigcaption class=\"wp-caption-text\">Natasha Lyonne in ‘Poker Face.’ \u003ccite>(Phillip Caruso/ Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>20. Rian Johnson created the episodic mystery show \u003ca href=\"https://www.kqed.org/arts/13924192/no-lie-natasha-lyonne-is-unforgettable-in-poker-face\">\u003cem>Poker Face\u003c/em>\u003c/a>, in which Natasha Lyonne played Charlie, a woman on the run who encounters a new mystery in every new town. Yes, the writing sparkled, and yes, the roster of guest stars — Judith Light! Lil Rel Howery! Hong Chau! Adrien Brody! — was top-tier. But at the center was Lyonne. From the minute she emerges from a trailer into the hot Nevada sun, sinks into a lawn chair, and grabs herself a beer and a smoke, the character already feels like an icon, and the show like a classic.\u003c/p>\n\u003cp>21. \u003ca href=\"https://www.npr.org/2023/01/15/1149054904/the-traitors-review-alan-cumming\">\u003cem>The Traitors\u003c/em> \u003c/a>is a fun reality competition show. But what set it apart was host Alan Cumming, whose pronunciation of “murrrrrder” and succession of impossibly debonair suits made him host of the year.\u003c/p>\n\u003cp>22. I had a spectacular time — spectacular! — watching the Philadelphia Phillies this fall. How do you not love Bryce Harper \u003ca href=\"https://www.mlb.com/video/harper-sprints-first-to-home\">running through a sign\u003c/a> from the third-base coach, scoring, and popping up on his toe?\u003c/p>\n\u003cfigure id=\"attachment_13939907\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939907\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/71nzsmfyhwl._sl1500__custom-1bdc6680756a679edab8654b3a8629a5f434f87d.jpg\" alt=\"A book cover featuring a cat in a suit.\" width=\"200\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/71nzsmfyhwl._sl1500__custom-1bdc6680756a679edab8654b3a8629a5f434f87d.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/71nzsmfyhwl._sl1500__custom-1bdc6680756a679edab8654b3a8629a5f434f87d-160x246.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Starter Villain.’ \u003ccite>(Tor Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>23. I dare you not to giggle at least once as the weird world of John Scalzi’s novel, \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=232\">\u003cem>Starter Villain\u003c/em>\u003c/a> unwinds in front of you. Is there a labor dispute? Yes. Does it involve dolphins? Yes. Is there a volcano, and are there supervillains? Yes and yes.\u003c/p>\n\u003cp>24. Sometimes it’s fun to just have something scare your socks off, and that’s what happened with \u003ca href=\"https://www.hulu.com/movie/9e96f51e-6806-4306-9773-e96b68d25305\">\u003cem>No One Will Save You\u003c/em>\u003c/a>, an eerie, almost dialogue-free “locked in the house and something terrible is happening” story starring Kaitlyn Dever. She hears a noise. She hides under the bed. She sees a pair of very upsetting feet go by. From there, she’s on her own.\u003c/p>\n\u003cp>25. Podcasts diving extra-deep into a particular film or show are of wildly differing quality. But\u003ca href=\"https://50mphpodcast.com/\"> \u003cem>50MPH\u003c/em>,\u003c/a> a planned 50-part (!!) series about the making of \u003cem>Speed\u003c/em>, has offered choice moments for the movie’s fans. Try \u003ca href=\"https://podcasts.apple.com/us/podcast/50-mph/id1691020723?i=1000625961446\">episode 12\u003c/a>, about the script development, which includes a detour into the involvement of one Joss Whedon.\u003c/p>\n\u003cp>26. Emma Cline’s novel \u003ca href=\"https://www.npr.org/2023/05/25/1178300477/in-the-guest-a-sex-worker-wreaks-havoc-on-the-glitzy-social-scene-at-the-hampton\">\u003cem>The Guest\u003c/em>\u003c/a> is about a woman whose boyfriend kicks her out and leaves her adrift in the Hamptons to survive with nothing. She imposes upon one person, then another, and Cline builds a sense of dread amid all the wealth: “No one on the shore noticed her, or looked twice. A couple walked past, heads bent, studying the sand for shells … Surely, if Alex had been in any real danger, someone would have reacted, one of these people would have stepped in to help.”\u003c/p>\n\u003cfigure id=\"attachment_13939908\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap091207034728_wide-a1a2587a9eee11ca90b5d981b831f43c13702513-e1703839359528.jpg\" alt=\"A man in a grey suit and red bowtie gestures wildly, mouth agape.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Paul Reubens, better known as Pee-wee Herman, died in July at age 70. \u003ccite>(Danny Moloshok/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>27. Paul Reubens, who created the character Pee-wee Herman, died on July 30, and was warmly and appropriately appreciated. What a delightful surprise, then, to see him in a cameo appearance in the affable comedy\u003ca href=\"https://www.npr.org/2023/11/08/1197956693/sandra-oh-and-awkwafina-are-perfect-opposites-in-quiz-lady\"> \u003cem>Quiz Lady\u003c/em>, \u003c/a>playing himself as the baffled target of a fan’s affections.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>28. I had trouble following the plot of the drama series \u003ca href=\"https://www.max.com/shows/full-circle/8996a19c-8e8b-4d8b-8f1a-fa146751d544\">\u003cem>Full Circle\u003c/em>,\u003c/a> which starred Claire Danes and Timothy Olyphant as a couple that learns their son has been kidnapped, which is only the very beginning of their problems. I did, however, greatly appreciate Vulture’s Kathryn VanArendonk \u003ca href=\"https://www.vulture.com/article/dennis-quaid-full-circle-braid-explained.html\">making a thorough investigation\u003c/a> of why on earth Dennis Quaid ended up wearing a braid. It involves a last-minute dash to a wig shop. It’s quite a tale.\u003c/p>\n\u003cp>29. Yes, Maureen Ryan is one of my very good friends and colleagues in the writing-about-television industry. But plenty of people agreed that as hard as it was to read, her book \u003ca href=\"https://www.npr.org/2023/06/03/1180008736/beloved-tv-show-lost-wasnt-immune-to-industrys-pervasive-toxic-culture\">\u003cem>Burn It Down\u003c/em>\u003c/a>, about abuse in Hollywood and the systems that enable it, was a tremendous example of dogged journalism that does what it sets out to do. Pleasant to read? No. Wonderful to know that this kind of work is still being done, and done so well? Yes.\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/kes2P4IC2bQ'\n title='//www.youtube.com/embed/kes2P4IC2bQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>30. The Tiny Desk at NPR has been growing and growing in the breadth of its offerings, the devotion of its audience, and the vibrancy of its innovation. This year, nothing landed quite like the \u003ca href=\"https://www.youtube.com/watch?v=kes2P4IC2bQ&t=3s&ab_channel=NPRMusic\">appearance by Juvenile\u003c/a>, which is irresistible even to people who don’t necessarily think they’re “Back That Azz Up” people. Trombone Shorty was there! Jon Batiste flew in from London! What a wondrous thing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>31. Jimmy Tatro appeared in the comedy \u003ca href=\"https://www.hulu.com/watch/2e9ba993-a6a8-46e6-b2ac-6705badd7503\">\u003cem>Theater Camp\u003c/em>\u003c/a>, playing a character not dissimilar to the doofus jock he played in \u003cem>American Vandal\u003c/em>. Not to pigeonhole Tatro, but some actors have an eerily perfect touch with a particular kind of role, and Tatro is perhaps our foremost lovably lunkheaded bro.\u003c/p>\n\u003cp>32. Sam Sanders juggled two podcasts for much of the year: \u003ca href=\"https://www.vulture.com/into-it/\">\u003cem>Into It \u003c/em>\u003c/a>at Vulture and \u003ca href=\"https://www.stitcherstudios.com/shows/vibe-check\">\u003cem>Vibe Check\u003c/em>, \u003c/a>which he does with his friends Saeed Jones and Zach Stafford. Disappointingly, \u003cem>Into It \u003c/em>was a victim of cutbacks, but \u003cem>Vibe Check \u003c/em>continues, and it provided \u003ca href=\"https://podcasts.apple.com/us/podcast/life-has-been-lifing-lately/id1637476174?i=1000620850273\">one of the most moving episodes of the year\u003c/a> in a discussion of grief following the death of Sam’s mother.\u003c/p>\n\u003cp>33. There is a long history of shows making baffling choices when forced to replace a beloved host. When Padma Lakshmi decided to step away from \u003cem>Top Chef\u003c/em>, a lot of us thought, “They should pick somebody like [\u003cem>Top Chef \u003c/em>champion] Kristen Kish, but they won’t.” And then they did! Welcome the Kish era!\u003c/p>\n\u003cfigure id=\"attachment_13939909\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939909\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83.jpg\" alt=\"A Black man and a white man sit side-by-side in a jury box.\" width=\"1920\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-1536x862.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ishmel Sahid, left, and James Marsden play alternate jurors in the series ‘Jury Duty.’ \u003ccite>(Amazon Freevee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>34. \u003ca href=\"https://www.amazon.com/Jury-Duty-Season-1/dp/B0B8JM2BBS\">\u003cem>Jury Duty\u003c/em>\u003c/a> is the Amazon Freevee series in which a man named Ronald is called for jury duty, and he doesn’t know that everyone else from the judge to the other jurors to the lawyers and parties, is an actor. At the end, all is revealed to him — that he’s been sitting on a fake jury of a fake trial — and it could have been so, so painful to watch. But Ronald has a good sense of humor, and he chooses not to feel let down, even by his new pal, James Marsden (who plays himself in the fake scenario). They lucked out with Ronald, for sure.\u003c/p>\n\u003cp>35. There were some impressive videos of striking actors advocating for themselves and their colleagues as their strike (and the WGA strike) wore on. One of the best \u003ca href=\"https://x.com/LisaCullen/status/1656337549495762951?s=20\">came from Mandy Patinkin\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>36. John Mulaney’s Netflix special\u003ca href=\"https://www.kqed.org/arts/13928322/baby-j-john-mulaney-stand-up-review-netflix\">\u003cem> Baby J\u003c/em>\u003c/a> was deeply uncomfortable to watch, as he recounted his experiences with addiction, intervention and rehab. But the story of having an intervention with a room full of comedians sparkled. “Do you know what it’s like to have 12 people save your life?” he asks in a discussion of his indebtedness. “It’s too many people.”\u003c/p>\n\u003cp>37. Last year in this space, I saluted Karina Longworth’s excellent podcast series \u003cem>You Must Remember This\u003c/em>, and its miniseries \u003cem>Erotic ’80s\u003c/em>. What happened this year? \u003cem>Erotic ’90s\u003c/em>, of course, and it was perhaps even better. Try the \u003ca href=\"https://podcasts.apple.com/us/podcast/you-must-remember-this/id858124601?i=1000607274568\">Julia Roberts episode\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13939911\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939911\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-tcp-05246_high_res_jpeg_wide-5c0544d47d9f6bbc91455c849ba94e8d7f075681-scaled-e1703839832634.jpe\" alt=\"One Black woman leans on the shoulder of another, outdoors in the sun.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Danielle Brooks and Fantasia Barrino in ‘The Color Purple.’ \u003ccite>(Eli Adé/ Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>38. Danielle Brooks gives only one of several excellent performances in \u003ca href=\"https://www.kqed.org/arts/13939793/the-color-purple-successfully-squeezes-popular-entertainment-out-of-art\">\u003cem>The Color Purple\u003c/em>\u003c/a>. (What a joy to see Fantasia Barrino thriving, having watched her on \u003cem>American Idol \u003c/em>so many years ago.) But Brooks’ work is emotional and haunting and also tremendously funny — she plays Sofia, played in the Spielberg movie by Oprah Winfrey — and she never misses a step.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>39. I don’t spend as much time dunking on terrible things as I used to, but there’s a particular pleasure to be found in an evisceration of something you very much disliked. Thus, please enjoy \u003ca href=\"https://buttnews.substack.com/p/fat-suit-fart-attack-the-whale\">Lindy West’s piece\u003c/a> on \u003cem>The Whale\u003c/em>.\u003c/p>\n\u003cp>40. In \u003ca href=\"https://www.kqed.org/arts/13936363/anatomy-of-a-fall-movie-review-sandra-huller-palme-dor-france\">\u003cem>Anatomy of a Fall\u003c/em>\u003c/a>, Sandra Hüller plays a woman who might — or might not — have done something terrible. In effect, to sustain the uncertainty, she has to play two women simultaneously: one who is covering up guilt, and one who is being unfairly accused. It’s a remarkable trick.\u003c/p>\n\u003cp>41. It has sometimes been hard to remember, as Twitter becomes unusable for me, that it could be a genuine source of friendly small talk. As a salute to that particular piece of its history, \u003ca href=\"https://twitter.com/lindaholmes/status/1633277824906797058\">enjoy this thread\u003c/a> in which a thousand people answered the call for pictures of their pets.\u003c/p>\n\u003cfigure id=\"attachment_13939912\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939912\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/american-fiction-f_03320_r_rgb_custom-9c4efdd6045ee9b2208c20de69d920421838c08b-scaled-e1703840068351.jpg\" alt=\"A Black woman and man walk down a grassy path, surrounded on both sides by tall shrubs and plants. They are smiling.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">Erika Alexander and Jeffrey Wright in ‘American Fiction.’ \u003ccite>(Claire Folger/ Orion Releasing LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>42. Jeffrey Wright’s performance in \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a> as an intellectual convinced that he’s at the mercy of a foolish literary establishment (which is … probably right) is part of the movie’s appeal. But maybe even better is the part of the performance that focuses on the character’s complex, fractured relationships with his family. Wright is one of our very best.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>43. \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a> is a category of movie we’ve seen before, in that it’s an examination of a very famous man with a complicated legacy. But director Christopher Nolan is a master of capturing the unthinkably enormous, so it’s unsurprising that his approach to presenting the detonation of a nuclear bomb is inventive and meticulously done.\u003c/p>\n\u003cp>44. The crime thriller \u003cem>Sharper \u003c/em>sort of came and went (\u003ca href=\"https://tv.apple.com/us/movie/sharper/umc.cmc.5ud0ivpwgqw2st0u4z73gwpar\">you can find it on Apple TV+\u003c/a>); it stars Julianne Moore, Sebastian Stan and Justice Smith as three of the people tied up in a complicated (really complicated) plot that involves con artists, guns, money and a lot of beautiful people. There’s a kind of pleasure in twisty thrillers that you can’t quite get anywhere else, and the closing chapter of this one delivered it.\u003c/p>\n\u003cfigure id=\"attachment_13939913\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939913\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/the_diplomat_s1_e4_-native-_00_38_18_16r_wide-4e9514c2c795b64e9326a8f746d70853f47cd2b6-scaled-e1703840309929.jpg\" alt=\"An attractive middle-aged woman holds a telephone to her ear. She looks concerned.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Keri Russell in ‘The Diplomat.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>45. After \u003cem>The Americans \u003c/em>and \u003cem>Felicity \u003c/em>(and, sure, \u003cem>Cocaine Bear\u003c/em>), nobody needs to prove the versatility of Keri Russell. But playing a new ambassador named Kate in \u003ca href=\"https://www.npr.org/2023/04/19/1170685432/the-diplomat-review-keri-russell\">\u003cem>The Diplomat\u003c/em>\u003c/a>, the way she moves from one room to another, the way she picks up and puts down various objects, even the way she squirms as someone puts makeup on her, all contribute to a vision of Kate as a superbly competent and capable person, which makes her spy-thriller adventures much easier to care about.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>46. The level of difficulty in Emma Stone’s performance in Yorgos Lanthimos’ \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> is extraordinary: she’s playing a woman who is, sort of, a child. But she rapidly grows emotionally and intellectually older, more and more independent and lustful. Stone makes it all seem like one performance, one character.\u003c/p>\n\u003cp>47. I very much liked \u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.bff6d26e-9aa3-47b3-9bbb-92acb9942cdb?autoplay=0&ref_=atv_cf_strg_wb\">\u003cem>Deadloch\u003c/em>\u003c/a>, an Australian comedy-crime series that is both a small-time crime series in the tradition of \u003cem>Broadchurch \u003c/em>and a send-up of those very shows. I didn’t know the actors, I didn’t know much about the show until I watched it, and I was delighted to discover it. Most of those things are also true of runner-up Australian comedy \u003ca href=\"https://www.npr.org/2023/12/04/1197958569/colin-from-accounts-deserves-a-raise\">\u003cem>Colin From Accounts\u003c/em>\u003c/a>, which is also worth a watch.\u003c/p>\n\u003cp>48. I was slow to get attached to \u003cem>Only Murders in the Building\u003c/em>, which focused this season on the production of a musical. But Steve Martin’s delivery of the patter song \u003ca href=\"https://www.youtube.com/watch?v=Piv19tK4lH4&t=2s&ab_channel=Hulu\">“Which of the Pickwick Triplets Did it?”\u003c/a> was the best reason of all to get on board.\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/Piv19tK4lH4'\n title='//www.youtube.com/embed/Piv19tK4lH4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>49. Hopefully, I can be forgiven for sneaking some older stuff in here by talking about a project that was great for me this year: The Criterion Collection continues to be a wonderful source for classic movies, and I used its collection of some of the films from the \u003ca href=\"https://www.criterionchannel.com/sight-sound-s-greatest-films-of-all-time\">Sight & Sound poll\u003c/a> as a way into movies including \u003cem>The Passion of Joan of Arc\u003c/em>, \u003cem>Black Orpheus\u003c/em>, \u003cem>Cleo from 5 to 7\u003c/em>, and the film that topped the list: \u003cem>Jean Dielman, 23, quai du Commerce, 1080 Bruxelles\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>50. This was the year I got (deeply) into \u003cem>The Flop House\u003c/em>, a podcast that’s been around since late 2007 (what? I was busy) and passed its 400th episode. Each week, hosts Dan McCoy, Stuart Wellington and Elliott Kalan talk about a movie that’s either a commercial or critical disappointment. There are guest hosts sometimes, there is a longstanding fixation on the more disposable work of Nicolas Cage (whom they rightly revere as an actor), and you can start right at the beginning of January with \u003ca href=\"https://podcasts.apple.com/us/podcast/the-flop-house/id263585537?i=1000594413409\">their consideration of \u003cem>Black Adam\u003c/em>\u003c/a>. From the not-so-wonderful, the wonderful can sometimes emerge.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+year+in+review%3A+50+wonderful+things+from+2023&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Forty years on, Alice Walker’s 1982 Pulitzer Prize-winner \u003cem>The Color Purple\u003c/em> stands as a landmark of American fiction. The novel has been reconceived, with varying success, as a movie (by Steven Spielberg in 1985) and a Broadway musical (2005). The stage production was revived in 2015 and has now spawned a film version.\u003c/p>\n\u003cp>[aside postID='news_11697268']\u003cem>The Color Purple\u003c/em> (opening Christmas Day) is engaging musical entertainment, grounded in a slowly bending story arc of female empowerment. That’s a combination that will find favor with many moviegoers — though they will have to be forgiving of condensed and occasionally confusing storytelling, oddly abrupt transitions and a surfeit of song-and-dance sequences that land with little impact.\u003c/p>\n\u003cp>The new movie will reach a larger audience than the stage musicals did (including touring companies), an unassailable fact that doubles as economic justification. More important, dear reader, is your relationship to Walker’s painful, joyous saga of resolute Southern Black women in the first half of the 20th century, and your opinion of the stage musical. How gritty, or glossy, do you like it?\u003c/p>\n\u003cfigure id=\"attachment_13939800\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0014_High_Res_JPEG-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939800 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0014_High_Res_JPEG-scaled.jpeg\" alt=\"two young Black girls laugh and smile in front of a tree while wearing white dresses\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0014_High_Res_JPEG-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0014_High_Res_JPEG-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0014_High_Res_JPEG-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0014_High_Res_JPEG-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0014_High_Res_JPEG-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0014_High_Res_JPEG-1536x864.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0014_High_Res_JPEG-2048x1152.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0014_High_Res_JPEG-1920x1080.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(L toR) Phylicia Pearl Mpasi as Young Celie and Halle Bailey as Young Nettie in ‘The Color Purple.’ \u003ccite>(Warner Bros. Entertainment Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the movie opens in 1909, Celie and her sharp, protective sister Nettie are cheerful and pragmatic teenagers in rural Georgia. Their abusive father has impregnated Celie twice, given away the babies and now sells her to Mister (Colman Domingo), a brutal, charming older farmer who caps his villainy by assaulting Nettie and chasing her away at gunpoint.\u003c/p>\n\u003cp>As the years roll by without any news of her sister, Celie (Fantasia Barrino, displaying terrific range) doesn’t rebel against her miserable situation. Fortunately, two strong women come into her circumscribed world and rattle her perspective. The liberated blues belter Shug Avery (Taraji P. Henson), Mister’s onetime lover, settles under their roof for a few days, long enough to kindle a spark with Celie. The fearless Sofia (Danielle Brooks), who marries Mister’s son Harpo, announces her independence the moment she hits the screen and carves it in stone with the foot-stomping anthem “Hell No!”\u003c/p>\n\u003cfigure id=\"attachment_13939801\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0013r_High_Res_JPEG-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939801 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0013r_High_Res_JPEG-scaled.jpeg\" alt=\"a Black man sits on a porch in boots and a hat playing the banjo\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0013r_High_Res_JPEG-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0013r_High_Res_JPEG-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0013r_High_Res_JPEG-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0013r_High_Res_JPEG-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0013r_High_Res_JPEG-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0013r_High_Res_JPEG-1536x864.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0013r_High_Res_JPEG-2048x1152.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0013r_High_Res_JPEG-1920x1080.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Colman Domingo as Mister in ‘The Color Purple.’ \u003ccite>(Warner Bros. Entertainment Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first challenge of adapting \u003cem>The Color Purple — \u003c/em>as with any story that involves subjugation and domestic violence — is portraying the characters’ suffering without either glorifying (i.e., wallowing in it) or cheapening it. That’s an especially tough tone to nail in a musical, but director Blitz Bazawule (co-director of Beyoncé’s \u003cem>Black Is King\u003c/em>) succeeds in making us feel the sting of Mister’s slaps and blows without robbing Celie of our respect.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The bigger problem, it turns out, is conveying Celie’s gradual and deliberate evolution into the author of her own destiny. Even at two hours and 20 minutes (including credits), \u003cem>The Color Purple \u003c/em>feels abridged and rushed. Take the electric extended-family dinner scene in which every female character asserts herself over the menfolk (especially Mister and his aged father, played by Louis Gossett, Jr.). It remains the satisfying centerpiece of the movie, but it comes as something of a surprise; the groundwork hasn’t been fully laid for Celie’s spontaneous assertion of freedom.\u003c/p>\n\u003cp>Another area in which the movie can’t approach the depth and layers of Alice Walker’s novel, the strong cast notwithstanding, is the intimate relationship that develops between Shug and Celie. We can debate whether time constraints or an abundance of studio caution limited Bazawule’s portrayal of their love to a couple brief snippets.\u003c/p>\n\u003cfigure id=\"attachment_13939802\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-25310_High_Res_JPEG-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-25310_High_Res_JPEG-scaled.jpeg\" alt=\"two Black women in lavender and orange dresses walk in green grass\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-25310_High_Res_JPEG-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-25310_High_Res_JPEG-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-25310_High_Res_JPEG-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-25310_High_Res_JPEG-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-25310_High_Res_JPEG-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-25310_High_Res_JPEG-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-25310_High_Res_JPEG-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-25310_High_Res_JPEG-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Fantasia Barrino as Celie and Taraji P. Henson as Shug Avery in ‘The Color Purple.’ \u003ccite>(Warner Bros. Entertainment Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For moviegoers all the way onboard for Celie’s journey, these are quibbles that won’t detract from their enjoyment of \u003cem>The Color Purple\u003c/em>. They will revel in the few seconds the filmmaker allows for audience applause after Barrino finishes her solid rendition of the show-stopper “I’m Here.”\u003c/p>\n\u003cp>In fact, if you have any interest whatsoever in \u003cem>The Color Purple,\u003c/em> you should see it with a crowd in a theater. The experience will be immeasurably richer than streaming it alone or with a couple friends — even though you can sing along at home.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Color Purple’ opens Dec. 25, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Forty years on, Alice Walker’s 1982 Pulitzer Prize-winner \u003cem>The Color Purple\u003c/em> stands as a landmark of American fiction. The novel has been reconceived, with varying success, as a movie (by Steven Spielberg in 1985) and a Broadway musical (2005). The stage production was revived in 2015 and has now spawned a film version.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Color Purple\u003c/em> (opening Christmas Day) is engaging musical entertainment, grounded in a slowly bending story arc of female empowerment. That’s a combination that will find favor with many moviegoers — though they will have to be forgiving of condensed and occasionally confusing storytelling, oddly abrupt transitions and a surfeit of song-and-dance sequences that land with little impact.\u003c/p>\n\u003cp>The new movie will reach a larger audience than the stage musicals did (including touring companies), an unassailable fact that doubles as economic justification. More important, dear reader, is your relationship to Walker’s painful, joyous saga of resolute Southern Black women in the first half of the 20th century, and your opinion of the stage musical. How gritty, or glossy, do you like it?\u003c/p>\n\u003cfigure id=\"attachment_13939800\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0014_High_Res_JPEG-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939800 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0014_High_Res_JPEG-scaled.jpeg\" alt=\"two young Black girls laugh and smile in front of a tree while wearing white dresses\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0014_High_Res_JPEG-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0014_High_Res_JPEG-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0014_High_Res_JPEG-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0014_High_Res_JPEG-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0014_High_Res_JPEG-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0014_High_Res_JPEG-1536x864.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0014_High_Res_JPEG-2048x1152.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0014_High_Res_JPEG-1920x1080.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(L toR) Phylicia Pearl Mpasi as Young Celie and Halle Bailey as Young Nettie in ‘The Color Purple.’ \u003ccite>(Warner Bros. Entertainment Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the movie opens in 1909, Celie and her sharp, protective sister Nettie are cheerful and pragmatic teenagers in rural Georgia. Their abusive father has impregnated Celie twice, given away the babies and now sells her to Mister (Colman Domingo), a brutal, charming older farmer who caps his villainy by assaulting Nettie and chasing her away at gunpoint.\u003c/p>\n\u003cp>As the years roll by without any news of her sister, Celie (Fantasia Barrino, displaying terrific range) doesn’t rebel against her miserable situation. Fortunately, two strong women come into her circumscribed world and rattle her perspective. The liberated blues belter Shug Avery (Taraji P. Henson), Mister’s onetime lover, settles under their roof for a few days, long enough to kindle a spark with Celie. The fearless Sofia (Danielle Brooks), who marries Mister’s son Harpo, announces her independence the moment she hits the screen and carves it in stone with the foot-stomping anthem “Hell No!”\u003c/p>\n\u003cfigure id=\"attachment_13939801\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0013r_High_Res_JPEG-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939801 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0013r_High_Res_JPEG-scaled.jpeg\" alt=\"a Black man sits on a porch in boots and a hat playing the banjo\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0013r_High_Res_JPEG-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0013r_High_Res_JPEG-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0013r_High_Res_JPEG-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0013r_High_Res_JPEG-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0013r_High_Res_JPEG-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0013r_High_Res_JPEG-1536x864.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0013r_High_Res_JPEG-2048x1152.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-T2-0013r_High_Res_JPEG-1920x1080.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Colman Domingo as Mister in ‘The Color Purple.’ \u003ccite>(Warner Bros. Entertainment Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first challenge of adapting \u003cem>The Color Purple — \u003c/em>as with any story that involves subjugation and domestic violence — is portraying the characters’ suffering without either glorifying (i.e., wallowing in it) or cheapening it. That’s an especially tough tone to nail in a musical, but director Blitz Bazawule (co-director of Beyoncé’s \u003cem>Black Is King\u003c/em>) succeeds in making us feel the sting of Mister’s slaps and blows without robbing Celie of our respect.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The bigger problem, it turns out, is conveying Celie’s gradual and deliberate evolution into the author of her own destiny. Even at two hours and 20 minutes (including credits), \u003cem>The Color Purple \u003c/em>feels abridged and rushed. Take the electric extended-family dinner scene in which every female character asserts herself over the menfolk (especially Mister and his aged father, played by Louis Gossett, Jr.). It remains the satisfying centerpiece of the movie, but it comes as something of a surprise; the groundwork hasn’t been fully laid for Celie’s spontaneous assertion of freedom.\u003c/p>\n\u003cp>Another area in which the movie can’t approach the depth and layers of Alice Walker’s novel, the strong cast notwithstanding, is the intimate relationship that develops between Shug and Celie. We can debate whether time constraints or an abundance of studio caution limited Bazawule’s portrayal of their love to a couple brief snippets.\u003c/p>\n\u003cfigure id=\"attachment_13939802\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-25310_High_Res_JPEG-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-25310_High_Res_JPEG-scaled.jpeg\" alt=\"two Black women in lavender and orange dresses walk in green grass\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-25310_High_Res_JPEG-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-25310_High_Res_JPEG-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-25310_High_Res_JPEG-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-25310_High_Res_JPEG-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-25310_High_Res_JPEG-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-25310_High_Res_JPEG-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-25310_High_Res_JPEG-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-TCP-25310_High_Res_JPEG-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Fantasia Barrino as Celie and Taraji P. Henson as Shug Avery in ‘The Color Purple.’ \u003ccite>(Warner Bros. Entertainment Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For moviegoers all the way onboard for Celie’s journey, these are quibbles that won’t detract from their enjoyment of \u003cem>The Color Purple\u003c/em>. They will revel in the few seconds the filmmaker allows for audience applause after Barrino finishes her solid rendition of the show-stopper “I’m Here.”\u003c/p>\n\u003cp>In fact, if you have any interest whatsoever in \u003cem>The Color Purple,\u003c/em> you should see it with a crowd in a theater. The experience will be immeasurably richer than streaming it alone or with a couple friends — even though you can sing along at home.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Color Purple’ opens Dec. 25, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Jack Frost’ Is Two of the Worst Christmas Movies Ever Made",
"headTitle": "‘Jack Frost’ Is Two of the Worst Christmas Movies Ever Made | KQED",
"content": "\u003cp>It’s impossible to fathom why Hollywood does a lot of things — \u003ca href=\"https://www.sheknows.com/entertainment/slideshow/2538896/actresses-who-play-moms-to-same-age-actors/4/\">casting women as the mothers of people the same age\u003c/a>, continuing to make James Bond movies, letting Mel Gibson do literally anything, etc. The list is long. You get it.\u003c/p>\n\u003cp>One of the most perplexing things that movie studios do is put out incredibly similar projects almost at the same time. Remember when we got \u003ca href=\"https://www.kqed.org/arts/1173/capote\">two Truman Capote biopics\u003c/a>? And when \u003cem>Armageddon\u003c/em> and \u003cem>Deep Impact\u003c/em> were released two months apart? Or when \u003ca href=\"https://jamesjguild.com/blog/2021/4/10/a-bugs-life-vs-antz-how-pixar-took-on-dreamworks-and-won\">\u003cem>A Bug’s Life\u003c/em> came out directly after \u003cem>Antz\u003c/em>\u003c/a>? Perhaps the most astounding example occurred in the late 1990s, when we got not one, but two movies about — dear, sweet Lord — possessed snowmen. Oh, and they were both called \u003cem>Jack Frost\u003c/em>, because the ’90s were apparently a simpler time when you could get away with that sort of thing.\u003c/p>\n\u003cp>The fact that both projects rolled with that title after an entirely different (and beloved) \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0079357/?ref_=nv_sr_srsg_3_tt_7_nm_1_q_jack%2520frost\">Jack Frost\u003c/a>\u003c/em> movie had already existed for 20 years only adds to the madness. To be clear, the 1979 \u003cem>Jack Frost\u003c/em> is bonkers, in a pseudo-psychedelic sort of way. The stop-motion movie begins with a bow tie–wearing groundhog singing “Me and My Shadow,” for crying out loud.\u003c/p>\n\u003cp>[aside postid='arts_13922351']The ’90s \u003cem>Jack Frost\u003c/em>s had something else in mind, to put it lightly. \u003ca href=\"https://www.imdb.com/title/tt0116671/?ref_=nv_sr_srsg_2_tt_7_nm_1_q_jack%2520frost\">The 1997 one\u003c/a> is a grisly little tale about a crazed serial killer doing a bunch of murders while inside the body of a snowman. (\u003cem>I know\u003c/em>.) \u003ca href=\"https://www.imdb.com/title/tt0141109/?ref_=nv_sr_srsg_0_tt_7_nm_1_q_jack%2520fro\">The 1998 \u003cem>Jack Frost\u003c/em>\u003c/a> is a strange little story in which the spirit of Michael Keaton’s eyebrows possesses a snowman so he can spend more time with his grieving son. And while, yes, those do make for distinctly different plot directions, the two movies have more in common than you might think.\u003c/p>\n\u003cp>Both have main characters who are named Jack Frost while they are living, human men, yet no one ever notes the incredible synchronicity of them suddenly becoming actual snowmen. Both men end up in their legless white forms after dying in crashes caused by snowstorms. Both immediately seek revenge on teen bullies for some reason. Both are, at one time or another, threatened with hairdryers. (Yes, in case you were wondering, melting does serve as a major plot point in both \u003cem>Jack Frost\u003c/em>s.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s the plot of 1998 \u003cem>Jack Frost\u003c/em> in more detail. Charlie is an 11-year-old boy who lives in a supremely irritating Colorado town where everyone is perpetually throwing snowballs at each other. Henry Rollins is Charlie’s hockey coach because Henry Rollins applied no discernment whatsoever to the movies he appeared in during the 1990s. Charlie’s mom is a generic blond mom and his dad is a white blues musician named — but of course — Jack Frost.\u003c/p>\n\u003cfigure id=\"attachment_13939156\" class=\"wp-caption aligncenter\" style=\"max-width: 1722px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM.png\" alt=\"A boy in winter clothes sits on the front of a sled as it zips down a snow-covered hill. Behind him sits a snowman holding onto his waist.\" width=\"1722\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM.png 1722w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-800x505.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-1020x643.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-768x484.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-1536x969.png 1536w\" sizes=\"(max-width: 1722px) 100vw, 1722px\">\u003cfigcaption class=\"wp-caption-text\">Oh, look! It’s a boy sledding with a snowman that’s possessed by the spirit of his dead father! Cool. \u003ccite>(Warner Movies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One Christmas Day, Jack dies in a car crash (festive fun!) while off doing white blues-related nonsense. Time then jumps forward a year because no audience wants to watch a child cry grief tears for an hour and a half. One night, Charlie builds a snowman that is suddenly, inexplicably occupied by the spirit of his dead father. At first, Charlie is rightly horrified. But then Jack helps Charlie in — what else? — a snowball fight, so they start hanging out all the time. The movie is preposterous and in poor taste and yet somehow still incredibly dull.\u003c/p>\n\u003cp>All of those descriptors also apply to the 1997 \u003cem>Jack Frost\u003c/em>, though for entirely different reasons. In this one, a prison truck carrying a serial killer through a snowstorm to his execution collides with a genetic research truck. The serial killer ends up drenched in an experimental substance that kills and liquifies him, but then — ah, winter magic — helps him to become one with the snow. Jack Frost the serial killer transforms into Jack Frost the snowman … and also serial killer. This snowman serial killer has the puffiest little mitten hands you’ve ever seen, too, which is incredibly distracting during every single murder scene that follows.\u003c/p>\n\u003cfigure id=\"attachment_13939159\" class=\"wp-caption aligncenter\" style=\"max-width: 1888px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939159\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM.png\" alt=\"A snowman with twig eyebrows and icicle fangs interacts with a human.\" width=\"1888\" height=\"1262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM.png 1888w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-1020x682.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-1536x1027.png 1536w\" sizes=\"(max-width: 1888px) 100vw, 1888px\">\u003cfigcaption class=\"wp-caption-text\">When your snowman is possessed by a serial killer, it needs twig eyebrows in order to convey its menacing soul. \u003ccite>(Prism Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The one good thing I will say for this trashiest of horror movies is that at least I got a couple of laughs out of it — one of which I’m fairly sure was intentional!\u003c/p>\n\u003cp>[aside postid='arts_13889748']There’s no making sense of the fact that these two movies were made in such close proximity, with the same central theme, but for entirely different audiences. But know this: If you have a vested interest in torturing your loved ones with truly terrible movies this holiday season, one or both of these will do the job.\u003c/p>\n\u003cp>And if even contemplating that prospect leaves you in need of a little palate cleanser, then please accept this clip from 1979’s \u003cem>Jack Frost\u003c/em>. Yes, it’s the dapper little groundhog singing “Me and My Shadow.”\u003c/p>\n\u003cp>Happy holidays, everyone.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AEGl8gh3Vks&t=48s\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘\u003ca href=\"https://tubitv.com/movies/545176/jack-frost\">Jack Frost\u003c/a>’ (1979), ‘\u003ca href=\"https://tubitv.com/movies/473246/jack-frost\">Jack Frost\u003c/a>’ (1997) and ‘\u003ca href=\"https://tubitv.com/movies/571531/jack-frost-2-revenge-of-the-mutant-killer-snowman\">Jack Frost 2\u003c/a>’ (2000) — because yes, of course there was a sequel — are all streaming on Tubi right now. ‘\u003ca href=\"https://www.hulu.com/movie/jack-frost-48a1a9ca-c5e7-44a8-9fe6-2a2cd1234ded\">Jack Frost\u003c/a>’ (1998) is over on Hulu.\u003c/em>\u003c/p>\n\n",
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"excerpt": "In the late-1990s, we got not one, but two movies about snowmen possessed with the spirits of human men named Jack Frost. Yeah.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s impossible to fathom why Hollywood does a lot of things — \u003ca href=\"https://www.sheknows.com/entertainment/slideshow/2538896/actresses-who-play-moms-to-same-age-actors/4/\">casting women as the mothers of people the same age\u003c/a>, continuing to make James Bond movies, letting Mel Gibson do literally anything, etc. The list is long. You get it.\u003c/p>\n\u003cp>One of the most perplexing things that movie studios do is put out incredibly similar projects almost at the same time. Remember when we got \u003ca href=\"https://www.kqed.org/arts/1173/capote\">two Truman Capote biopics\u003c/a>? And when \u003cem>Armageddon\u003c/em> and \u003cem>Deep Impact\u003c/em> were released two months apart? Or when \u003ca href=\"https://jamesjguild.com/blog/2021/4/10/a-bugs-life-vs-antz-how-pixar-took-on-dreamworks-and-won\">\u003cem>A Bug’s Life\u003c/em> came out directly after \u003cem>Antz\u003c/em>\u003c/a>? Perhaps the most astounding example occurred in the late 1990s, when we got not one, but two movies about — dear, sweet Lord — possessed snowmen. Oh, and they were both called \u003cem>Jack Frost\u003c/em>, because the ’90s were apparently a simpler time when you could get away with that sort of thing.\u003c/p>\n\u003cp>The fact that both projects rolled with that title after an entirely different (and beloved) \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0079357/?ref_=nv_sr_srsg_3_tt_7_nm_1_q_jack%2520frost\">Jack Frost\u003c/a>\u003c/em> movie had already existed for 20 years only adds to the madness. To be clear, the 1979 \u003cem>Jack Frost\u003c/em> is bonkers, in a pseudo-psychedelic sort of way. The stop-motion movie begins with a bow tie–wearing groundhog singing “Me and My Shadow,” for crying out loud.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The ’90s \u003cem>Jack Frost\u003c/em>s had something else in mind, to put it lightly. \u003ca href=\"https://www.imdb.com/title/tt0116671/?ref_=nv_sr_srsg_2_tt_7_nm_1_q_jack%2520frost\">The 1997 one\u003c/a> is a grisly little tale about a crazed serial killer doing a bunch of murders while inside the body of a snowman. (\u003cem>I know\u003c/em>.) \u003ca href=\"https://www.imdb.com/title/tt0141109/?ref_=nv_sr_srsg_0_tt_7_nm_1_q_jack%2520fro\">The 1998 \u003cem>Jack Frost\u003c/em>\u003c/a> is a strange little story in which the spirit of Michael Keaton’s eyebrows possesses a snowman so he can spend more time with his grieving son. And while, yes, those do make for distinctly different plot directions, the two movies have more in common than you might think.\u003c/p>\n\u003cp>Both have main characters who are named Jack Frost while they are living, human men, yet no one ever notes the incredible synchronicity of them suddenly becoming actual snowmen. Both men end up in their legless white forms after dying in crashes caused by snowstorms. Both immediately seek revenge on teen bullies for some reason. Both are, at one time or another, threatened with hairdryers. (Yes, in case you were wondering, melting does serve as a major plot point in both \u003cem>Jack Frost\u003c/em>s.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s the plot of 1998 \u003cem>Jack Frost\u003c/em> in more detail. Charlie is an 11-year-old boy who lives in a supremely irritating Colorado town where everyone is perpetually throwing snowballs at each other. Henry Rollins is Charlie’s hockey coach because Henry Rollins applied no discernment whatsoever to the movies he appeared in during the 1990s. Charlie’s mom is a generic blond mom and his dad is a white blues musician named — but of course — Jack Frost.\u003c/p>\n\u003cfigure id=\"attachment_13939156\" class=\"wp-caption aligncenter\" style=\"max-width: 1722px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM.png\" alt=\"A boy in winter clothes sits on the front of a sled as it zips down a snow-covered hill. Behind him sits a snowman holding onto his waist.\" width=\"1722\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM.png 1722w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-800x505.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-1020x643.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-768x484.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-1536x969.png 1536w\" sizes=\"(max-width: 1722px) 100vw, 1722px\">\u003cfigcaption class=\"wp-caption-text\">Oh, look! It’s a boy sledding with a snowman that’s possessed by the spirit of his dead father! Cool. \u003ccite>(Warner Movies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One Christmas Day, Jack dies in a car crash (festive fun!) while off doing white blues-related nonsense. Time then jumps forward a year because no audience wants to watch a child cry grief tears for an hour and a half. One night, Charlie builds a snowman that is suddenly, inexplicably occupied by the spirit of his dead father. At first, Charlie is rightly horrified. But then Jack helps Charlie in — what else? — a snowball fight, so they start hanging out all the time. The movie is preposterous and in poor taste and yet somehow still incredibly dull.\u003c/p>\n\u003cp>All of those descriptors also apply to the 1997 \u003cem>Jack Frost\u003c/em>, though for entirely different reasons. In this one, a prison truck carrying a serial killer through a snowstorm to his execution collides with a genetic research truck. The serial killer ends up drenched in an experimental substance that kills and liquifies him, but then — ah, winter magic — helps him to become one with the snow. Jack Frost the serial killer transforms into Jack Frost the snowman … and also serial killer. This snowman serial killer has the puffiest little mitten hands you’ve ever seen, too, which is incredibly distracting during every single murder scene that follows.\u003c/p>\n\u003cfigure id=\"attachment_13939159\" class=\"wp-caption aligncenter\" style=\"max-width: 1888px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939159\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM.png\" alt=\"A snowman with twig eyebrows and icicle fangs interacts with a human.\" width=\"1888\" height=\"1262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM.png 1888w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-1020x682.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-1536x1027.png 1536w\" sizes=\"(max-width: 1888px) 100vw, 1888px\">\u003cfigcaption class=\"wp-caption-text\">When your snowman is possessed by a serial killer, it needs twig eyebrows in order to convey its menacing soul. \u003ccite>(Prism Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The one good thing I will say for this trashiest of horror movies is that at least I got a couple of laughs out of it — one of which I’m fairly sure was intentional!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There’s no making sense of the fact that these two movies were made in such close proximity, with the same central theme, but for entirely different audiences. But know this: If you have a vested interest in torturing your loved ones with truly terrible movies this holiday season, one or both of these will do the job.\u003c/p>\n\u003cp>And if even contemplating that prospect leaves you in need of a little palate cleanser, then please accept this clip from 1979’s \u003cem>Jack Frost\u003c/em>. Yes, it’s the dapper little groundhog singing “Me and My Shadow.”\u003c/p>\n\u003cp>Happy holidays, everyone.\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/AEGl8gh3Vks'\n title='//www.youtube.com/embed/AEGl8gh3Vks'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘\u003ca href=\"https://tubitv.com/movies/545176/jack-frost\">Jack Frost\u003c/a>’ (1979), ‘\u003ca href=\"https://tubitv.com/movies/473246/jack-frost\">Jack Frost\u003c/a>’ (1997) and ‘\u003ca href=\"https://tubitv.com/movies/571531/jack-frost-2-revenge-of-the-mutant-killer-snowman\">Jack Frost 2\u003c/a>’ (2000) — because yes, of course there was a sequel — are all streaming on Tubi right now. ‘\u003ca href=\"https://www.hulu.com/movie/jack-frost-48a1a9ca-c5e7-44a8-9fe6-2a2cd1234ded\">Jack Frost\u003c/a>’ (1998) is over on Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Haunting ‘All of Us Strangers’ Is a Perfect Holiday Movie",
"headTitle": "Haunting ‘All of Us Strangers’ Is a Perfect Holiday Movie | KQED",
"content": "\u003cp>A low-key high-wire act of emotional delicacy and devastating power, \u003cem>All of Us Strangers\u003c/em> is a perfect holiday movie. For adults in a certain mood, that is, for whom Christmas (or the winter solstice) opens a bittersweet portal for remembering and revisiting deceased relatives, friends and lovers.\u003c/p>\n\u003cp>\u003cem>All of Us Strangers\u003c/em> (opening Dec. 25 in the Bay Area) also speaks eloquently to anyone feeling alone or alienated at this particular juncture and who hankers, even tentatively, for the company of a kindred spirit. It’s one of my favorite films of the year, so let me be even more inviting: This is a splendid movie for people who love concise storytelling and precise filmmaking steeped start to finish in mystery and ambiguity.\u003c/p>\n\u003cp>Adapted from the 1987 novel \u003cem>Strangers\u003c/em> written by the Japanese television dramatist and author Taichi Yamada (who died in late November at 89) and transposed by writer-director Andrew Haigh to a familiar yet slightly \u003cem>off\u003c/em> England, \u003cem>All of Us Strangers\u003c/em> centers on a single gay man in his 40s who has chosen — or gradually, infinitesimally defaulted to — a life of isolation.\u003c/p>\n\u003cfigure id=\"attachment_13939712\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939712\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow.jpg\" alt=\"Bare-chested man lit orange looks out high rise window at reflected city\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Scott in ‘All of Us Strangers.’ \u003ccite>(Chris Harris/Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We could call it a life of the mind (without the hothouse Hollywood hysteria of \u003cem>Barton Fink\u003c/em>), for Adam (Andrew Scott) is a screenwriter, an erstwhile inventor of worlds. \u003cem>All of Us Strangers\u003c/em> begins in his apartment in a new, weirdly uninhabited high-rise on the outskirts of a strangely twilit London. Did the apocalypse happen this week? That would explain why there’s nothing in his fridge except leftover takeout.\u003c/p>\n\u003cp>[aside postID='arts_13938160']You may recall that Brendan Gleeson’s character in 2022’s terrific year-end U.K. import, \u003cem>The Banshees of Inisherin\u003c/em>, lived in a house on the island’s shore facing the mainland of Ireland — which he never visited. Adam gazes out his London window with the same combination of unspoken attraction and trepidation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In short order, however, Adam’s doorbell rings and the only other resident presents himself. Harry (Paul Mescal, the breakout star of last year’s \u003cem>Aftersun\u003c/em>) is tipsy, dodgy and needy, and we are relieved when Adam declines to invite the younger man in for a drink. But they run into each other a couple days later in the elevator lobby — a less fraught location — and eventually one thing leads to another.\u003c/p>\n\u003cp>Meanwhile, triggered by a packet of family snapshots he stumbled across, Adam makes a pilgrimage by train to his suburban childhood home. Once there, Haigh plausibly guides Adam, in a beautifully constructed piece of visual filmmaking, to a totally implausible destination: a reunion with his parents, fixed forever in their early 30s.\u003c/p>\n\u003cfigure id=\"attachment_13939709\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939709\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas.jpg\" alt=\"Man and woman decorate a Christmas tree with a third figure seated in front of them\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Bell and Claire Foy in ‘All of Us Strangers.’ \u003ccite>(Chris Harris/Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>All of Us Strangers\u003c/em> allows viewers resistant to supernatural forces or themes to entertain various logical explanations for this and subsequent meetings between Adam and his late father and mother (Jamie Bell and Claire Foy, both extraordinary). Adam is having a fever dream, or a ketamine nightmare. Or everything that’s happening, including his intoxicating romance with Harry, is the product of his imagination — that is, a screenplay he is writing.\u003c/p>\n\u003cp>I am one of those literal moviegoers who craves real-world reasons for otherworldly occurrences, yet I dove headlong into the parents-child relationship. I am always rooting for reconciliation in movies, I confess, and nothing makes me more emotional than characters hearing (or saying) what they need to hear or say.\u003c/p>\n\u003cp>I could add the qualification that the characters must earn it, and the filmmaker has to handle it with a modicum of sentimentality. You may not be surprised that the key conversations in \u003cem>All of Us Strangers\u003c/em> involve Adam’s homosexuality and his parents’ late-to-the-party acceptance. The pitch and tenor of these scenes, steeped in the ordinariness of domestic life, sharpens the stakes to a degree where you may not be aware you are holding your breath.\u003c/p>\n\u003cfigure id=\"attachment_13939714\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939714\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator.jpg\" alt=\"Two men stand in elevator, one reflected in mirror\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Paul Mescal and Andrew Scott in ‘All of Us Strangers.’ \u003ccite>(Chris Harris/Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead of a high-wattage star turn, Andrew Scott (Professor Moriarty on PBS’s \u003cem>Sherlock\u003c/em>, The Priest on \u003ci>Fleabag\u003c/i>) gives us an Everyman whose veneer of self-protective cautiousness dissolves under the influence of tolerance and acceptance. There’s some pent-up grief in there, to be sure, which Scott conveys as personal and individual and which Haigh expands, in my view, to encompass every gay man who has died of AIDS.\u003c/p>\n\u003cp>[aside postID='arts_13939435']Haigh (\u003cem>Lean on Pete\u003c/em>, \u003cem>45 Years\u003c/em>, \u003cem>Weekend\u003c/em>) spotlights songs by Frankie Goes to Hollywood and The Pet Shop Boys that take us back to the peak of the plague. We can infer that Adam is not only grieving the death of his parents at a young age but the subsequent losses of friends and lovers. The London that Adam sees in the distance from his upper-floor window is, in fact, a post-apocalypse landscape.\u003c/p>\n\u003cp>From this vantage point, \u003cem>All of Us Strangers\u003c/em> is simultaneously a eulogy and an act of healing. But even if you don’t embrace my big-picture musings, you will not be unmoved by the four characters’ conversations. Heart-to-hearts are an important part of the holidays, in my fantasy world, so I’ll double down: \u003cem>All of Us Strangers\u003c/em>, buttressed by a poignant tree-trimming scene, is a holiday movie.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘All of Us Strangers’ opens Dec. 25, 2023.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A low-key high-wire act of emotional delicacy and devastating power, \u003cem>All of Us Strangers\u003c/em> is a perfect holiday movie. For adults in a certain mood, that is, for whom Christmas (or the winter solstice) opens a bittersweet portal for remembering and revisiting deceased relatives, friends and lovers.\u003c/p>\n\u003cp>\u003cem>All of Us Strangers\u003c/em> (opening Dec. 25 in the Bay Area) also speaks eloquently to anyone feeling alone or alienated at this particular juncture and who hankers, even tentatively, for the company of a kindred spirit. It’s one of my favorite films of the year, so let me be even more inviting: This is a splendid movie for people who love concise storytelling and precise filmmaking steeped start to finish in mystery and ambiguity.\u003c/p>\n\u003cp>Adapted from the 1987 novel \u003cem>Strangers\u003c/em> written by the Japanese television dramatist and author Taichi Yamada (who died in late November at 89) and transposed by writer-director Andrew Haigh to a familiar yet slightly \u003cem>off\u003c/em> England, \u003cem>All of Us Strangers\u003c/em> centers on a single gay man in his 40s who has chosen — or gradually, infinitesimally defaulted to — a life of isolation.\u003c/p>\n\u003cfigure id=\"attachment_13939712\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939712\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow.jpg\" alt=\"Bare-chested man lit orange looks out high rise window at reflected city\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Scott in ‘All of Us Strangers.’ \u003ccite>(Chris Harris/Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We could call it a life of the mind (without the hothouse Hollywood hysteria of \u003cem>Barton Fink\u003c/em>), for Adam (Andrew Scott) is a screenwriter, an erstwhile inventor of worlds. \u003cem>All of Us Strangers\u003c/em> begins in his apartment in a new, weirdly uninhabited high-rise on the outskirts of a strangely twilit London. Did the apocalypse happen this week? That would explain why there’s nothing in his fridge except leftover takeout.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>You may recall that Brendan Gleeson’s character in 2022’s terrific year-end U.K. import, \u003cem>The Banshees of Inisherin\u003c/em>, lived in a house on the island’s shore facing the mainland of Ireland — which he never visited. Adam gazes out his London window with the same combination of unspoken attraction and trepidation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In short order, however, Adam’s doorbell rings and the only other resident presents himself. Harry (Paul Mescal, the breakout star of last year’s \u003cem>Aftersun\u003c/em>) is tipsy, dodgy and needy, and we are relieved when Adam declines to invite the younger man in for a drink. But they run into each other a couple days later in the elevator lobby — a less fraught location — and eventually one thing leads to another.\u003c/p>\n\u003cp>Meanwhile, triggered by a packet of family snapshots he stumbled across, Adam makes a pilgrimage by train to his suburban childhood home. Once there, Haigh plausibly guides Adam, in a beautifully constructed piece of visual filmmaking, to a totally implausible destination: a reunion with his parents, fixed forever in their early 30s.\u003c/p>\n\u003cfigure id=\"attachment_13939709\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939709\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas.jpg\" alt=\"Man and woman decorate a Christmas tree with a third figure seated in front of them\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Bell and Claire Foy in ‘All of Us Strangers.’ \u003ccite>(Chris Harris/Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>All of Us Strangers\u003c/em> allows viewers resistant to supernatural forces or themes to entertain various logical explanations for this and subsequent meetings between Adam and his late father and mother (Jamie Bell and Claire Foy, both extraordinary). Adam is having a fever dream, or a ketamine nightmare. Or everything that’s happening, including his intoxicating romance with Harry, is the product of his imagination — that is, a screenplay he is writing.\u003c/p>\n\u003cp>I am one of those literal moviegoers who craves real-world reasons for otherworldly occurrences, yet I dove headlong into the parents-child relationship. I am always rooting for reconciliation in movies, I confess, and nothing makes me more emotional than characters hearing (or saying) what they need to hear or say.\u003c/p>\n\u003cp>I could add the qualification that the characters must earn it, and the filmmaker has to handle it with a modicum of sentimentality. You may not be surprised that the key conversations in \u003cem>All of Us Strangers\u003c/em> involve Adam’s homosexuality and his parents’ late-to-the-party acceptance. The pitch and tenor of these scenes, steeped in the ordinariness of domestic life, sharpens the stakes to a degree where you may not be aware you are holding your breath.\u003c/p>\n\u003cfigure id=\"attachment_13939714\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939714\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator.jpg\" alt=\"Two men stand in elevator, one reflected in mirror\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Paul Mescal and Andrew Scott in ‘All of Us Strangers.’ \u003ccite>(Chris Harris/Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead of a high-wattage star turn, Andrew Scott (Professor Moriarty on PBS’s \u003cem>Sherlock\u003c/em>, The Priest on \u003ci>Fleabag\u003c/i>) gives us an Everyman whose veneer of self-protective cautiousness dissolves under the influence of tolerance and acceptance. There’s some pent-up grief in there, to be sure, which Scott conveys as personal and individual and which Haigh expands, in my view, to encompass every gay man who has died of AIDS.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Haigh (\u003cem>Lean on Pete\u003c/em>, \u003cem>45 Years\u003c/em>, \u003cem>Weekend\u003c/em>) spotlights songs by Frankie Goes to Hollywood and The Pet Shop Boys that take us back to the peak of the plague. We can infer that Adam is not only grieving the death of his parents at a young age but the subsequent losses of friends and lovers. The London that Adam sees in the distance from his upper-floor window is, in fact, a post-apocalypse landscape.\u003c/p>\n\u003cp>From this vantage point, \u003cem>All of Us Strangers\u003c/em> is simultaneously a eulogy and an act of healing. But even if you don’t embrace my big-picture musings, you will not be unmoved by the four characters’ conversations. Heart-to-hearts are an important part of the holidays, in my fantasy world, so I’ll double down: \u003cem>All of Us Strangers\u003c/em>, buttressed by a poignant tree-trimming scene, is a holiday movie.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘All of Us Strangers’ opens Dec. 25, 2023.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘American Fiction’ Makes a Magnificent Mockery of Our Cultural Status Quo",
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"content": "\u003cp>There are two distinctly different stories scuffing up against one another in \u003cem>American Fiction\u003c/em>. One concerns a professionally successful but personally messy family navigating a series of hardships. The other is about what happens when an intellectual writer allows his frustration with the world to compromise his artistic vision.\u003c/p>\n\u003cp>Based on Percival Everett’s 2011 novel \u003cem>\u003ca href=\"https://www.graywolfpress.org/books/erasure\">Erasure\u003c/a>\u003c/em>, \u003cem>American Fiction\u003c/em>, written and directed by Cord Jefferson, revolves around author Thelonious “Monk” Ellison (played engagingly by Jeffrey Wright). When we first find him, Monk is tired of seeing his novels sidelined into the African American Studies section of the bookstore, while works that reinforce racist stereotypes are welcomed into central displays. His frustration is compounded when he is forced to take a leave of absence from his university job for being too unfiltered and ornery.\u003c/p>\n\u003cp>[aside postid='arts_13938158']In the midst of dealing with those professional problems, Monk is called home to Boston where he faces additional issues hitting his mother and siblings. (Wright’s chemistry with Sterling K. Brown and Tracee Ellis Ross, who play Monk’s brother and sister, is a consistent delight). The combination of all these stresses one night prompts Monk to sit down and angrily pen a manuscript steeped in Black stereotypes and awash with pandering storylines. The book, titled \u003cem>My Pafology\u003c/em>, is intended as a middle finger to the publishers who think Monk’s other most recent novel isn’t “Black enough” to warrant release.\u003c/p>\n\u003cp>To Monk’s surprise and consternation, those same publishers fall over themselves to pick up \u003cem>Pafology\u003c/em>. Before long, the writer is doing interviews as his alter-ego, Stagg. R. Leigh (a fun nod to \u003ca href=\"https://en.wikipedia.org/wiki/Lee_Shelton\">infamous 19th century pimp Stagger Lee\u003c/a>, who has inspired \u003ca href=\"https://en.wikipedia.org/wiki/Stagger_Lee\">countless songs\u003c/a> over the years). A series of increasingly ludicrous events follow as Monk’s personal ethical conundrums spiral out into the wider literary world.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i0MbLCpYJPA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Within \u003cem>American Fiction\u003c/em>, the delicate family drama at play does not always gel cohesively with its often comedic rendering of the publishing world. But perhaps dissonance is the point. \u003cem>American Fiction\u003c/em> is, at its core, a story about the many ways that mainstream popular culture fails to reflect the true breadth of the Black American experience. By juxtaposing Monk’s home life — his academic career, his doctor siblings and quaint beach house — with the cartoonish criminal persona he is forced to adopt to promote \u003cem>Pafology\u003c/em>, the absurdity of America’s cultural status quo is quite thoroughly reflected.\u003c/p>\n\u003cp>[aside postid='arts_13938942']\u003cem>American Fiction\u003c/em> is at its most fun when it’s mocking white thirst for violent and reductive Black stories. Adam Brody is deliciously smarmy as a misguided movie producer who profits from peddling racial stereotypes. Miriam Shor is hilarious as an urbane publisher pretending to understand street life. A scene in which two white literary judges shut down two Black judges because “it’s essential to listen to Black voices right now,” is brilliantly executed. All of these moments are aimed squarely at white people who feel they can absolve themselves of racism if they look directly at depictions of Black suffering for long enough. That these white folks think they’re brave for doing so is the punchline.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>American Fiction\u003c/em> is, all at once, an effective family drama, a hilarious critique of institutional racism and a complicated look at the consequences (and potential benefits) of complicity. The fact that no easy answers or solutions are provided to the many questions the movie prompts will keep you pondering long after the credits have rolled. And you’ll never view \u003cem>Precious: Based on the Novel ‘Push’ by Sapphire\u003c/em> the same way again.\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\"> \u003cem>‘American Fiction’ opens nationwide on Dec. 22, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Within \u003cem>American Fiction\u003c/em>, the delicate family drama at play does not always gel cohesively with its often comedic rendering of the publishing world. But perhaps dissonance is the point. \u003cem>American Fiction\u003c/em> is, at its core, a story about the many ways that mainstream popular culture fails to reflect the true breadth of the Black American experience. By juxtaposing Monk’s home life — his academic career, his doctor siblings and quaint beach house — with the cartoonish criminal persona he is forced to adopt to promote \u003cem>Pafology\u003c/em>, the absurdity of America’s cultural status quo is quite thoroughly reflected.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>American Fiction\u003c/em> is at its most fun when it’s mocking white thirst for violent and reductive Black stories. Adam Brody is deliciously smarmy as a misguided movie producer who profits from peddling racial stereotypes. Miriam Shor is hilarious as an urbane publisher pretending to understand street life. A scene in which two white literary judges shut down two Black judges because “it’s essential to listen to Black voices right now,” is brilliantly executed. All of these moments are aimed squarely at white people who feel they can absolve themselves of racism if they look directly at depictions of Black suffering for long enough. That these white folks think they’re brave for doing so is the punchline.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>American Fiction\u003c/em> is, all at once, an effective family drama, a hilarious critique of institutional racism and a complicated look at the consequences (and potential benefits) of complicity. The fact that no easy answers or solutions are provided to the many questions the movie prompts will keep you pondering long after the credits have rolled. And you’ll never view \u003cem>Precious: Based on the Novel ‘Push’ by Sapphire\u003c/em> the same way again.\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\"> \u003cem>‘American Fiction’ opens nationwide on Dec. 22, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Thuy Makes a Stunning Return to the Bay, Inspires the ‘Most Wholesome Mosh Pit Ever’",
"headTitle": "Thuy Makes a Stunning Return to the Bay, Inspires the ‘Most Wholesome Mosh Pit Ever’ | KQED",
"content": "\u003cp>With silky vocals, Bay Area throwbacks and a surprise \u003ca href=\"https://www.kqed.org/arts/13811392/behind-the-beats-p-lo\">P-Lo\u003c/a> feature, Thuy’s first headlining performance at San Francisco’s Warfield Theater solidified her as a rising R&B darling.\u003c/p>\n\u003cp>Throughout the evening on Saturday, Dec. 16, the Bay Area-born-and-raised singer — she grew up belting Britney Spears and Christina Aguilera lyrics in her garage in the East Bay town of Newark — delivered sparkling stage presence and powerful melodies. The sold-out crowd responded in kind, roaring Thuy’s lyrics back at her all night.\u003c/p>\n\u003cp>[aside postID='arts_13903701']Both of Thuy’s EPs, 2021’s\u003cem> I Hope U See This\u003c/em>, and her follow-up, 2022’s \u003cem>Girls Like Me Don’t Cry\u003c/em>, have garnered national attention. But this was a hometown party from the jump: Ahead of Thuy’s set, DJ Cook Beats set the regional tone with Too Short’s “Blow the Whistle,” while opener ASTN got the crowd in a holiday mood with his cover of “Last Christmas” and then Thuy opened with her glossy, upbeat track “I Got It,” a fitting anthem about self-confidence for an artist on the rise who’s been open about her insecurities.\u003c/p>\n\u003cp>“I got to step out and be more confident and love my body,” she told the crowd to mass cheering.\u003c/p>\n\u003cfigure id=\"attachment_13939644\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939644 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2.jpg\" alt=\"A person with long hair on stage in an indoor venue in front of a large crowd.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thuy performs to a sold out audience at the Warfield, in a hometown show that included several local surprise guests. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thuy also noted that the last time she was at the Warfield as an opener, she promised her team they’d be back as the headliner — and she manifested that in a big way.\u003c/p>\n\u003cp>Her community turned up to see it: the Bay Area’s pride for our own was the lifeblood of the show, which was also Thuy’s last performance of 2023. The crowd included Thuy’s actual uncles and aunties, as well as chosen family — plenty of her fellow local Millennials showed out.\u003c/p>\n\u003cp>One fan brought a South Vietnamese flag as a nod to Thuy’s heritage, which the artist pointed to mid-performance. “I want that flag up here!” she called out.\u003c/p>\n\u003cp>Thuy’s dad, in a gray wool blazer and an enormous smile, filmed the whole performance through his phone, repping proud immigrant dads everywhere. When Thuy asked the crowd if they were any “dog mommies and daddies,” her dad yelled back towards the stage, “I have a dog! I have a dog!”\u003c/p>\n\u003cfigure id=\"attachment_13939631\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939631 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED.jpg\" alt=\"A person with long hair on stage in an indoor venue in front of a large crowd.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thuy performs to a sold out audience at the Warfield. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In chunky silver hoops, a corset and mini skirt set and wooly black boots, Thuy shimmied through sultry tracks like “you should feel special” and “All Night Long.” But she also spent a fair amount of time in her bag, backdropped by visuals of swirly pink marbles and crystalline orchids.\u003c/p>\n\u003cp>“Even though I can be sassy, I’m a lover at heart,” she said.\u003c/p>\n\u003cp>[aside postID='arts_13936865']At one point she asked everyone to turn their phone flashlights into a makeshift halo around a couple in the crowd as they looked lovingly into each other’s eyes. They slow-danced as she sang “cause you are my universe, my everything, my sunset” from her 2021 song “universe,” quite possibly moving even the Grinch-iest of hearts in the audience.\u003c/p>\n\u003cp>“I can’t believe I did the most wholesome mosh pit ever!” she laughed.\u003c/p>\n\u003cp>Thuy’s Bay Area upbringing continued to take center stage throughout the performance, with the help of surprise appearances by Berkeley rapper Rexx Life Raj, who’s been on three tracks with her over the last couple years, as well as \u003ca href=\"https://www.kqed.org/arts/13937331/larussell-vallejo-def-jam-record-deal\">Vallejo artist LaRussell\u003c/a>. The crowd met each surprise guest with deafening approval, especially Pinole rapper P-Lo, who roused the crowd with his dependable hit “Put Me On Somethin.’”\u003c/p>\n\u003cfigure id=\"attachment_13939629\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939629 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED.jpg\" alt=\"A large crowd bathed in blue light cheers.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thuy fans cheer and sing along at the Warfield on Dec. 16, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Towards the end of her performance, Thuy sat on a barstool, heels dangling over the stage, to give a tearful monologue about her love for the Bay, her childhood and why she’s donating a portion of the concert’s proceeds to Toys for Tots.\u003c/p>\n\u003cp>“It’s about community and coming back to love,” she said. “And everytime I feel like I’ve lost myself, I know that when I come home here you guys always show me so much love.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "The rising R&B star’s sold-out San Francisco show paid tribute to her local roots with P-Lo and other surprise guests.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With silky vocals, Bay Area throwbacks and a surprise \u003ca href=\"https://www.kqed.org/arts/13811392/behind-the-beats-p-lo\">P-Lo\u003c/a> feature, Thuy’s first headlining performance at San Francisco’s Warfield Theater solidified her as a rising R&B darling.\u003c/p>\n\u003cp>Throughout the evening on Saturday, Dec. 16, the Bay Area-born-and-raised singer — she grew up belting Britney Spears and Christina Aguilera lyrics in her garage in the East Bay town of Newark — delivered sparkling stage presence and powerful melodies. The sold-out crowd responded in kind, roaring Thuy’s lyrics back at her all night.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Both of Thuy’s EPs, 2021’s\u003cem> I Hope U See This\u003c/em>, and her follow-up, 2022’s \u003cem>Girls Like Me Don’t Cry\u003c/em>, have garnered national attention. But this was a hometown party from the jump: Ahead of Thuy’s set, DJ Cook Beats set the regional tone with Too Short’s “Blow the Whistle,” while opener ASTN got the crowd in a holiday mood with his cover of “Last Christmas” and then Thuy opened with her glossy, upbeat track “I Got It,” a fitting anthem about self-confidence for an artist on the rise who’s been open about her insecurities.\u003c/p>\n\u003cp>“I got to step out and be more confident and love my body,” she told the crowd to mass cheering.\u003c/p>\n\u003cfigure id=\"attachment_13939644\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939644 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2.jpg\" alt=\"A person with long hair on stage in an indoor venue in front of a large crowd.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thuy performs to a sold out audience at the Warfield, in a hometown show that included several local surprise guests. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thuy also noted that the last time she was at the Warfield as an opener, she promised her team they’d be back as the headliner — and she manifested that in a big way.\u003c/p>\n\u003cp>Her community turned up to see it: the Bay Area’s pride for our own was the lifeblood of the show, which was also Thuy’s last performance of 2023. The crowd included Thuy’s actual uncles and aunties, as well as chosen family — plenty of her fellow local Millennials showed out.\u003c/p>\n\u003cp>One fan brought a South Vietnamese flag as a nod to Thuy’s heritage, which the artist pointed to mid-performance. “I want that flag up here!” she called out.\u003c/p>\n\u003cp>Thuy’s dad, in a gray wool blazer and an enormous smile, filmed the whole performance through his phone, repping proud immigrant dads everywhere. When Thuy asked the crowd if they were any “dog mommies and daddies,” her dad yelled back towards the stage, “I have a dog! I have a dog!”\u003c/p>\n\u003cfigure id=\"attachment_13939631\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939631 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED.jpg\" alt=\"A person with long hair on stage in an indoor venue in front of a large crowd.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thuy performs to a sold out audience at the Warfield. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In chunky silver hoops, a corset and mini skirt set and wooly black boots, Thuy shimmied through sultry tracks like “you should feel special” and “All Night Long.” But she also spent a fair amount of time in her bag, backdropped by visuals of swirly pink marbles and crystalline orchids.\u003c/p>\n\u003cp>“Even though I can be sassy, I’m a lover at heart,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At one point she asked everyone to turn their phone flashlights into a makeshift halo around a couple in the crowd as they looked lovingly into each other’s eyes. They slow-danced as she sang “cause you are my universe, my everything, my sunset” from her 2021 song “universe,” quite possibly moving even the Grinch-iest of hearts in the audience.\u003c/p>\n\u003cp>“I can’t believe I did the most wholesome mosh pit ever!” she laughed.\u003c/p>\n\u003cp>Thuy’s Bay Area upbringing continued to take center stage throughout the performance, with the help of surprise appearances by Berkeley rapper Rexx Life Raj, who’s been on three tracks with her over the last couple years, as well as \u003ca href=\"https://www.kqed.org/arts/13937331/larussell-vallejo-def-jam-record-deal\">Vallejo artist LaRussell\u003c/a>. The crowd met each surprise guest with deafening approval, especially Pinole rapper P-Lo, who roused the crowd with his dependable hit “Put Me On Somethin.’”\u003c/p>\n\u003cfigure id=\"attachment_13939629\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939629 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED.jpg\" alt=\"A large crowd bathed in blue light cheers.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thuy fans cheer and sing along at the Warfield on Dec. 16, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Towards the end of her performance, Thuy sat on a barstool, heels dangling over the stage, to give a tearful monologue about her love for the Bay, her childhood and why she’s donating a portion of the concert’s proceeds to Toys for Tots.\u003c/p>\n\u003cp>“It’s about community and coming back to love,” she said. “And everytime I feel like I’ve lost myself, I know that when I come home here you guys always show me so much love.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "One Last Hanukkah Gift From Hallmark: ‘Round and Round’ Is a Really Fun Romcom",
"headTitle": "One Last Hanukkah Gift From Hallmark: ‘Round and Round’ Is a Really Fun Romcom | KQED",
"content": "\u003cp>I’ve always defended my love of Hallmark movies — the Christmas trees, the meet-cutes, the small-town businesses struggling to avoid being taken over by people from the big city. But there’s no denying that they are \u003cem>of a type\u003c/em>, shall we say, and many times, their precise pleasure is that you wouldn’t mistake them for anything else. Furthermore, even as Hallmark has expanded its vision with changes like introducing LGBTQ+ characters and stories now and then, their efforts to expand beyond Christmas into Hanukkah have sometimes felt a bit tentative.\u003c/p>\n\u003cp>Imagine my delight at finding \u003ca href=\"https://www.hallmarkchannel.com/round-and-round\">\u003cem>Round and Round\u003c/em>,\u003c/a> a lovely new entry that’s a solid light romantic comedy that you wouldn’t be surprised to find somewhere else besides Hallmark, and that also embraces Hanukkah as its theme in a way that feels complete and thoughtful.\u003c/p>\n\u003cp>[aside postid='arts_13889581']The structure is familiar: it’s a time-loop movie. Rachel (Vic Michaelis) goes to her parents’ Hanukkah party, where her grandmother tries to set her up with Zach (Bryan Greenberg), a handsome fellow who unfortunately bumped into her earlier in the day and destroyed the box of \u003cem>sufganiyot \u003c/em>(jelly doughnuts) she was bringing to the party. But Rachel has a boyfriend, so she doesn’t take much of an interest, but when she wakes up the next morning … it’s the same morning all over again, the seventh night of Hanukkah. So now, like so many protagonists before her (\u003cem>Groundhog Day\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/13883236/kick-back-with-palm-springs-a-witty-romcom-about-fighting-despair\">\u003cem>Palm Springs \u003c/em>\u003c/a>both get explicit shout-outs in the dialogue), she’s trapped and needs to figure out how to break the loop so her life can continue.\u003c/p>\n\u003cp>As she continues in the loop, she decides to bring Zach in on her problem, and he — an adorable nerd who’s carrying around his D&D dice in a special box, and whose friends run a comic-book store — resolves to try to help, even though every day he has to be brought up to speed all over again.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-uFjJH8NhnY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This all sounds very familiar, I know. But the execution is terrific. The dialogue sparkles, the relationship feels genuine, the ending is warm and really satisfying, and you get to watch the marvelous Rick Hoffman (who played Louis on \u003cem>Suits\u003c/em>!) play Rachel’s loving father, who is the smart and fun kind of weird dad. And Rachel’s sister is married to a woman and they have a child, and their relationship is treated just like everybody else’s, which is a nice place for Hallmark to be.\u003c/p>\n\u003cp>But maybe what I liked most, the farther from the film I got, is that it takes themes of the family’s celebration of Hanukkah — miracles, especially — and \u003cem>lightly \u003c/em>incorporates them, so that without being heavy-handed, when the characters talk about the holiday, it resonates a bit with the underlying story. (And with the eventual resolution to the time loop, which is a delight.) Between the traditions the family observes (not just the menorah, but the food, the prayers, and so on) and some recognition that this is not a huge gift-giving holiday for adults but mostly a family celebration, it really seems like a Hanukkah movie, while also being a \u003cem>lot \u003c/em>of fun. (I don’t celebrate Hanukkah, but here’s a \u003ca href=\"https://www.kveller.com/round-and-round-is-hallmarks-best-hanukkah-movie-yet/\">similarly positive take\u003c/a> from someone who does.)\u003c/p>\n\u003cp>[aside postid='arts_13889748']It helps that Michaelis comes from oddball comedy — they hosted a show for the comedy streaming service \u003cem>Dropout\u003c/em>, and they’ve worked with \u003ca href=\"https://ucbcomedy.com/people/vic-michaelis/\">Upright Citizens Brigade\u003c/a>. You can see those comedy chops in Rachel’s sharp approach to her dilemma that is somehow both confident and baffled. The script from Tamar Laddy and the direction from Stacey N. Harding are very well-suited to the project.\u003c/p>\n\u003cp>When I tell people a Hallmark movie is good, they often assume that there’s an undercurrent that you grade these things on a curve — that they are not good in the way other things are good. \u003cem>Round and Round \u003c/em>is plain old good, a spry and funny romcom I’d have been delighted to discover inside or outside the Hallmark universe.\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\">\u003cem>Sign up for the newsletter\u003c/em>\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>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=One+last+Hanukkah+gift+from+Hallmark%3A+%27Round+and+Round%27+is+a+really+fun+romcom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>‘Round and Round’ is streaming now on Hallmark Movies Now and Peacock.\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’ve always defended my love of Hallmark movies — the Christmas trees, the meet-cutes, the small-town businesses struggling to avoid being taken over by people from the big city. But there’s no denying that they are \u003cem>of a type\u003c/em>, shall we say, and many times, their precise pleasure is that you wouldn’t mistake them for anything else. Furthermore, even as Hallmark has expanded its vision with changes like introducing LGBTQ+ characters and stories now and then, their efforts to expand beyond Christmas into Hanukkah have sometimes felt a bit tentative.\u003c/p>\n\u003cp>Imagine my delight at finding \u003ca href=\"https://www.hallmarkchannel.com/round-and-round\">\u003cem>Round and Round\u003c/em>,\u003c/a> a lovely new entry that’s a solid light romantic comedy that you wouldn’t be surprised to find somewhere else besides Hallmark, and that also embraces Hanukkah as its theme in a way that feels complete and thoughtful.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The structure is familiar: it’s a time-loop movie. Rachel (Vic Michaelis) goes to her parents’ Hanukkah party, where her grandmother tries to set her up with Zach (Bryan Greenberg), a handsome fellow who unfortunately bumped into her earlier in the day and destroyed the box of \u003cem>sufganiyot \u003c/em>(jelly doughnuts) she was bringing to the party. But Rachel has a boyfriend, so she doesn’t take much of an interest, but when she wakes up the next morning … it’s the same morning all over again, the seventh night of Hanukkah. So now, like so many protagonists before her (\u003cem>Groundhog Day\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/13883236/kick-back-with-palm-springs-a-witty-romcom-about-fighting-despair\">\u003cem>Palm Springs \u003c/em>\u003c/a>both get explicit shout-outs in the dialogue), she’s trapped and needs to figure out how to break the loop so her life can continue.\u003c/p>\n\u003cp>As she continues in the loop, she decides to bring Zach in on her problem, and he — an adorable nerd who’s carrying around his D&D dice in a special box, and whose friends run a comic-book store — resolves to try to help, even though every day he has to be brought up to speed all over again.\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/-uFjJH8NhnY'\n title='//www.youtube.com/embed/-uFjJH8NhnY'\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>This all sounds very familiar, I know. But the execution is terrific. The dialogue sparkles, the relationship feels genuine, the ending is warm and really satisfying, and you get to watch the marvelous Rick Hoffman (who played Louis on \u003cem>Suits\u003c/em>!) play Rachel’s loving father, who is the smart and fun kind of weird dad. And Rachel’s sister is married to a woman and they have a child, and their relationship is treated just like everybody else’s, which is a nice place for Hallmark to be.\u003c/p>\n\u003cp>But maybe what I liked most, the farther from the film I got, is that it takes themes of the family’s celebration of Hanukkah — miracles, especially — and \u003cem>lightly \u003c/em>incorporates them, so that without being heavy-handed, when the characters talk about the holiday, it resonates a bit with the underlying story. (And with the eventual resolution to the time loop, which is a delight.) Between the traditions the family observes (not just the menorah, but the food, the prayers, and so on) and some recognition that this is not a huge gift-giving holiday for adults but mostly a family celebration, it really seems like a Hanukkah movie, while also being a \u003cem>lot \u003c/em>of fun. (I don’t celebrate Hanukkah, but here’s a \u003ca href=\"https://www.kveller.com/round-and-round-is-hallmarks-best-hanukkah-movie-yet/\">similarly positive take\u003c/a> from someone who does.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It helps that Michaelis comes from oddball comedy — they hosted a show for the comedy streaming service \u003cem>Dropout\u003c/em>, and they’ve worked with \u003ca href=\"https://ucbcomedy.com/people/vic-michaelis/\">Upright Citizens Brigade\u003c/a>. You can see those comedy chops in Rachel’s sharp approach to her dilemma that is somehow both confident and baffled. The script from Tamar Laddy and the direction from Stacey N. Harding are very well-suited to the project.\u003c/p>\n\u003cp>When I tell people a Hallmark movie is good, they often assume that there’s an undercurrent that you grade these things on a curve — that they are not good in the way other things are good. \u003cem>Round and Round \u003c/em>is plain old good, a spry and funny romcom I’d have been delighted to discover inside or outside the Hallmark universe.\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\">\u003cem>Sign up for the newsletter\u003c/em>\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>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=One+last+Hanukkah+gift+from+Hallmark%3A+%27Round+and+Round%27+is+a+really+fun+romcom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>‘Round and Round’ is streaming now on Hallmark Movies Now and Peacock.\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Fairs, Films and a Touch of Goth: Alternative Ideas for Bay Area Holiday Events",
"headTitle": "Fairs, Films and a Touch of Goth: Alternative Ideas for Bay Area Holiday Events | KQED",
"content": "\u003cp>The last weeks of December 2023 are almost upon us. And for many who don’t observe the Christmas holiday, or aren’t traveling to see family, it can feel like things get a little … slow in the Bay Area during this time.\u003c/p>\n\u003cp>But don’t worry – in truth, \u003ca href=\"https://www.kqed.org/arts/13939198/fresh-sounds-for-the-holidays\">the region has \u003ci>plenty \u003c/i>happening in these last couple of weeks\u003c/a> before the new calendar year hits. And it’s not just productions of \u003ci>The Nutcracker \u003c/i>and \u003ci>A Christmas Carol\u003c/i>.\u003c/p>\n\u003cp>So keep reading for our roundup of events, screenings, markets and more – a mix of both classically holiday-themed events and unique pop-ups that go beyond the festive cliches – to explore in the last days of 2023.\u003c/p>\n\u003ch2>Stroll a holiday market\u003c/h2>\n\u003cul>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.billgrahammenorah.org/schedule\">The Bill Graham Menorah Lighting\u003c/a> at \u003ca href=\"https://visitunionsquaresf.com/calendar\">Union Square\u003c/a> on Thursday, Dec. 14.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.eventbrite.com/e/anti-capitalist-holiday-market-tickets-759838396097\">Anti-Capitalist Holiday Market\u003c/a> in San Francisco on Friday, Dec. 15.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://dickensfair.com/general-information/\">The Great Dickens Christmas Fair\u003c/a> in Daly City on Saturday, Dec. 16 and Sunday, Dec. 17.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.ferrybuildingmarketplace.com/events/creativity-explored-holiday-pop-up-4/\">Creativity Explored holiday pop-up\u003c/a> at the San Francisco Ferry Building on Saturday, Dec. 16.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.eventbrite.com/e/harajuku-holiday-san-francisco-tickets-745591192327\">Harajuku Holiday\u003c/a> in San Francisco on Saturday, Dec. 16.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.eventbrite.com/e/holiday-market-at-dokkaebier-taproom-tickets-767918985357\">Holiday Market at Dokkaebier Taproom\u003c/a> in Oakland on Wednesday, Dec. 20.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://winchestermysteryhouse.com/holidays/\">Holiday Candlelight Tour\u003c/a> at the Winchester Mystery House on Saturday, Dec. 16, Saturday Dec. 23 and Saturday, Dec. 30.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://winchestermysteryhouse.com/holidays/\">Annual Menagerie Holiday Oddities & Curiosities Market \u003c/a>also at the Winchester Mystery House on Saturday, Dec. 16.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://headwestmarketplace.com/dates/stgeorgespirits-december2023\">Head West Holiday Market\u003c/a> at George Spirits in Alameda on Sunday, Dec. 17.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.eventbrite.com/e/gothmas-popup-market-at-ghost-town-brewing-tickets-758422039737?aff=ebdsoporgprofile\">Gothmas PopUp Market at Ghost Town Brewing\u003c/a> in West Oakland on Sunday, Dec. 17. (Get a skull!)\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.telegraphfair.com/\">Telegraph Avenue Holiday Street Fair\u003c/a> in Berkeley on Saturday, Dec. 16 and Sunday, Dec. 17; Saturday, Dec. 23 and Sunday, Dec. 24.\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_13939503\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939503\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Great Dickens Christmas Fair, recreating Victorian London. \u003ccite>(Rich Yee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Take advantage of a free museum day\u003c/h2>\n\u003cul>\n\u003cli>Free entry to the \u003ca href=\"https://gggp.org/gifts-at-the-garden/\">San Francisco Botanical Garden for a holiday market\u003c/a> on Saturday, Dec. 16 and Sunday, Dec. 17.\u003c/li>\n\u003cli>San Francisco Botanical Garden is open and \u003ca href=\"https://sf.funcheap.com/event-series/series-san-francisco-botanical-garden-free-days/\">free on Monday, Dec. 25\u003c/a>.\u003c/li>\n\u003cli>\u003ca href=\"https://sfmcd.org/visit/\">San Francisco Museum of Craft and Design\u003c/a> is free on Wednesday, Dec. 20 and Wednesday, Dec. 27.\u003c/li>\n\u003c/ul>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/11943906/how-to-find-free-museum-tickets-in-the-bay-area\">Read more about other free museum days around the Bay Area.\u003c/a>\u003c/p>\n\u003ch2>Catch a special screening\u003c/h2>\n\u003cp>In addition to offering the chance to catch the newest release (I personally am excited for \u003ca href=\"https://www.youtube.com/watch?v=RlbR5N6veqw&pp=ygULcG9vciB0aGluZ3M%3D\">\u003ci>Poor Things\u003c/i>\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=t5khm-VjEu4&pp=ygUNYm95IGFuZCBoZXJvbg%3D%3D\">\u003ci>The Boy and the Heron\u003c/i>\u003c/a>\u003ci>), \u003c/i>Alamo Drafthouse Theater in San Francisco’s Mission District is \u003ca href=\"https://drafthouse.com/sf/movies/a-very-alamo-holiday\">hosting several brunch and movie parties\u003c/a>. (Be sure to get your tickets in advance, as screenings may sell out.)\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://drafthouse.com/sf/event/movie-party-elf\">An \u003ci>Elf \u003c/i>party\u003c/a>, centering the movie starring Will Ferrell, and \u003ca href=\"https://drafthouse.com/sf/event/movie-party-national-lampoons-christmas-vacation\">\u003ci>National Lampoon’s Christmas Vacation\u003c/i>\u003c/a>: both showing on Saturday, Dec.16.\u003c/li>\n\u003cli>\u003ca href=\"https://drafthouse.com/sf/event/brunch-screenings-its-a-wonderful-life-brunch\">\u003ci>It’s a Wonderful Life\u003c/i> brunch\u003c/a> on Sunday, Dec. 24.\u003c/li>\n\u003cli>\u003ca href=\"https://drafthouse.com/sf/event/carol-brunch\">\u003ci>Carol \u003c/i>brunch\u003c/a> on Monday, Dec. 25.\u003c/li>\n\u003c/ul>\n\u003cp>Also in the Mission District, the Roxie Theater is playing Oscar-winning film \u003ca href=\"https://roxie.com/film/there-will-be-blood-35mm/\">\u003ci>There Will Be Blood \u003c/i>on 35mm\u003c/a> on December 25.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ca href=\"https://www.thenewparkway.com/upcomingevents/calendar/\">New Parkway Theater\u003c/a> in Oakland also has a bunch of showings during the holidays:\u003c/p>\n\u003cul>\n\u003cli>A Dec. 15 showing of a \u003ca href=\"https://www.thenewparkway.com/upcomingevents/calendar/\">“so bad it’s good” (the theater’s words)\u003c/a> animated movie called \u003ca href=\"https://www.imdb.com/title/tt0341543/\">\u003ci>Rapsittie Street Kids: Believe in Santa\u003c/i>\u003c/a> that somehow has performances from the legendary voice actor Nancy Cartwright (Bart Simpson) and Mark Hamill (Luke Skywalker, the Batman Animated Series’ Joker). Grab a drink for this one.\u003c/li>\n\u003cli>You can catch the Warriors vs. Nuggets game on Dec. 25 or enjoy \u003ci>Fiddler on the Roof\u003c/i> later that same day.\u003c/li>\n\u003cli>Speaking of Batman, there’s also a showing of \u003ci>Mask of the Phantasm\u003c/i> on Dec. 28. Some people’s favorite Batman movie, period (not mine, though.)\u003c/li>\n\u003c/ul>\n\u003cp>The \u003ca href=\"https://rialtocinemas.com/cerrito/\">Rialto cinema\u003c/a> chain (locations in Berkeley, El Cerrito and Sebastopol) has free family matinee showings for movies like \u003ci>Prancer, Elf, \u003c/i>and \u003ci>An American Tail.\u003c/i>\u003c/p>\n\u003ch2>Head out to a Saturday party\u003c/h2>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.eventbrite.com/e/the-box-dance-party-tickets-754819133347?aff=ebdssbdestsearch\">The Box Dance Party\u003c/a> in Oakland on Saturday, Dec. 30.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.eventbrite.com/e/lady-bunny-a-very-blue-xmas-tickets-755034146457?aff=ebdssbdestsearch\">Lady Bunny: A Very Blue Xmas\u003c/a> in San Francisco’s Oasis on Saturday, Dec.23. (On the same day? A\u003ca href=\"https://www.eventbrite.com/e/princess-cher-mas-a-holigay-spectacular-queer-market-tickets-751349926857?aff=ebdssbdestsearch\"> Cher-themed party\u003c/a>.)\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.eventbrite.com/e/princess-gaymer-nite-zelda-tickets-749643643317?aff=ebdssbdestsearch\">Princess GAYMER Nite: ZELDA Drag Tribute\u003c/a> in San Francisco on Saturday, Dec. 30.\u003c/li>\n\u003cli aria-level=\"1\">And it isn’t \u003ca href=\"https://www.kqed.org/arts/13937049/this-is-getting-good-now-bay-areas-fans-brace-themselves-for-taylor-swifts-1989-album-re-release\">a story by me, Nisa\u003c/a>, without including \u003ca href=\"https://www.eventbrite.com/e/swift-me-away-dance-party-tickets-773467661597?aff=ebdssbdestsearch\">a Taylor Swift-themed party\u003c/a>: this time at San Francisco’s Milk Bar on Saturday, Dec. 30.\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_11956143\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11956143\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/07/RS67126_GettyImages-1474304416-qut.jpg\" alt=\"Taylor Swift, a white woman with blond hair, stands on a stage in a pink flowing long-sleeved dress looking backward at the camera.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs onstage for the opening night of ‘Taylor Swift | The Eras Tour’ at State Farm Stadium on March 17, 2023, in Swift City, ERAzona (Glendale, Arizona)\u003c/figcaption>\u003c/figure>\n\u003cp>Looking for more music? KQED Arts has also rounded up\u003ca href=\"https://www.kqed.org/arts/13939198/fresh-sounds-for-the-holidays\"> the best spots to catch a non-traditional live musical performance this holiday season\u003c/a>.\u003c/p>\n\u003ch2>And if you’re looking for something a little more interactive …\u003c/h2>\n\u003cul>\n\u003cli style=\"list-style-type: none;\">\n\u003cul>\n\u003cli>\u003ca href=\"https://enchantchristmas.com/san-jose-ca-paypal-park/\">Santa’s Magic Timepiece\u003c/a> (a light maze, village, and more) in San Jose that runs through Sunday, Dec. 31.\u003c/li>\n\u003cli>For family and kids, interactive games and a circus at San Francisco’s \u003ca href=\"https://www.eventbrite.com/e/reindeer-games-tickets-741268693617?aff=ebdssbdestsearch\">Reindeer Games\u003c/a> on Saturday, Dec. 23.\u003c/li>\n\u003cli>\u003ca href=\"https://www.thegoldengirlslive.com/\">The \u003cem>Golden Girls Live!\u003c/em> drag show runs through Saturday, Dec. 23\u003c/a> at San Francisco’s Victoria Theater.\u003c/li>\n\u003cli>\u003ca href=\"https://www.eventbrite.com/e/goth-skate-winter-edition-tickets-769424207517?aff=ebdssbdestsearch\">Goth Skate at the Church Of 8 Wheels\u003c/a> in San Francisco on Wednesday, Dec. 27.\u003c/li>\n\u003cli>\u003ca href=\"https://www.eventbrite.com/e/kwanzaa-book-brunch-tickets-767176925837?aff=ebdssbdestsearch\">Kwanzaa Book & Brunch\u003c/a> in Richmond on Saturday, Dec. 30.\u003c/li>\n\u003cli>\u003ca href=\"https://www.eventbrite.com/e/bloom-a-filipino-plant-based-dinner-party-tickets-773428303877?aff=ebdssbdestsearch\">Bloom, Filipino plant-based dinner party\u003c/a> in San Francisco on Saturday, Dec. 30.\u003c/li>\n\u003c/ul>\n\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_13939495\" class=\"wp-caption alignnone\" style=\"max-width: 1020px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939495\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Muir-Woods-1-1020x692-1.jpeg\" alt=\"A person in a wheelchair is on a boardwalk underneath redwood trees, looking up at the sky.\" width=\"1020\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Muir-Woods-1-1020x692-1.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Muir-Woods-1-1020x692-1-800x543.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Muir-Woods-1-1020x692-1-160x109.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Muir-Woods-1-1020x692-1-768x521.jpeg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003cfigcaption class=\"wp-caption-text\">Ashley Olson from wheelchairtraveling.com stares up at the mighty coastal redwoods on the boardwalk section of the accessible loop trail at Muir Woods National Monument. \u003ccite>(Courtesy Ashley Olson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Finally … take a hike\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>Rather be stretching your legs? KQED has a \u003ca href=\"https://www.kqed.org/news/11632557/photos-bay-areas-best-hikes-chosen-by-you\">2019 guide to the best holiday hikes\u003c/a> in the Bay Area, and \u003ca href=\"https://www.kqed.org/news/11953167/best-bay-area-accessible-hiking-trails-recommended-by-disability-advocates\">a 2023 guide to the best accessible hiking trails locally\u003c/a>, as recommended by disability advocates.\u003c/p>\n\n",
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"excerpt": "Looking for things to do in the Bay Area during the holiday season? We've got a roundup that includes fairs, free museums, movies and more (and no 'Nutcracker').",
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"description": "Looking for things to do in the Bay Area during the holiday season? We've got a roundup that includes fairs, free museums, movies and more (and no 'Nutcracker').",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last weeks of December 2023 are almost upon us. And for many who don’t observe the Christmas holiday, or aren’t traveling to see family, it can feel like things get a little … slow in the Bay Area during this time.\u003c/p>\n\u003cp>But don’t worry – in truth, \u003ca href=\"https://www.kqed.org/arts/13939198/fresh-sounds-for-the-holidays\">the region has \u003ci>plenty \u003c/i>happening in these last couple of weeks\u003c/a> before the new calendar year hits. And it’s not just productions of \u003ci>The Nutcracker \u003c/i>and \u003ci>A Christmas Carol\u003c/i>.\u003c/p>\n\u003cp>So keep reading for our roundup of events, screenings, markets and more – a mix of both classically holiday-themed events and unique pop-ups that go beyond the festive cliches – to explore in the last days of 2023.\u003c/p>\n\u003ch2>Stroll a holiday market\u003c/h2>\n\u003cul>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.billgrahammenorah.org/schedule\">The Bill Graham Menorah Lighting\u003c/a> at \u003ca href=\"https://visitunionsquaresf.com/calendar\">Union Square\u003c/a> on Thursday, Dec. 14.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.eventbrite.com/e/anti-capitalist-holiday-market-tickets-759838396097\">Anti-Capitalist Holiday Market\u003c/a> in San Francisco on Friday, Dec. 15.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://dickensfair.com/general-information/\">The Great Dickens Christmas Fair\u003c/a> in Daly City on Saturday, Dec. 16 and Sunday, Dec. 17.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.ferrybuildingmarketplace.com/events/creativity-explored-holiday-pop-up-4/\">Creativity Explored holiday pop-up\u003c/a> at the San Francisco Ferry Building on Saturday, Dec. 16.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.eventbrite.com/e/harajuku-holiday-san-francisco-tickets-745591192327\">Harajuku Holiday\u003c/a> in San Francisco on Saturday, Dec. 16.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.eventbrite.com/e/holiday-market-at-dokkaebier-taproom-tickets-767918985357\">Holiday Market at Dokkaebier Taproom\u003c/a> in Oakland on Wednesday, Dec. 20.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://winchestermysteryhouse.com/holidays/\">Holiday Candlelight Tour\u003c/a> at the Winchester Mystery House on Saturday, Dec. 16, Saturday Dec. 23 and Saturday, Dec. 30.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://winchestermysteryhouse.com/holidays/\">Annual Menagerie Holiday Oddities & Curiosities Market \u003c/a>also at the Winchester Mystery House on Saturday, Dec. 16.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://headwestmarketplace.com/dates/stgeorgespirits-december2023\">Head West Holiday Market\u003c/a> at George Spirits in Alameda on Sunday, Dec. 17.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.eventbrite.com/e/gothmas-popup-market-at-ghost-town-brewing-tickets-758422039737?aff=ebdsoporgprofile\">Gothmas PopUp Market at Ghost Town Brewing\u003c/a> in West Oakland on Sunday, Dec. 17. (Get a skull!)\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.telegraphfair.com/\">Telegraph Avenue Holiday Street Fair\u003c/a> in Berkeley on Saturday, Dec. 16 and Sunday, Dec. 17; Saturday, Dec. 23 and Sunday, Dec. 24.\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_13939503\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939503\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Great Dickens Christmas Fair, recreating Victorian London. \u003ccite>(Rich Yee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Take advantage of a free museum day\u003c/h2>\n\u003cul>\n\u003cli>Free entry to the \u003ca href=\"https://gggp.org/gifts-at-the-garden/\">San Francisco Botanical Garden for a holiday market\u003c/a> on Saturday, Dec. 16 and Sunday, Dec. 17.\u003c/li>\n\u003cli>San Francisco Botanical Garden is open and \u003ca href=\"https://sf.funcheap.com/event-series/series-san-francisco-botanical-garden-free-days/\">free on Monday, Dec. 25\u003c/a>.\u003c/li>\n\u003cli>\u003ca href=\"https://sfmcd.org/visit/\">San Francisco Museum of Craft and Design\u003c/a> is free on Wednesday, Dec. 20 and Wednesday, Dec. 27.\u003c/li>\n\u003c/ul>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/11943906/how-to-find-free-museum-tickets-in-the-bay-area\">Read more about other free museum days around the Bay Area.\u003c/a>\u003c/p>\n\u003ch2>Catch a special screening\u003c/h2>\n\u003cp>In addition to offering the chance to catch the newest release (I personally am excited for \u003ca href=\"https://www.youtube.com/watch?v=RlbR5N6veqw&pp=ygULcG9vciB0aGluZ3M%3D\">\u003ci>Poor Things\u003c/i>\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=t5khm-VjEu4&pp=ygUNYm95IGFuZCBoZXJvbg%3D%3D\">\u003ci>The Boy and the Heron\u003c/i>\u003c/a>\u003ci>), \u003c/i>Alamo Drafthouse Theater in San Francisco’s Mission District is \u003ca href=\"https://drafthouse.com/sf/movies/a-very-alamo-holiday\">hosting several brunch and movie parties\u003c/a>. (Be sure to get your tickets in advance, as screenings may sell out.)\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://drafthouse.com/sf/event/movie-party-elf\">An \u003ci>Elf \u003c/i>party\u003c/a>, centering the movie starring Will Ferrell, and \u003ca href=\"https://drafthouse.com/sf/event/movie-party-national-lampoons-christmas-vacation\">\u003ci>National Lampoon’s Christmas Vacation\u003c/i>\u003c/a>: both showing on Saturday, Dec.16.\u003c/li>\n\u003cli>\u003ca href=\"https://drafthouse.com/sf/event/brunch-screenings-its-a-wonderful-life-brunch\">\u003ci>It’s a Wonderful Life\u003c/i> brunch\u003c/a> on Sunday, Dec. 24.\u003c/li>\n\u003cli>\u003ca href=\"https://drafthouse.com/sf/event/carol-brunch\">\u003ci>Carol \u003c/i>brunch\u003c/a> on Monday, Dec. 25.\u003c/li>\n\u003c/ul>\n\u003cp>Also in the Mission District, the Roxie Theater is playing Oscar-winning film \u003ca href=\"https://roxie.com/film/there-will-be-blood-35mm/\">\u003ci>There Will Be Blood \u003c/i>on 35mm\u003c/a> on December 25.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.thenewparkway.com/upcomingevents/calendar/\">New Parkway Theater\u003c/a> in Oakland also has a bunch of showings during the holidays:\u003c/p>\n\u003cul>\n\u003cli>A Dec. 15 showing of a \u003ca href=\"https://www.thenewparkway.com/upcomingevents/calendar/\">“so bad it’s good” (the theater’s words)\u003c/a> animated movie called \u003ca href=\"https://www.imdb.com/title/tt0341543/\">\u003ci>Rapsittie Street Kids: Believe in Santa\u003c/i>\u003c/a> that somehow has performances from the legendary voice actor Nancy Cartwright (Bart Simpson) and Mark Hamill (Luke Skywalker, the Batman Animated Series’ Joker). Grab a drink for this one.\u003c/li>\n\u003cli>You can catch the Warriors vs. Nuggets game on Dec. 25 or enjoy \u003ci>Fiddler on the Roof\u003c/i> later that same day.\u003c/li>\n\u003cli>Speaking of Batman, there’s also a showing of \u003ci>Mask of the Phantasm\u003c/i> on Dec. 28. Some people’s favorite Batman movie, period (not mine, though.)\u003c/li>\n\u003c/ul>\n\u003cp>The \u003ca href=\"https://rialtocinemas.com/cerrito/\">Rialto cinema\u003c/a> chain (locations in Berkeley, El Cerrito and Sebastopol) has free family matinee showings for movies like \u003ci>Prancer, Elf, \u003c/i>and \u003ci>An American Tail.\u003c/i>\u003c/p>\n\u003ch2>Head out to a Saturday party\u003c/h2>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.eventbrite.com/e/the-box-dance-party-tickets-754819133347?aff=ebdssbdestsearch\">The Box Dance Party\u003c/a> in Oakland on Saturday, Dec. 30.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.eventbrite.com/e/lady-bunny-a-very-blue-xmas-tickets-755034146457?aff=ebdssbdestsearch\">Lady Bunny: A Very Blue Xmas\u003c/a> in San Francisco’s Oasis on Saturday, Dec.23. (On the same day? A\u003ca href=\"https://www.eventbrite.com/e/princess-cher-mas-a-holigay-spectacular-queer-market-tickets-751349926857?aff=ebdssbdestsearch\"> Cher-themed party\u003c/a>.)\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.eventbrite.com/e/princess-gaymer-nite-zelda-tickets-749643643317?aff=ebdssbdestsearch\">Princess GAYMER Nite: ZELDA Drag Tribute\u003c/a> in San Francisco on Saturday, Dec. 30.\u003c/li>\n\u003cli aria-level=\"1\">And it isn’t \u003ca href=\"https://www.kqed.org/arts/13937049/this-is-getting-good-now-bay-areas-fans-brace-themselves-for-taylor-swifts-1989-album-re-release\">a story by me, Nisa\u003c/a>, without including \u003ca href=\"https://www.eventbrite.com/e/swift-me-away-dance-party-tickets-773467661597?aff=ebdssbdestsearch\">a Taylor Swift-themed party\u003c/a>: this time at San Francisco’s Milk Bar on Saturday, Dec. 30.\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_11956143\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11956143\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/07/RS67126_GettyImages-1474304416-qut.jpg\" alt=\"Taylor Swift, a white woman with blond hair, stands on a stage in a pink flowing long-sleeved dress looking backward at the camera.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs onstage for the opening night of ‘Taylor Swift | The Eras Tour’ at State Farm Stadium on March 17, 2023, in Swift City, ERAzona (Glendale, Arizona)\u003c/figcaption>\u003c/figure>\n\u003cp>Looking for more music? KQED Arts has also rounded up\u003ca href=\"https://www.kqed.org/arts/13939198/fresh-sounds-for-the-holidays\"> the best spots to catch a non-traditional live musical performance this holiday season\u003c/a>.\u003c/p>\n\u003ch2>And if you’re looking for something a little more interactive …\u003c/h2>\n\u003cul>\n\u003cli style=\"list-style-type: none;\">\n\u003cul>\n\u003cli>\u003ca href=\"https://enchantchristmas.com/san-jose-ca-paypal-park/\">Santa’s Magic Timepiece\u003c/a> (a light maze, village, and more) in San Jose that runs through Sunday, Dec. 31.\u003c/li>\n\u003cli>For family and kids, interactive games and a circus at San Francisco’s \u003ca href=\"https://www.eventbrite.com/e/reindeer-games-tickets-741268693617?aff=ebdssbdestsearch\">Reindeer Games\u003c/a> on Saturday, Dec. 23.\u003c/li>\n\u003cli>\u003ca href=\"https://www.thegoldengirlslive.com/\">The \u003cem>Golden Girls Live!\u003c/em> drag show runs through Saturday, Dec. 23\u003c/a> at San Francisco’s Victoria Theater.\u003c/li>\n\u003cli>\u003ca href=\"https://www.eventbrite.com/e/goth-skate-winter-edition-tickets-769424207517?aff=ebdssbdestsearch\">Goth Skate at the Church Of 8 Wheels\u003c/a> in San Francisco on Wednesday, Dec. 27.\u003c/li>\n\u003cli>\u003ca href=\"https://www.eventbrite.com/e/kwanzaa-book-brunch-tickets-767176925837?aff=ebdssbdestsearch\">Kwanzaa Book & Brunch\u003c/a> in Richmond on Saturday, Dec. 30.\u003c/li>\n\u003cli>\u003ca href=\"https://www.eventbrite.com/e/bloom-a-filipino-plant-based-dinner-party-tickets-773428303877?aff=ebdssbdestsearch\">Bloom, Filipino plant-based dinner party\u003c/a> in San Francisco on Saturday, Dec. 30.\u003c/li>\n\u003c/ul>\n\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_13939495\" class=\"wp-caption alignnone\" style=\"max-width: 1020px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939495\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Muir-Woods-1-1020x692-1.jpeg\" alt=\"A person in a wheelchair is on a boardwalk underneath redwood trees, looking up at the sky.\" width=\"1020\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Muir-Woods-1-1020x692-1.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Muir-Woods-1-1020x692-1-800x543.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Muir-Woods-1-1020x692-1-160x109.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Muir-Woods-1-1020x692-1-768x521.jpeg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003cfigcaption class=\"wp-caption-text\">Ashley Olson from wheelchairtraveling.com stares up at the mighty coastal redwoods on the boardwalk section of the accessible loop trail at Muir Woods National Monument. \u003ccite>(Courtesy Ashley Olson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Finally … take a hike\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>Rather be stretching your legs? KQED has a \u003ca href=\"https://www.kqed.org/news/11632557/photos-bay-areas-best-hikes-chosen-by-you\">2019 guide to the best holiday hikes\u003c/a> in the Bay Area, and \u003ca href=\"https://www.kqed.org/news/11953167/best-bay-area-accessible-hiking-trails-recommended-by-disability-advocates\">a 2023 guide to the best accessible hiking trails locally\u003c/a>, as recommended by disability advocates.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Surprisingly Sweet ‘Wonka’ Dodges Dahl’s Bitterness",
"headTitle": "A Surprisingly Sweet ‘Wonka’ Dodges Dahl’s Bitterness | KQED",
"content": "\u003cp>From a child’s perspective, there is no higher use for the application of magic than conjuring candy out of the air. In and of itself, this first law of speculative metaphysics, which I just coined, makes \u003cem>Wonka\u003c/em> an irresistible film for children.\u003c/p>\n\u003cp>[aside postID='arts_13939223']In addition to the expected superficial pleasures, writer-director Paul King’s original musical prequel to Roald Dahl’s \u003cem>\u003ca href=\"https://www.penguinrandomhouse.com/books/319173/charlie-and-the-chocolate-factory-by-roald-dahl-illustrated-by-quentin-blake/\">Charlie and the Chocolate Factory\u003c/a>\u003c/em> (1964) force-feeds a theme that is perennial catnip for youngsters: the unquenchable thirst for self-invention and reinvention. \u003c/p>\n\u003cp>The movie opens with the eager, idealistic, orphaned magician-waif Willy Wonka (Timothée Chalamet) arriving by boat in the big city — London? Probably, because the place is chockablock with English actors, but then why is Willy clearly American? — in a textbook example of the (fictional) intrepid young protagonist making their way through the mystifying, unfair and immoral adult world.\u003c/p>\n\u003cp>In other words, \u003cem>Wonka\u003c/em> (opening Friday, Dec. 15) is perfectly swell holiday fare for the little people in your vicinity. They may be restless in places where there’s too much plot and chitchat and not enough fantasy, but that’s why God and Santa put candy counters in theaters.\u003c/p>\n\u003cfigure id=\"attachment_13939467\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000.jpg\" alt=\"Woman leans on counter facing a man who frowns slightly, papers folded between them\" width=\"2000\" height=\"1324\" class=\"size-full wp-image-13939467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-1536x1017.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-1920x1271.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Colman and Timothée Chalamet in ‘Wonka.’ \u003ccite>(Jaap Buittendijk/Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although I am a fervent believer that a great fairy tale requires a dash of terror (the child grows from having gone through \u003cem>something\u003c/em> on the bumpy road to a happy ending), I appreciate that King (\u003cem>Paddington 2\u003c/em>) has whisked away the cruelty that colored Dahl’s books. Consider the lodging where a helpful stranger (Tom Davis doing a pleasing tongue-in-cheek riff on Oliver Reed-as-Bill Sikes) directs the sovereign-less Wonka on his wintry first night. It turns out to be a laundry of indentured servitude operated by Mrs. Scrubbit (Academy Award-winner Olivia Colman having a ball, in part because King didn’t give her terrible teeth and an impenetrable accent).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dickens would laugh at this establishment, as do we, which is more Days Inn than Dungeons ‘R’ Us. Jim Carter (\u003cem>Downton Abbey\u003c/em>) brings dancehall wit and gusto to his role as leader of the captive, singing washing crew, which includes young Noodle (Calah Lane), who becomes Willy’s guide, accomplice and friend.\u003c/p>\n\u003cp>I delayed putting “singing” and “Willy” in the same paragraph as long as I could, but the time has come to remind moviemakers of the second law of speculative metaphysics: Don’t begin your movie with a non-musical actor singing. Yes, Anne Hathaway won an Oscar for croaking her way through \u003cem>Les Misérables\u003c/em>. Yes, Leos Carax put Adam Driver front and center for the extended music video that opened \u003cem>Annette\u003c/em>. And yes, Timothée Chalamet succeeds in overcoming his uninspiring entrance with a typically generous, game and sporting performance.\u003c/p>\n\u003cfigure id=\"attachment_13939468\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000.jpg\" alt=\"Young girl and man walk across street in muted Victorian clothes \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Calah Lane and Timothée Chalamet in ‘Wonka.’ \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I am reluctant to critique Chalamet’s voice — if Putin has kompromat on me, it involves karaoke — which is thin but not amateur-hour bad. I do lament Hollywood’s decades-long insistence on casting (supposedly) bankable dramatic stars as musical leads. The upside is that countless high school seniors in drama clubs around the world will say, “If Chalamet is a household name with a voice like that, imagine how far I can go!”\u003c/p>\n\u003cp>Neil Hannon’s songs are serviceable and often clever, but they don’t lodge themselves in the memory. And King, regrettably, gives only a couple of them the glorious musical-fantasy treatment that is the third law of speculative metaphysics: Everyday people on the street and trolley turn into chorus singers, random strangers coalesce in a choreographed dance, and the real world dissolves into a candy-cane snow globe of harmony and happiness. (\u003cem>Barbie\u003c/em> boasts more flamboyant musical numbers, for the record.)\u003c/p>\n\u003cp>And yet, for all my carping, I enjoyed \u003cem>Wonka\u003c/em>. Willy’s relentless crusade to open his own chocolate shop — to validate his late mother’s support rather than out of an innate entrepreneurial drive, so venture capitalists need not apply — never succumbs to corn-syrup treacle. The heartstrings-pulling sequences, which don’t especially work, are blessedly brief. Hugh Grant (as the movie’s lone Oompa-Loompa, and who needs a battalion of those wee folks when you have Hugh Grant?) shows up at the exact perfect moment to inject a shot of acerbic pomposity, like Bénédectine poured in a milk chocolate truffle, into Willy’s earnest endeavors.\u003c/p>\n\u003cfigure id=\"attachment_13939469\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000.jpg\" alt=\"Man in top hat and Victorian clothes stands on angled trunk of tree with pink flowered branches and shiny red orbs hanging from it\" width=\"2000\" height=\"1053\" class=\"size-full wp-image-13939469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-800x421.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-1020x537.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-1536x809.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-1920x1011.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet in ‘Wonka.’\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13931753']Unlike Pixar’s movies, which provide ample jokes that sail over the kids’ heads and keep the adults alert and entertained, \u003cem>Wonka\u003c/em> doesn’t set out to be either hip or politically au courant. The villains of the piece are a chocolate cartel comprised of three purportedly independent merchants, and the principles of capitalism (other than bribing the police chief) aren’t satirized but ignored altogether. (\u003cem>Barbie\u003c/em> aced that assignment, thank you.)\u003c/p>\n\u003cp>And it’s OK that \u003cem>Wonka\u003c/em> aspires to be a simple crowd-pleaser whose implicit message is to stay true to your dreams and your friends. The movie works just fine as a feel-good family film at a moment when the future is not just unwritten but uncertain. Is it an instant addition to the shelf of timeless holiday classics? It needed a bit more magic to tip the scales decisively, but I wouldn’t bet against Willy in the long run. Even without fast-forwarding through his songs.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Wonka’ opens in theaters on Friday, Dec. 15, 2023.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From a child’s perspective, there is no higher use for the application of magic than conjuring candy out of the air. In and of itself, this first law of speculative metaphysics, which I just coined, makes \u003cem>Wonka\u003c/em> an irresistible film for children.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In addition to the expected superficial pleasures, writer-director Paul King’s original musical prequel to Roald Dahl’s \u003cem>\u003ca href=\"https://www.penguinrandomhouse.com/books/319173/charlie-and-the-chocolate-factory-by-roald-dahl-illustrated-by-quentin-blake/\">Charlie and the Chocolate Factory\u003c/a>\u003c/em> (1964) force-feeds a theme that is perennial catnip for youngsters: the unquenchable thirst for self-invention and reinvention. \u003c/p>\n\u003cp>The movie opens with the eager, idealistic, orphaned magician-waif Willy Wonka (Timothée Chalamet) arriving by boat in the big city — London? Probably, because the place is chockablock with English actors, but then why is Willy clearly American? — in a textbook example of the (fictional) intrepid young protagonist making their way through the mystifying, unfair and immoral adult world.\u003c/p>\n\u003cp>In other words, \u003cem>Wonka\u003c/em> (opening Friday, Dec. 15) is perfectly swell holiday fare for the little people in your vicinity. They may be restless in places where there’s too much plot and chitchat and not enough fantasy, but that’s why God and Santa put candy counters in theaters.\u003c/p>\n\u003cfigure id=\"attachment_13939467\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000.jpg\" alt=\"Woman leans on counter facing a man who frowns slightly, papers folded between them\" width=\"2000\" height=\"1324\" class=\"size-full wp-image-13939467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-1536x1017.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-1920x1271.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Colman and Timothée Chalamet in ‘Wonka.’ \u003ccite>(Jaap Buittendijk/Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although I am a fervent believer that a great fairy tale requires a dash of terror (the child grows from having gone through \u003cem>something\u003c/em> on the bumpy road to a happy ending), I appreciate that King (\u003cem>Paddington 2\u003c/em>) has whisked away the cruelty that colored Dahl’s books. Consider the lodging where a helpful stranger (Tom Davis doing a pleasing tongue-in-cheek riff on Oliver Reed-as-Bill Sikes) directs the sovereign-less Wonka on his wintry first night. It turns out to be a laundry of indentured servitude operated by Mrs. Scrubbit (Academy Award-winner Olivia Colman having a ball, in part because King didn’t give her terrible teeth and an impenetrable accent).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dickens would laugh at this establishment, as do we, which is more Days Inn than Dungeons ‘R’ Us. Jim Carter (\u003cem>Downton Abbey\u003c/em>) brings dancehall wit and gusto to his role as leader of the captive, singing washing crew, which includes young Noodle (Calah Lane), who becomes Willy’s guide, accomplice and friend.\u003c/p>\n\u003cp>I delayed putting “singing” and “Willy” in the same paragraph as long as I could, but the time has come to remind moviemakers of the second law of speculative metaphysics: Don’t begin your movie with a non-musical actor singing. Yes, Anne Hathaway won an Oscar for croaking her way through \u003cem>Les Misérables\u003c/em>. Yes, Leos Carax put Adam Driver front and center for the extended music video that opened \u003cem>Annette\u003c/em>. And yes, Timothée Chalamet succeeds in overcoming his uninspiring entrance with a typically generous, game and sporting performance.\u003c/p>\n\u003cfigure id=\"attachment_13939468\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000.jpg\" alt=\"Young girl and man walk across street in muted Victorian clothes \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Calah Lane and Timothée Chalamet in ‘Wonka.’ \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I am reluctant to critique Chalamet’s voice — if Putin has kompromat on me, it involves karaoke — which is thin but not amateur-hour bad. I do lament Hollywood’s decades-long insistence on casting (supposedly) bankable dramatic stars as musical leads. The upside is that countless high school seniors in drama clubs around the world will say, “If Chalamet is a household name with a voice like that, imagine how far I can go!”\u003c/p>\n\u003cp>Neil Hannon’s songs are serviceable and often clever, but they don’t lodge themselves in the memory. And King, regrettably, gives only a couple of them the glorious musical-fantasy treatment that is the third law of speculative metaphysics: Everyday people on the street and trolley turn into chorus singers, random strangers coalesce in a choreographed dance, and the real world dissolves into a candy-cane snow globe of harmony and happiness. (\u003cem>Barbie\u003c/em> boasts more flamboyant musical numbers, for the record.)\u003c/p>\n\u003cp>And yet, for all my carping, I enjoyed \u003cem>Wonka\u003c/em>. Willy’s relentless crusade to open his own chocolate shop — to validate his late mother’s support rather than out of an innate entrepreneurial drive, so venture capitalists need not apply — never succumbs to corn-syrup treacle. The heartstrings-pulling sequences, which don’t especially work, are blessedly brief. Hugh Grant (as the movie’s lone Oompa-Loompa, and who needs a battalion of those wee folks when you have Hugh Grant?) shows up at the exact perfect moment to inject a shot of acerbic pomposity, like Bénédectine poured in a milk chocolate truffle, into Willy’s earnest endeavors.\u003c/p>\n\u003cfigure id=\"attachment_13939469\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000.jpg\" alt=\"Man in top hat and Victorian clothes stands on angled trunk of tree with pink flowered branches and shiny red orbs hanging from it\" width=\"2000\" height=\"1053\" class=\"size-full wp-image-13939469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-800x421.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-1020x537.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-1536x809.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-1920x1011.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet in ‘Wonka.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Unlike Pixar’s movies, which provide ample jokes that sail over the kids’ heads and keep the adults alert and entertained, \u003cem>Wonka\u003c/em> doesn’t set out to be either hip or politically au courant. The villains of the piece are a chocolate cartel comprised of three purportedly independent merchants, and the principles of capitalism (other than bribing the police chief) aren’t satirized but ignored altogether. (\u003cem>Barbie\u003c/em> aced that assignment, thank you.)\u003c/p>\n\u003cp>And it’s OK that \u003cem>Wonka\u003c/em> aspires to be a simple crowd-pleaser whose implicit message is to stay true to your dreams and your friends. The movie works just fine as a feel-good family film at a moment when the future is not just unwritten but uncertain. Is it an instant addition to the shelf of timeless holiday classics? It needed a bit more magic to tip the scales decisively, but I wouldn’t bet against Willy in the long run. Even without fast-forwarding through his songs.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Wonka’ opens in theaters on Friday, Dec. 15, 2023.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Monk’ Returns for One ‘Last Case’ and It’s a Heaping Serving of TV Comfort Food",
"headTitle": "‘Monk’ Returns for One ‘Last Case’ and It’s a Heaping Serving of TV Comfort Food | KQED",
"content": "\u003cp>The USA Network detective series \u003cem>Monk\u003c/em>, like its title character, always stood out as being a little … unusual.\u003c/p>\n\u003cp>An hour-long police procedural, the show aired from 2002 until 2009 and presented a different murder to solve each episode. Yet — like the classic TV series \u003cem>Columbo\u003c/em> — it not only focused on the particulars of its central mystery, but also took time to have fun with the quirky brilliance of its lead investigator, Adrian Monk (played by \u003ca href=\"https://www.npr.org/2018/07/31/634299761/tony-shalhoub-on-mrs-maisel-and-questioning-his-worth-as-an-actor\">Tony Shalhoub\u003c/a>), who had obsessive-compulsive disorder. Now, after almost 15 years, Shalhoub and most of his original castmates are back, in a new movie on the Peacock streaming service, titled \u003cem>Mr. Monk’s Last Case.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13939092']Despite some dark and dramatic moments, the original \u003cem>Monk \u003c/em>played like a comedy. In fact, creator Andy Breckman submitted the show for Emmy consideration in the comedy categories, and Shalhoub competed against sitcom stars to win the award for lead actor three times. And until \u003ca href=\"https://www.npr.org/2017/10/23/559035940/the-walking-dead-returns-to-form-in-season-8-premiere\">\u003cem>The Walking Dead\u003c/em>\u003c/a> came along, the finale of \u003cem>Monk \u003c/em>held the record as the most-viewed scripted drama on cable television.\u003c/p>\n\u003cp>In that last episode of \u003cem>Monk\u003c/em>, back in 2009, Adrian finally cracked the case that had triggered his OCD compulsions — the unsolved murder of his wife, Trudy. Now, in this movie sequel, writer Breckman and director Randy Zisk revisit the character after all this time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Krfd3OWb4hs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Mr. Monk’s Last Case\u003c/em> begins by establishing how the title character has, and hasn’t, moved on since we last saw him. We learn that Adrian retired from the crime-solving business and got a hefty cash advance to write a book about all the murders he’d solved.\u003c/p>\n\u003cp>[aside postid='arts_13938662']Unfortunately, Adrian’s fears and compulsions didn’t leave him, and while working obsessively on his memoirs, he became a relative recluse. The outbreak of COVID didn’t help, but his stepdaughter Molly, a newly introduced character played by Caitlin McGee, moved in with Adrian during the pandemic. She quickly became the most important person in his life, and he was so grateful, he promised to use his book advance to pay for her impending wedding.\u003c/p>\n\u003cp>As this new \u003cem>Monk \u003c/em>movie begins, all seems fine — but not for long. Very quickly, there’s a murder that Adrian feels compelled to solve. And even before that, there’s bad news when Adrian visits the office of his publisher. She’s read the first several hundred pages of his manuscript — and hates them.\u003c/p>\n\u003cp>Adrian’s attention to detail, which helps him solve crimes, apparently doesn’t help so much when it comes to writing memoirs — especially when he goes on for pages about how one murder suspect and he coincidentally used the exact same model of vacuum cleaner. The publisher delivers the blow that she’s rejecting Adrian’s manuscript — and she demands he returns the advance.\u003c/p>\n\u003cfigure id=\"attachment_13939342\" class=\"wp-caption aligncenter\" style=\"max-width: 851px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939342\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de.jpg\" alt=\"A smiling woman wearing a white shirt places something in the jacket pocket of an older man.\" width=\"851\" height=\"638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de.jpg 851w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-768x576.jpg 768w\" sizes=\"(max-width: 851px) 100vw, 851px\">\u003cfigcaption class=\"wp-caption-text\">Molly (Caitlin McGee) helps look after Monk (Tony Shalhoub) in ‘Mr. Monk’s Last Case.’ \u003ccite>(Steve Wilkie/ Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The publisher’s concern that people may not care as much about Monk after all these years is a sly little nod to what this TV movie is facing. It’s waited so long to reintroduce the character that it’s a whole new world out here — reflected by the fact that \u003cem>Mr. Monk’s Last Case \u003c/em>is premiering not on cable, but streaming on Peacock.\u003c/p>\n\u003cp>[aside postid='arts_13939170']But Adrian Monk and his cohorts do just fine in their 2023 return. Shalhoub slips back into the character with assurance and precision, nailing the comedy in each scene while making room for some somber tones of loss and depression.\u003c/p>\n\u003cp>This movie sequel, however, is anything but depressing. It’s TV comfort food, and it’s enjoyable to catch up not only with Adrian Monk, but with his castmates from the original series. The title of this new Peacock movie is \u003cem>Mr. Monk’s Last Case —\u003c/em> but given how well its ingredients fold together, I wouldn’t necessarily take that title literally.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Monk%27+returns+for+one+%27Last+Case%27+and+it%27s+a+heaping+serving+of+TV+comfort+food&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003cem>‘Mr. Monk’s Last Case’ is streaming now on Peacock.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The USA Network detective series \u003cem>Monk\u003c/em>, like its title character, always stood out as being a little … unusual.\u003c/p>\n\u003cp>An hour-long police procedural, the show aired from 2002 until 2009 and presented a different murder to solve each episode. Yet — like the classic TV series \u003cem>Columbo\u003c/em> — it not only focused on the particulars of its central mystery, but also took time to have fun with the quirky brilliance of its lead investigator, Adrian Monk (played by \u003ca href=\"https://www.npr.org/2018/07/31/634299761/tony-shalhoub-on-mrs-maisel-and-questioning-his-worth-as-an-actor\">Tony Shalhoub\u003c/a>), who had obsessive-compulsive disorder. Now, after almost 15 years, Shalhoub and most of his original castmates are back, in a new movie on the Peacock streaming service, titled \u003cem>Mr. Monk’s Last Case.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Unfortunately, Adrian’s fears and compulsions didn’t leave him, and while working obsessively on his memoirs, he became a relative recluse. The outbreak of COVID didn’t help, but his stepdaughter Molly, a newly introduced character played by Caitlin McGee, moved in with Adrian during the pandemic. She quickly became the most important person in his life, and he was so grateful, he promised to use his book advance to pay for her impending wedding.\u003c/p>\n\u003cp>As this new \u003cem>Monk \u003c/em>movie begins, all seems fine — but not for long. Very quickly, there’s a murder that Adrian feels compelled to solve. And even before that, there’s bad news when Adrian visits the office of his publisher. She’s read the first several hundred pages of his manuscript — and hates them.\u003c/p>\n\u003cp>Adrian’s attention to detail, which helps him solve crimes, apparently doesn’t help so much when it comes to writing memoirs — especially when he goes on for pages about how one murder suspect and he coincidentally used the exact same model of vacuum cleaner. The publisher delivers the blow that she’s rejecting Adrian’s manuscript — and she demands he returns the advance.\u003c/p>\n\u003cfigure id=\"attachment_13939342\" class=\"wp-caption aligncenter\" style=\"max-width: 851px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939342\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de.jpg\" alt=\"A smiling woman wearing a white shirt places something in the jacket pocket of an older man.\" width=\"851\" height=\"638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de.jpg 851w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-768x576.jpg 768w\" sizes=\"(max-width: 851px) 100vw, 851px\">\u003cfigcaption class=\"wp-caption-text\">Molly (Caitlin McGee) helps look after Monk (Tony Shalhoub) in ‘Mr. Monk’s Last Case.’ \u003ccite>(Steve Wilkie/ Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The publisher’s concern that people may not care as much about Monk after all these years is a sly little nod to what this TV movie is facing. It’s waited so long to reintroduce the character that it’s a whole new world out here — reflected by the fact that \u003cem>Mr. Monk’s Last Case \u003c/em>is premiering not on cable, but streaming on Peacock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Adrian Monk and his cohorts do just fine in their 2023 return. Shalhoub slips back into the character with assurance and precision, nailing the comedy in each scene while making room for some somber tones of loss and depression.\u003c/p>\n\u003cp>This movie sequel, however, is anything but depressing. It’s TV comfort food, and it’s enjoyable to catch up not only with Adrian Monk, but with his castmates from the original series. The title of this new Peacock movie is \u003cem>Mr. Monk’s Last Case —\u003c/em> but given how well its ingredients fold together, I wouldn’t necessarily take that title literally.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Monk%27+returns+for+one+%27Last+Case%27+and+it%27s+a+heaping+serving+of+TV+comfort+food&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003cem>‘Mr. Monk’s Last Case’ is streaming now on Peacock.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Barbie’ Leads Golden Globe Nominations With 9, Followed by ‘Oppenheimer’",
"headTitle": "‘Barbie’ Leads Golden Globe Nominations With 9, Followed by ‘Oppenheimer’ | KQED",
"content": "\u003cp>Greta Gerwig’s \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a> dominated the Golden Globe Awards nominations with nine nods for the blockbuster film, including best picture musical or comedy as well as acting nominations for Margot Robbie and Ryan Gosling, and three of its original songs.\u003c/p>\n\u003cp>It was closely followed by its release date and \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">meme companion\u003c/a> Christopher Nolan’s \u003cem>Oppenheimer\u003c/em>, which scored eight nominations, including best picture drama and for actors Cillian Murphy, Robert Downey Jr. and Emily Blunt.\u003c/p>\n\u003cp>[aside postid='arts_13931753']The revamped group, now a for-profit endeavor with a larger and more diverse voting body, announced nominations Monday for its January awards show, after scandal and several troubled years, including one without a broadcast. Cedric the Entertainer and Wilmer Valderrama presided over the announcements from the Beverly Hilton Hotel, where the show will also take place on Jan. 7.\u003c/p>\n\u003cp>Films nominated for best motion picture drama included \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a>, Martin Scorsese’s \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>, Bradley Cooper’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13938332/maestro-bradley-cooper-review\">Maestro\u003c/a>\u003c/em>, Celine Song’s \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a>, Justine Triet’s \u003cem>Anatomy of a Fall\u003c/em> and Jonathan Glazer’s \u003cem>The Zone of Interest\u003c/em>.\u003c/p>\n\u003cp>In the best motion picture musical or comedy category, \u003cem>Barbie\u003c/em> was joined by \u003cem>Air\u003c/em>, \u003cem>American Fiction\u003c/em>, \u003cem>The Holdovers\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a> and \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>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yorgos Lanthimos’ \u003cem>Poor Things\u003c/em> and Scorsese’s \u003cem>Killers of the Flower Moon\u003c/em> both received seven nominations each.\u003cem> Poor Things\u003c/em> saw nominations for Lanthimos, its actors Emma Stone, Mark Ruffalo, Willem Dafoe, and Tony McNamara for screenplay. \u003cem>Killers of the Flower Moon\u003c/em> got nods for Scorsese, for direction and co-writing the screenplay with Eric Roth, and stars Leonardo DiCaprio, Lily Gladstone and Robert De Niro.\u003c/p>\n\u003cp>[aside postid='arts_13938158']Stone, who was also nominated for the Showtime series \u003cem>The Curse\u003c/em>, said in a statement that she was “Feeling extremely bewildered and thankful for it all.” She also said her \u003cem>Poor Things\u003c/em> character Bella Baxter is her favorite and that she was “so grateful for the opportunity to be a part of this magical film experience.”\u003c/p>\n\u003cp>DiCaprio also used his statement to praise Gladstone: “She is the soul of our film and helped to bring this sinister and painful part of our nation’s history to life,” he wrote. The film is about the murders of wealthy Osage individuals in Oklahoma in the early 20th century.\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em> tied for second-most nominations in Globes history with \u003cem>Cabaret\u003c/em>, from 1972. Robert Altman’s \u003cem>Nashville\u003c/em> remains the record-holder with 11 nominations. It went into the morning as a favorite top, and got a big boost from its three original song nominations, including “I’m Just Ken,” and one of the year’s new categories, recognizing cinematic and box office achievement. One person who was not nominated was America Ferrera, who delivered the movie’s most memorable monologue.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13926773/succession-returns-for-a-fourth-and-final-season-of-family-back-stabbing\">\u003cem>Succession\u003c/em>\u003c/a> was the top-nominated television program, with nine nods including for series stars Brian Cox, Jeremy Strong, Sarah Snook and Kieran Culkin, followed by Hulu’s \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13938143']As always there were some big surprises, like Jennifer Lawrence getting nominated for her bawdy R-rated comedy \u003ca href=\"https://www.kqed.org/arts/13930807/jennifer-lawrences-new-raunchy-teen-comedy-is-better-than-it-should-be\">\u003cem>No Hard Feelings\u003c/em>\u003c/a> for best performance by a female actor in a musical or comedy. She was nominated alongside Robbie, Stone and Fantasia Barrino (\u003cem>The Color Purple\u003c/em>), Natalie Portman (\u003cem>May December\u003c/em>) and Alma Pöysti (\u003cem>Fallen Leaves\u003c/em>).\u003c/p>\n\u003cp>Lawrence, in a statement, said she had so much fun making the movie that “it almost feels wrong to accept such an honor — but I will!!!… I cannot wait for some lukewarm Chardonnay. Let’s go!!!”\u003c/p>\n\u003cp>\u003cem>The Color Purple\u003c/em> was expected to do better. The adaption of the stage musical got only two nominations total, both for actors, for Barrino and Danielle Brooks for her supporting performance. Left out was \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a>, who was nominated for best drama actor for \u003ca href=\"https://www.kqed.org/arts/13937499/bayard-rustin-biopic-review-colman-domingo-civil-rights\">\u003cem>Rustin\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Cord Jefferson’s comedy \u003cem>American Fiction\u003c/em> also came up with only two nods, best musical or comedy and for lead actor Jeffrey Wright.\u003c/p>\n\u003cp>Sofia Coppola’s widely acclaimed \u003ca href=\"https://www.kqed.org/arts/13936970/priscilla-movie-review-sofia-coppola-jacob-elordi-cailee-spaeny\">\u003cem>Priscilla\u003c/em>\u003c/a> got only one nomination, for actor Cailee Spaeny’s portrayal of Priscilla Presley. Her category mates in best female performance in a drama include Gladstone, Annette Bening for \u003ca href=\"https://www.kqed.org/arts/13936754/nyad-movie-review-true-story-jodie-foster-swimming-annette-bening\">\u003cem>Nyad\u003c/em>\u003c/a>, Sandra Hüller for \u003cem>Anatomy of a Fall\u003c/em>, Greta Lee for\u003cem> Past Lives\u003c/em> and Carey Mulligan for \u003cem>Maestro\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13936970']The Globes won’t have to worry about anyone criticizing its “all male” directors this year, however. Gerwig was nominated as was Celine Song, for her romantic debut \u003cem>Past Lives\u003c/em>, alongside Nolan, Scorsese, Cooper and Lanthimos.\u003c/p>\n\u003cp>Netflix got the most nominations overall, with 13 total for a slate which included \u003cem>Maestro\u003c/em>, \u003cem>May December\u003c/em> and \u003cem>Rustin\u003c/em>, followed by Warner Bros., which made \u003cem>Barbie\u003c/em> and \u003cem>The Color Purple\u003c/em> with 12.\u003c/p>\n\u003cp>Ridley Scott’s \u003ca href=\"https://www.kqed.org/arts/13938168/ridley-scott-napoleon-movie-review-joaquin-phoenix\">\u003cem>Napoleon\u003c/em>\u003c/a> was not nominated at all. Instead, its star Joaquin Phoenix was recognized for \u003cem>Beau Is Afraid\u003c/em> in the lead actor comedy/musical category, with Wright, Matt Damon (\u003cem>Air\u003c/em>), Nicolas Cage (\u003ca href=\"https://www.kqed.org/arts/13937870/dream-scenario-movie-review-nicolas-cage-julianne-nicholson-kristoffer-borgli\">\u003cem>Dream Scenario\u003c/em>\u003c/a>), Timothée Chalamet (\u003cem>Wonka\u003c/em>) and Paul Giamatti (\u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a>). Michael Mann’s \u003cem>Ferrari\u003c/em>, with Adam Driver, and Wes Anderson’s starry \u003ca href=\"https://www.kqed.org/arts/13930502/asteroid-city-review-wes-anderson-scarlet-johansson-jason-schwartzman\">\u003cem>Asteroid City\u003c/em>\u003c/a> also got zero nominations.\u003c/p>\n\u003cp>The voting body has now grown to 300 members, following backlash to a 2021 report in the \u003cem>Los Angeles Times\u003c/em> that found that there were zero Black members in the group that was then composed of only 87 foreign journalists.\u003c/p>\n\u003cp>Perhaps as a result, there were more international films and actors nominated in prominent categories including the Finnish comedy \u003cem>Fallen Leaves\u003c/em>, the courtroom thriller \u003cem>Anatomy of a Fall\u003c/em> and the harrowing Auschwitz drama \u003cem>The Zone of Interest\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13923511']The 81st Golden Globes will be the first major broadcast of awards season, with a new home on CBS, but no word on a host. And while to audiences it might look similar on the surface, it’s been tumultuous few years behind the scenes in the aftermath of the \u003cem>L.A. Times\u003c/em> report, which also exposed ethical lapses like its members accepting lavish gifts and travel from awards publicists and studios.\u003c/p>\n\u003cp>The Globes had long been one of the highest-profile awards season broadcasts, second only to the Oscars. Before the pandemic, it was still pulling in around 19 million viewers. The show was touted as a boozy, A-list party, whose hosts often took a more irreverent tone than their academy counterparts. It also only honored the flashiest filmmaking categories — picture, director, actors among them — meaning no long speeches from visual effects supervisors or directors of shorts no one has heard of.\u003c/p>\n\u003cp>Some years, the HFPA were pilloried for nominating poorly reviewed films with big name talent with hopes of getting them to the show, the most infamous being \u003cem>The Tourist\u003c/em>, with Angelina Jolie and Johnny Depp. In the past decade, they’ve more often overlapped with the Oscars.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This year, NBC’s Tuesday night broadcast got its smallest audience ever for a traditional broadcast, with 6.3 million viewers.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Greta Gerwig’s \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a> dominated the Golden Globe Awards nominations with nine nods for the blockbuster film, including best picture musical or comedy as well as acting nominations for Margot Robbie and Ryan Gosling, and three of its original songs.\u003c/p>\n\u003cp>It was closely followed by its release date and \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">meme companion\u003c/a> Christopher Nolan’s \u003cem>Oppenheimer\u003c/em>, which scored eight nominations, including best picture drama and for actors Cillian Murphy, Robert Downey Jr. and Emily Blunt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The revamped group, now a for-profit endeavor with a larger and more diverse voting body, announced nominations Monday for its January awards show, after scandal and several troubled years, including one without a broadcast. Cedric the Entertainer and Wilmer Valderrama presided over the announcements from the Beverly Hilton Hotel, where the show will also take place on Jan. 7.\u003c/p>\n\u003cp>Films nominated for best motion picture drama included \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a>, Martin Scorsese’s \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>, Bradley Cooper’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13938332/maestro-bradley-cooper-review\">Maestro\u003c/a>\u003c/em>, Celine Song’s \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a>, Justine Triet’s \u003cem>Anatomy of a Fall\u003c/em> and Jonathan Glazer’s \u003cem>The Zone of Interest\u003c/em>.\u003c/p>\n\u003cp>In the best motion picture musical or comedy category, \u003cem>Barbie\u003c/em> was joined by \u003cem>Air\u003c/em>, \u003cem>American Fiction\u003c/em>, \u003cem>The Holdovers\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a> and \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>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yorgos Lanthimos’ \u003cem>Poor Things\u003c/em> and Scorsese’s \u003cem>Killers of the Flower Moon\u003c/em> both received seven nominations each.\u003cem> Poor Things\u003c/em> saw nominations for Lanthimos, its actors Emma Stone, Mark Ruffalo, Willem Dafoe, and Tony McNamara for screenplay. \u003cem>Killers of the Flower Moon\u003c/em> got nods for Scorsese, for direction and co-writing the screenplay with Eric Roth, and stars Leonardo DiCaprio, Lily Gladstone and Robert De Niro.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Stone, who was also nominated for the Showtime series \u003cem>The Curse\u003c/em>, said in a statement that she was “Feeling extremely bewildered and thankful for it all.” She also said her \u003cem>Poor Things\u003c/em> character Bella Baxter is her favorite and that she was “so grateful for the opportunity to be a part of this magical film experience.”\u003c/p>\n\u003cp>DiCaprio also used his statement to praise Gladstone: “She is the soul of our film and helped to bring this sinister and painful part of our nation’s history to life,” he wrote. The film is about the murders of wealthy Osage individuals in Oklahoma in the early 20th century.\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em> tied for second-most nominations in Globes history with \u003cem>Cabaret\u003c/em>, from 1972. Robert Altman’s \u003cem>Nashville\u003c/em> remains the record-holder with 11 nominations. It went into the morning as a favorite top, and got a big boost from its three original song nominations, including “I’m Just Ken,” and one of the year’s new categories, recognizing cinematic and box office achievement. One person who was not nominated was America Ferrera, who delivered the movie’s most memorable monologue.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13926773/succession-returns-for-a-fourth-and-final-season-of-family-back-stabbing\">\u003cem>Succession\u003c/em>\u003c/a> was the top-nominated television program, with nine nods including for series stars Brian Cox, Jeremy Strong, Sarah Snook and Kieran Culkin, followed by Hulu’s \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As always there were some big surprises, like Jennifer Lawrence getting nominated for her bawdy R-rated comedy \u003ca href=\"https://www.kqed.org/arts/13930807/jennifer-lawrences-new-raunchy-teen-comedy-is-better-than-it-should-be\">\u003cem>No Hard Feelings\u003c/em>\u003c/a> for best performance by a female actor in a musical or comedy. She was nominated alongside Robbie, Stone and Fantasia Barrino (\u003cem>The Color Purple\u003c/em>), Natalie Portman (\u003cem>May December\u003c/em>) and Alma Pöysti (\u003cem>Fallen Leaves\u003c/em>).\u003c/p>\n\u003cp>Lawrence, in a statement, said she had so much fun making the movie that “it almost feels wrong to accept such an honor — but I will!!!… I cannot wait for some lukewarm Chardonnay. Let’s go!!!”\u003c/p>\n\u003cp>\u003cem>The Color Purple\u003c/em> was expected to do better. The adaption of the stage musical got only two nominations total, both for actors, for Barrino and Danielle Brooks for her supporting performance. Left out was \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a>, who was nominated for best drama actor for \u003ca href=\"https://www.kqed.org/arts/13937499/bayard-rustin-biopic-review-colman-domingo-civil-rights\">\u003cem>Rustin\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Cord Jefferson’s comedy \u003cem>American Fiction\u003c/em> also came up with only two nods, best musical or comedy and for lead actor Jeffrey Wright.\u003c/p>\n\u003cp>Sofia Coppola’s widely acclaimed \u003ca href=\"https://www.kqed.org/arts/13936970/priscilla-movie-review-sofia-coppola-jacob-elordi-cailee-spaeny\">\u003cem>Priscilla\u003c/em>\u003c/a> got only one nomination, for actor Cailee Spaeny’s portrayal of Priscilla Presley. Her category mates in best female performance in a drama include Gladstone, Annette Bening for \u003ca href=\"https://www.kqed.org/arts/13936754/nyad-movie-review-true-story-jodie-foster-swimming-annette-bening\">\u003cem>Nyad\u003c/em>\u003c/a>, Sandra Hüller for \u003cem>Anatomy of a Fall\u003c/em>, Greta Lee for\u003cem> Past Lives\u003c/em> and Carey Mulligan for \u003cem>Maestro\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Globes won’t have to worry about anyone criticizing its “all male” directors this year, however. Gerwig was nominated as was Celine Song, for her romantic debut \u003cem>Past Lives\u003c/em>, alongside Nolan, Scorsese, Cooper and Lanthimos.\u003c/p>\n\u003cp>Netflix got the most nominations overall, with 13 total for a slate which included \u003cem>Maestro\u003c/em>, \u003cem>May December\u003c/em> and \u003cem>Rustin\u003c/em>, followed by Warner Bros., which made \u003cem>Barbie\u003c/em> and \u003cem>The Color Purple\u003c/em> with 12.\u003c/p>\n\u003cp>Ridley Scott’s \u003ca href=\"https://www.kqed.org/arts/13938168/ridley-scott-napoleon-movie-review-joaquin-phoenix\">\u003cem>Napoleon\u003c/em>\u003c/a> was not nominated at all. Instead, its star Joaquin Phoenix was recognized for \u003cem>Beau Is Afraid\u003c/em> in the lead actor comedy/musical category, with Wright, Matt Damon (\u003cem>Air\u003c/em>), Nicolas Cage (\u003ca href=\"https://www.kqed.org/arts/13937870/dream-scenario-movie-review-nicolas-cage-julianne-nicholson-kristoffer-borgli\">\u003cem>Dream Scenario\u003c/em>\u003c/a>), Timothée Chalamet (\u003cem>Wonka\u003c/em>) and Paul Giamatti (\u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a>). Michael Mann’s \u003cem>Ferrari\u003c/em>, with Adam Driver, and Wes Anderson’s starry \u003ca href=\"https://www.kqed.org/arts/13930502/asteroid-city-review-wes-anderson-scarlet-johansson-jason-schwartzman\">\u003cem>Asteroid City\u003c/em>\u003c/a> also got zero nominations.\u003c/p>\n\u003cp>The voting body has now grown to 300 members, following backlash to a 2021 report in the \u003cem>Los Angeles Times\u003c/em> that found that there were zero Black members in the group that was then composed of only 87 foreign journalists.\u003c/p>\n\u003cp>Perhaps as a result, there were more international films and actors nominated in prominent categories including the Finnish comedy \u003cem>Fallen Leaves\u003c/em>, the courtroom thriller \u003cem>Anatomy of a Fall\u003c/em> and the harrowing Auschwitz drama \u003cem>The Zone of Interest\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The 81st Golden Globes will be the first major broadcast of awards season, with a new home on CBS, but no word on a host. And while to audiences it might look similar on the surface, it’s been tumultuous few years behind the scenes in the aftermath of the \u003cem>L.A. Times\u003c/em> report, which also exposed ethical lapses like its members accepting lavish gifts and travel from awards publicists and studios.\u003c/p>\n\u003cp>The Globes had long been one of the highest-profile awards season broadcasts, second only to the Oscars. Before the pandemic, it was still pulling in around 19 million viewers. The show was touted as a boozy, A-list party, whose hosts often took a more irreverent tone than their academy counterparts. It also only honored the flashiest filmmaking categories — picture, director, actors among them — meaning no long speeches from visual effects supervisors or directors of shorts no one has heard of.\u003c/p>\n\u003cp>Some years, the HFPA were pilloried for nominating poorly reviewed films with big name talent with hopes of getting them to the show, the most infamous being \u003cem>The Tourist\u003c/em>, with Angelina Jolie and Johnny Depp. In the past decade, they’ve more often overlapped with the Oscars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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